Home
Dang Dudes,

Thought I would register and try it. However, given that I'm a fairly shy and timid person by nature.....I do have a couple reservations.

I got BIG fat necked muleys (a bunch of 'em) from all over the west. Big 6x6 bulls from Utah and Colorado that I whacked in recent years. Wyoming Shiras moose....and pronghorns from 6 states including a top 10 Utah buck. Coues deer, eastern whiteys, and TONS of coyotes. All taken by my lonesome on public land throughout the west on a workin' man's salary and vacation. Yep, true story.

I got load and bullet performance data on cartridges from .22-250 to 7mm WBY to .338 RUM. Bullets from Core-Lokt's to BT's and Accubonds. I got more euro optics usage on western big game than the Zeiss test lab. I got great gear info from packs to tents and trucks.

BUT......I see some of you resemble difficult, combative, terribly bored persons. Some of you are just a little bit plicky. Some are 100% so.

My concerns are 1) will my knowledge and experiences be of value to others here, and 2) will I be able to earn and receive my very own mangina thread one of these days?



grinEverybody's knowledge and experience is a benefit here. A solid sense of humor and a reasonably thick hide are a plus here, but it are a lotta fun. SOOOO! What is your position on blue tape?? grin
1) no
)2 I think you're allready there.
dude, we will happily give you a sandy mangina thread if you want, but its a different story entirely to EARN one.

maybe we will chat more over time. hope you enjoy the fire as much as i do. would love to hear some stories....
you only wish you were a texan
Looks like a copy and paste post to me....
Originally Posted by Bulletbutt
1) no
)2 I think you're allready there.
+1

I I me me.....
Originally Posted by BrotherBart
Looks like a copy and paste post to me....


+1

Seems surprisingly familiar.
Hmmmmm.
Do you make your own whiskey? ... or buy? Inquiring minds want to know grin.
Originally Posted by Bulletbutt
1) no
)2 I think you're allready there.




welcome you've been lurking in the shadows ,now your out of closet , enjoy, have fun,impart knowledge,learn how to put some on ignor you'l do fine.. grin


norm
What's your position on Heeler Dogs, and Alligators ?

GTC
Did you invent whiskey?
you had better check with Kamerad Les. he will be the one who doles out the sandy mangina threads, and Tom264 will E-Bully you till you leave, while Lee24 will just know everything you do, +100.

its a good place.
....didnt work on you.
I see Jane is back, maybe she brought with her Jessica's brother?
Originally Posted by WhiskeyMan
Dang Dudes,

However, given that I'm a fairly shy and timid person by nature.....







Seems that way, with a few pats on the back.
Originally Posted by Gringo Loco
Do you make your own whiskey? ... or buy? Inquiring minds want to know grin.


He invented whiskey.

Originally Posted by rem_7
Originally Posted by WhiskeyMan
Dang Dudes,

However, given that I'm a fairly shy and timid person by nature.....







Seems that way, with a few pats on the back.



I resemble that one pal....
Say IE-

My memory is getting bad.... What do you mean that Ton264 will bully you? wink
nope, i gots thick skin... grin
Hey Whiskeyman, got any pics of your critters you killed?
Originally Posted by ironeagle_84
nope, i gots thick skin... grin
Yep, almost as thick as your skull. grin
a little thinner than that. i recommend solids if you gonna choot me... wink
bet he has a Winchester he would like to tell us about.
Originally Posted by Tom264
Hey Whiskeyman, got any pics of your critters you killed?


Yep. Gimme a few while I figger out how to post em.
Dude, I seen pics of you....all I gotta do is poke my finger in your chest and it will stick out your back. grin
The man deserves a chance,at least!
wow, you must need glasses Tom, i am a bit bigger than Tom Thumb...
oh knock it off or everybody's gett'n a haircut!!

grin
Originally Posted by northern_dave
oh knock it off or everybody's gett'n a haircut!!

grin
Come on down here and give me one....you do flattops?
Someone please tell me how to post a pic. Grrrrrrr
Nope, he does Nair for you metros (grins)
Originally Posted by northern_dave
oh knock it off or everybody's gett'n a haircut!!

grin


I ain't gettin near you when you got clippers. This Faery Dwarf would be bald in no time at all. We Faery Dwarfs pride our self's on being hairy. grin
Originally Posted by HawkI
Nope, he does Nair for you metros (grins)
Aint no metro....I hates metro's mad
Originally Posted by WhiskeyMan
Someone please tell me how to post a pic. Grrrrrrr


load the pictures to a photo site like photobucket, and then get the URL off of there, and when you post, click on add picture, and insert the URL into that spot. it should come up...
Originally Posted by Tom264
Originally Posted by HawkI
Nope, he does Nair for you metros (grins)
Aint no metro....I hates metro's mad


Metro...

[Linked Image]
Nope, just a tester.
Originally Posted by Bulletbutt
1) no
)2 I think you're allready there.




what he said
Originally Posted by WhiskeyMan
Someone please tell me how to post a pic. Grrrrrrr

[Linked Image]
Originally Posted by crossfireoops
What's your position on Heeler Dogs, and Alligators ?

GTC

Never did hear the end of that one did we?
Originally Posted by WhiskeyMan

BUT......I see some of you resemble difficult, combative, terribly bored persons.




So what's ya point?

You lookin' ta make evahbuddy turn into fuggin' "Miss Manners" before ya decide to hang out?

It ain't gonna happen. I can tell ya *that* much up front.
,...and ditch the wonky font.

It makes ya sound like a Brit.
Your diving in to the deep end of the pool hope you gotch yer water wings I think your bleeding!
sure sounds like another regular member, bored, cross posting as a newbie.

This scheit is killing the board.
Don't worry, TLee or Les will have it buried 5 pages back in 37 seconds, cuzz GOD knows you can't have enough canned humor.
Welcome to the fire.........

You should fit in just fine.Sounds like you need to post some pics of your success.


Mark
Originally Posted by Steelhead
Don't worry, TLee or Les will have it buried 5 pages back in 37 seconds, cuzz GOD knows you can't have enough canned humor.


There are times Scott, there are times.
Originally Posted by HoundGirl
Hmmmmm.



Jane...two things...

1. Where you bean???

and

2.You should know better than to post that "sound" around these preverts........... whistle



grin
Ingwe
Whatever happened to " Hello! New member here. Looks like a good place to hang out. Lots of good info here!"

Call me suspicious, but when someone's first post toots their own horn that hard......
I was kinda thinkin he has a whole orchestra


You gotta remember--this is the politics and boobs page--the good stuff happens on the other forums below........ wink



Casey
Originally Posted by Steelhead
Don't worry, TLee or Les will have it buried 5 pages back in 37 seconds, cuzz GOD knows you can't have enough canned humor.




grin grin grin






Casey
i needed to post for count and my bug needed a walk
Originally Posted by WhiskeyMan
Dang Dudes,

Thought I would register and try it. However, given that I'm a fairly shy and timid person by nature.....I do have a couple reservations.

I got BIG fat necked muleys (a bunch of 'em) from all over the west. Big 6x6 bulls from Utah and Colorado that I whacked in recent years. Wyoming Shiras moose....and pronghorns from 6 states including a top 10 Utah buck. Coues deer, eastern whiteys, and TONS of coyotes. All taken by my lonesome on public land throughout the west on a workin' man's salary and vacation. Yep, true story.

I got load and bullet performance data on cartridges from .22-250 to 7mm WBY to .338 RUM. Bullets from Core-Lokt's to BT's and Accubonds. I got more euro optics usage on western big game than the Zeiss test lab. I got great gear info from packs to tents and trucks.

BUT......I see some of you resemble difficult, combative, terribly bored persons. Some of you are just a little bit plicky. Some are 100% so.

My concerns are 1) will my knowledge and experiences be of value to others here, and 2) will I be able to earn and receive my very own mangina thread one of these days?





Don't worry about the trolls, knowledge is a wonderful thing. You just need to know that I know more than you do, even though I've never shot an elk, so don't try and tell me it can't be done with my Red Ryder BB gun. smile

Welcome aboard.
Originally Posted by TooDogs
i needed to post for count and my bug needed a walk


I squished your bug.

Now he is all over my monitor . . . . .
Originally Posted by elkhunter76
Whatever happened to " Hello! New member here. Looks like a good place to hang out. Lots of good info here!"

Call me suspicious, but when someone's first post toots their own horn that hard......


DITTOS +1,000
Originally Posted by WhiskeyMan


I got BIG fat necked muleys (a bunch of 'em) from all over the west. Big 6x6 bulls from Utah and Colorado that I whacked in recent years. Wyoming Shiras moose....and pronghorns from 6 states including a top 10 Utah buck. Coues deer, eastern whiteys, and TONS of coyotes. All taken by my lonesome on public land throughout the west on a workin' man's salary and vacation. Yep, true story.





Sweet, stories are always good, I'd like to hear about the moose.

Quote
I got load and bullet performance data on cartridges from .22-250 to 7mm WBY to .338 RUM. Bullets from Core-Lokt's to BT's and Accubonds. I got more euro optics usage on western big game than the Zeiss test lab. I got great gear info from packs to tents and trucks.





Always good dude.

Quote
I got load and bullet performance data on cartridges from .22-250 to 7mm WBY to .338 RUM. Bullets from Core-Lokt's to BT's and Accubonds. I got more euro optics usage on western big game than the Zeiss test lab. I got great gear info from packs to tents and trucks.

BUT......I see some of you resemble difficult, combative, terribly bored persons. Some of you are just a little bit plicky. Some are 100% so.



[/font]


This is true, some of have the winter blues and are getting might crabby about it. Ya need thick skin and a sense of humor. Doesn't matter if it's good or bad, but ya need one.

Oh yeah.... Welcome to the fire. smile
Originally Posted by northern_dave
oh knock it off or everybody's gett'n a haircut!!

grin


grin
nice avatar tzone, TFF!


should be animated like Barts..

grin
Originally Posted by elkhunter76
Whatever happened to " Hello! New member here. Looks like a good place to hang out. Lots of good info here!"

Call me suspicious, but when someone's first post toots their own horn that hard......


. . . and the post is awash in contradictions.
Originally Posted by Bristoe
,...and ditch the wonky font.

It makes ya sound like a Brit.


grin
Originally Posted by BMT
Originally Posted by TooDogs
i needed to post for count and my bug needed a walk


I squished your bug.

Now he is all over my monitor . . . . .


If you were looking at Les's pictures....that ain't a squished bug. grin
Originally Posted by northern_dave
nice avatar tzone, TFF!


should be animated like Barts..

grin


Ooohhh. I like that idea. How do I get a banjo playin' Hitler into that picture?
Originally Posted by derby_dude
Originally Posted by elkhunter76
Whatever happened to " Hello! New member here. Looks like a good place to hang out. Lots of good info here!"

Call me suspicious, but when someone's first post toots their own horn that hard......


DITTOS +1,000


yep
Originally Posted by WhiskeyMan

I...I'm ....I.....

I got ... I whacked ....I got ....I got more ... I got great ....

BUT......I see some of you resemble difficult, combative, terribly bored persons. Some of you are just a little bit plicky. Some are 100% so.




my first thoughts:

that's him! lol!!!

My post count isn't very high and most people here don't know me - but if I posted something like:


I gotta enough hair on my azz to weave a Navajo blanket.


Would that be braggin' too much?


fish head
That'd be ok, just don't let Les know about it. He's got a weakness for butt hairs....

Originally Posted by fish head
My post count isn't very high and most people here don't know me - but if I posted something like:


I gotta enough hair on my azz to weave a Navajo blanket.


Would that be braggin' too much?


fish head


Only if the blanket is multi-colored without using dye.
Originally Posted by fish head
My post count isn't very high and most people here don't know me - but if I posted something like:


I gotta enough hair on my azz to weave a Navajo blanket.


Would that be braggin' too much?


fish head


Fish got hair?
Were the heck have you been Girl?
already no all htat stuff. see.

Ballistics
From Wikipedia, the free encyclopedia
Jump to: navigation, search
For other uses, see Ballistics (disambiguation).
Ballistics (gr. βάλλειν ('ba'llein'), "throw") is the science of mechanics that deals with the flight, behavior, and effects of projectiles, especially bullets, gravity bombs, rockets, or the like; the science or art of designing and accelerating projectiles so as to achieve a desired performance.

A ballistic body is a body which is free to move, behave, and be modified in appearance, contour, or texture by ambient conditions, substances, or forces, as by the pressure of gases in a gun, by rifling in a barrel, by gravity, by temperature, or by air particles. A ballistic missile is a missile only guided during the relatively brief initial powered phase of flight and its course is subsequently governed by the laws of classical mechanics.

In the field of forensic science, forensic ballistics is the science of analyzing firearm usage in crimes.

[edit] Gun ballistics
Gun ballistics is the study of projectiles from the time of shooting to the time of impact with the target. Gun ballistics is often broken down into the following four categories, which contain detailed information on each category:[1]

Internal ballistics, the study of the processes originally accelerating the projectile, for example the passage of a bullet through the barrel of a rifle;
Transition ballistics, (sometimes called intermediate ballistics) the study of the projectile's behavior when it leaves the barrel and the pressure behind the projectile is equalized.
External ballistics, the study of the passage of the projectile through space or the air; and
Terminal ballistics, the study of the interaction of a projectile with its target, whether that be flesh (for a hunting bullet), steel (for an anti-tank round), or even furnace slag (for an industrial slag disruptor).
[edit] Forensic ballistics
Forensic ballistics involves analysis of bullets and bullet impacts to determine the type. Separately from ballistics information, firearm and tool mark examinations ("ballistic fingerprinting") involve analysing firearm, ammunition, and tool mark evidence in order to establish whether a certain firearm or tool was used in the commission of a crime.

[edit] See also
Wikisource has the text of the 1911 Encyclop�dia Britannica article Ballistics.
Ballistic fingerprinting
Ballistic conduction (to do with electron transport)
Bullet
Cartridge
Gun
Gunshot residue
Physics of firearms
Trajectory
Vaporific Effect
Gunshot injury
Stopping Power
Mechanics
[edit] References
^ U.S. Marine Corps (1996). FM 6-40 Tactics, Techniques, and Procedures for Field Artillery Manual Cannonry. Department of the Army. http://www.fas.org/man/dod-101/sys/land/docs/fm6-40-ch3.htm.
[edit] External links
Ballistic Trajectories by Jeff Bryant, The Wolfram Demonstrations Project.
[edit] Ballistic comparison
Ballistic Chart
AmmoGuide
JBM Ballistics � Trajectory and related calculators
Retrieved from "http://en.wikipedia.org/wiki/Ballistics"
Categories: Ballistics

Ballistic conduction
From Wikipedia, the free encyclopedia
Jump to: navigation, search
It has been suggested that this article or section be merged with Ballistic transport. (Discuss)
This article may require cleanup to meet Wikipedia's quality standards. Please improve this article if you can. (November 2007)

Ballistic conduction is the unimpeded flow of charge or energy carrying particles over relatively high distances in a material. Normally, transport of electrons (or holes) is dominated by scattering events, which relax the carrier momentum in an effort to bring the conducting material to equilibrium. Thus, ballistic transport in a material is determined by how ballistically conductive that material is. Ballistic conduction differs from superconductivity due to the absence of the Meissner effect in the material. A ballistic conductor would stop conducting if the driving force is turned off, whereas in a superconductor current would continue to flow after the driving supply is disconnected.

Ballistic conduction is typically observed in quasi-1D structures, such as carbon nanotubes or silicon nanowires, because of extreme size quantization effects in these materials. Ballistic conduction is not limited to electrons (or holes) but can also apply to phonons. It is theoretically possible for ballistic conduction to be extended to other quasi-particles, but this has not been experimentally verified.

Contents [hide]
1 Theory of ballistic conduction
1.1 Scattering mechanisms
1.2 Landauer-Buttiker formalism
2 Importance of ballistic conductivity
3 Optical analogies of ballistic conduction
4 Examples of ballistic conduction
4.1 Carbon nanotubes and graphene nanoribbon
4.2 Si nanowires
5 References


[edit] Theory of ballistic conduction
[edit] Scattering mechanisms
In general, carriers will exhibit ballistic conduction when where L is the length of the active part of the device (i.e., a channel in a MOSFET). λMFP is the mean scattering length for the carrier which can be given by Matthiessen's Rule, written here for electrons:



where λel − el is the electron-electron scattering length, λap is the acoustic phonon (emission and absorption) scattering length, λop,ems is the optical phonon emission scattering length, λop,abs is the optical phonon absorption scattering length, λimpurity is the electron-impurity scattering length, λdefect is the electron-defect scattering length, λboundary is the electron scattering length with the boundary, and λMFP is the total electron mean free path (electron scattering length). In terms of scattering mechanisms, optical phonon emission normally dominates, depending on the material and transport conditions. There are also other scattering mechanisms which apply to different carriers that are not considered here (e.g. remote interface phonon scattering, umklapp scattering). To get these characteristic scattering rates, one would need to derive a Hamiltonian and solve Fermi's Golden Rule for the system in question.


A graphene nanoribbon field-effect transistor (GNRFET). Here contacts A and B are at two different Fermi levels and .[edit] Landauer-Buttiker formalism
In 1957, Rolf Landauer proposed that conduction in a 1D system could be viewed as transmission problem. For the 1D GNRFET on the right (where the graphene nanoribbon channel is assumed to be ballistic), the current from A to B (given by the Boltzmann transport equation) is



where gs = 2 due to spin degeneracy, e is the electron charge, h=Planck's constant, and are the Fermi levels of A and B, g(E) is the density of states, f'(E) is the deviation from the equilibrium electron distribution (perturbation), and T(E) is the transmission probabiliy (T=1 for ballistic). Based on the definition of conductance
and the voltage separation between the Fermi levels is approximately , it follows that where M is the number of modes in the transmission channel and spin is included. G is known as the quantized conductance. The contacts have a multiplicity of modes due to their larger size in comparison to the channel. Conversely, the quantum confinement in the 1D GNR channel constricts the number of modes to carrier degeneracy and restrictions from the material's energy dispersion relationship and Brillouin zone. For example, electrons in carbon nanotubes have two intervalley modes and two spin modes. Since the contacts and the GNR channel are connected by leads, the transmission probability is smaller at contacts A and B, . Thus the quantum conductance is approximately the same if measured at A and B or C and D.

Landauer-Buttiker formalism holds as long as the carriers are coherent (which means the length of the active channel is less than the phase-breaking mean free path) and the transmission functions can calculated from Schr�dinger's equation or approximated by the WKB approximation. Therefore, even in the case of a perfect ballistic transport, there is a fundamental ballistic conductance which saturates the current of the device with a resistance of approximately (spin degeneracy included). [1]

[edit] Importance of ballistic conductivity
Ballistic conduction enables use of quantum mechanical properties of electron wave functions. Ballistic transport is coherent in wave mechanics terms. Phenomena like double-split interference, spacial resonance (and other optical or microwave-like effects) could be exploited in electronic systems at nanoscale.

[edit] Optical analogies of ballistic conduction
A comparison with light provides an analogy between ballistic and non-ballistic conduction. Ballistic electrons behave like light in a waveguide or a high-quality optical assembly. Non-ballistic electrons behave like light diffused in milk or reflected off a white wall or a piece of paper.

Electrons can be scattered several ways in a conductor. Electrons have several properties: wavelength (~energy), direction, phase, and spin orientation. Different materials have different scattering probabilities which cause different incoherence rates (stochasticity). Some kinds of scattering can only cause a change in electron direction, others can cause energy loss.

Consider a coherent source of electrons (like a laser) connected to a conductor. Over a limited distance, the electron wave function will remain coherent. You still can deterministically predict its behavior (and use it for computation theoretically). After some greater distance, scattering causes each electron to have a slightly different phase and/or direction. But there is still almost no energy loss. Like monochromatic light passing through milk, electrons undergo elastic interactions. Information about the state of the electrons at the input is then lost. Transport becomes statistical and stochastic. From the resistance point of view, stochastic (not oriented) movement of electrons is useless even if they carry the same energy - they move thermally. If the electrons undergo inelastic interactions too, they lose energy and the result is a second mechanism of resistance. Electrons which undergo inelastic interaction are then similar to non-monochromatic light.

For correct usage of this analogy consideration of several facts is needed:

Photons are bosons and electrons are fermions.
There is coulombic repulsion between electrons.
Thus this analogy is good only for single-electron conduction because electron processes are strongly and nonlinear dependent on other electrons.

It is more likely that an electron would lose energy than a photon would, because of the electron's non-zero rest mass.
Electron interactions with the environment, each other, and other particles are generally stronger than interactions with and between photons.
[edit] Examples of ballistic conduction
As mentioned, nanostructures such as carbon nanotubes or graphene nanoribbons are often considered ballistic, but these devices only very closely resemble ballistic conduction. Their ballisticity is nearly 0.9 at room temperatre.[2].

[edit] Carbon nanotubes and graphene nanoribbon
The dominant scattering mechanism at room temperature is that of electrons emitting optical phonons. But that is possible only if electrons carry an energy higher than the minimum optical phonon energy, which is very high for carbon nanotubes. If electrons don't scatter with optical phonons (for example if they have lesser than the minimum optical phonon energy), the mean free path (λMFP) is nearly 1 micron. So a nanotube could be a good ballistic conductor if the electrons in transit don't have energies more than the optical phonon and if the device is less than about 1 μm.

[edit] Si nanowires
It is often incorrectly thought that Si nanowires are quantum confined ballistic conductors. There are major differences between carbon nanotubes (which are hollow) and Si nanowires (which are solid). Nanowires are about 20-50 nm in diameter and are 3D solid while carbon nanotubes have diameters around the wavelength of an electron (2-3 nm) and are essentially 1D conductors. However it is still possible to observe ballistic conduction in Si nanowires at very low temperatures (2-3 K).

[edit] References
^ Supriyo Datta, Contributor: Haroon Ahmad, Alec Broers, Michael Pepper (1997). Electronic Transport in Mesoscopic Systems. New York: Cambridge University Press. p. 57�111. ISBN 0521599431. http://books.google.com/books?id=28...=book_result&resnum=4&ct=result.
^ Koswatta et al, Appl. Phys. Lett., 89, 023125, 2006
Retrieved from "http://en.wikipedia.org/wiki/Ballistic_conduction"
Categories: Nanoelectronics
Graphene nanoribbons
From Wikipedia, the free encyclopedia
(Redirected from Graphene nanoribbon)
Jump to: navigation, search
Graphene nanoribbons (also called nano-graphene ribbons), often abbreviated GNRs, are thin strips of graphene or unrolled single-walled carbon nanotubes. The graphene ribbons were originally introduced as a theoretical model by Mitsutaka Fujita and co-authors to examine the edge and nanoscale size effect in graphene.[1][2][3]

Their electronic states largely depend on the edge structures (armchair or zigzag, the first being the upper side of the picture on the left, and the later being the right side). Zigzag edges provide the edge localized state with non-bonding molecular orbitals near the Fermi energy. They are expected to have large changes in optical and electronic properties from quantization. Calculations based on tight binding predict that zigzag GNRs are always metallic while armchairs can be either metallic or semiconducting, depending on their width. However, recent DFT calculations show that armchair nanoribbons are semiconducting with an energy gap scaling with the inverse of the GNR width. [4] Indeed, experimental results show that the energy gaps do increase with decreasing GNR width. [5] Graphene nanoribbons with controlled edge orientation have been fabricated by Scanning Tunneling Microscope (STM) lithography. [6] Opening of energy gaps up to 0.5 eV in a 2.5 nm wide armchair ribbon was reported. Zigzag nanoribbons are also semiconducting and present spin polarized edges.

Their 2D structure, high electrical and thermal conductivity, and low noise also make GNRs a possible alternative to copper for integrated circuit interconnects. Some research is also being done to create quantum dots by changing the width of GNRs at select points along the ribbon, creating quantum confinement.[7]

The first measurements of their bandgaps were made by the groups of Philip Kim and Phaedon Avouris.

Graphene nanoribbons possess semiconductive properties and may be a technological alternative to silicon semiconductors.[8] and may be capable of sustaining microprocessor clock speeds in the vicinity of 1 THz[9]

GNR band structure for arm-chair type. Tight binding calculations show that armchair type can be semiconducting or metallic depending on width (chirality).
GNR band structure for zig-zag type. Tight binding calculations show that zigzag type is always metallic.


[edit] See also
Graphene
Graphite
Graphene Oxide Paper
Carbon nanotubes
Mitsutaka Fujita
Katsunori Wakabayashi
[edit] References
^ Fujita M., Wakabayashi K., Nakada K. and Kusakabe K. "Peculiar Localized State at Zigzag Graphite Edge" J. Phys. Soc. Jpn. 65, 1920 (1996)
^ Nakada K., Fujita M., Dresselhaus G. and Dresselhaus M.S. "Edge state in graphene ribbons: Nanometer size effect and edge shape dependence" Phys. Rev. B 54, 17954 (1996)
^ Wakabayashi K., Fujita M., Ajiki H. and Sigrist M. "Electronic and magnetic properties of nanographite ribbons" Phys. Rev. B 59, 8271 (1999)
^ Barone, V., Hod, O., and Scuseria, G. E. "Electronic Structure and Stability of Semiconducting Graphene Nanoribbons" Nano Lett. 6, 2748 (2006)
^ Han., M.Y., �zyilmaz, B., Zhang, Y., and Kim, P. "Energy Band-Gap Engineering of Graphene Nanoribbons" Phys. Rev. Lett. 98, 206805 (2007)
^ L. Tapaszto, G. Dobrik, P. Lambin, L.P. Biro "Tailoring the atomic structure of graphene nanoribbons by scanning tunneling microscope lithography" Nature Nanotechnology 3 , 397 (2008)
^ Wang, Z. F., Shi, Q. W., Li, Q., Wang, X., Hou, J. G., Zheng, H., et al. "Z-shaped graphene nanoribbon quantum dot device" Applied Physics Letters, 91(5), 053109 (2007)
^ Bullis, Kevin (2008-01-28). "Graphene Transistors". Technology Review (Cambridge: MIT Technology Review, Inc). http://www.technologyreview.com/Nanotech/20119/. Retrieved 2008-02-18.
^ Bullis, Kevin (2008-02-25). "TR10: Graphene
Lee?
Tom, did you get the Text with Lee's favorite fruit?
Yes. sick grin

How about the other one with the smiley face? You had your volume turned up right?
I am erasing my txt inbox asap, thanks for the warning grin

PUTZ!
Originally Posted by Kamerad_Les
How about the other one with the smiley face? You had your volume turned up right?
Yes, but thankfully I was alone.....Nya nya!
Dammit, I'm hopin Bob and BMT were in court when they opened it. grin
Originally Posted by Kamerad_Les
PUTZ!


don't make me send you the banana cannon!! grin

Thats perverted, i ain't scairt!
Whiskeyman,
grin wink

RR
WOW.....my first post has 1000+ hits. Some of ya are bored.......while some are world-record paranoid, hehe. I'm original.....not some disgruntled booted punk. But I caution you now....I do hit hard.

My present comments are:

1) Les=Wuss. This thread ain't about you pal.......its ALLLLLLL about me. Stop it.
2) Please don't insult me by trying to hurt my feelers.
3) Someone.....please send me your email and I'll send ya a pic or two to post. I still ain't interested in paying Photobucket $25 just to show ya'll how its done.
4) I expect a 100% full apology from those who questioned my first post.
1. If it's all about you, you must be a chick.
2. See above.
3. Photobucket's free.
4. Blow me.

Welcome to the fire!
Wow dude b for balls, you may know lots of stuff but not humility,respect or the fact that introducing yourself like that will guarantee you wont get too much out of this or any other forum.If you made that speech in a bar here in OZ youd be waking up in the beer garden..
Originally Posted by WhiskeyMan
WOW.....my first post has 1000+ hits. Some of ya are bored.......while some are world-record paranoid, hehe. I'm original.....not some disgruntled booted punk. But I caution you now....I do hit hard.

My present comments are:

1) Les=Wuss. This thread ain't about you pal.......its ALLLLLLL about me. Stop it.
2) Please don't insult me by trying to hurt my feelers.
3) Someone.....please send me your email and I'll send ya a pic or two to post. I still ain't interested in paying Photobucket $25 just to show ya'll how its done.
4) I expect a 100% full apology from those who questioned my first post.
Les ain't no wuss and don't need me or anyone else to stick up for him.

Iffin yur feelrs are bent, straighten em out yurself.

Be man enough to post your own pictures. photobucket is free.

No one is gonna appoligize to you, so get over it, whatever "it" is, as I didn't read much of this thread.

Freakin troll ain'tja?
Unless this is a cut and paste job, this guy is not a troll. He's been kicked off a couple of Arizona hunting sites, because he argues all the time, and he teases the hell out of people.

I don't know if he's for real, but if he is, think of him as a cross between Mannlicher, Big Stick, and Crossfireoops, with just a little bit of Bristoe thrown in.

IF his pictures are real, he has been there and done that. I don't know if they are really his pictures. His hunting stories are pretty good, but not as good as Silver Bullet (remember him?)

Lots of hunting stuff, though, but if he gets distracted into a pissing match, I think he'd much rather piss than story tell.


My 2 cents,

Sycamore
Photobucket ain't free, Wiz. Get past the first window and see.

No troll here, just wanna make sure I get my share of whatever this forum offers before I give too much.

Nut up, dude.

Less=Super Wuss.

Stop drinkin'.
I resemble that, Syc. Just cuz I ain't friendly, don't mean I ain't legit.
Originally Posted by Bristoe
,...and ditch the wonky font.

It makes ya sound like a Brit.




you owe me a keyboard on that one, ya bastid.
LOL, you Arizona dudes all need lives. That stuff that you remember goes back years!!!
Thought ya looked familiar some, don't remember anything specific though.

Photobucket only charges known A's, guess you made the list.

See ya around.

Kent
Originally Posted by WhiskeyMan
Photobucket ain't free, Wiz. Get past the first window and see.




they're free for everybody else, maybe they don't like you?

only a few thousand people on here using it to post pictures, and I sure haven't paid them anything.
Originally Posted by WhiskeyMan
Photobucket ain't free, Wiz. Get past the first window and see.

No troll here, just wanna make sure I get my share of whatever this forum offers before I give too much.

Nut up, dude.

Less=Super Wuss.

Stop drinkin'.



1. Photobucket is free or you aren't smart enuf to use it.

2. Prove you aren't a troll. Cause you haven't offered anything but BS so far.

3. Pull your own nut sac up and quit being a pompous ass hoole.

4. I will guarantee Les ain't a wuss and you're coming across as a douchebag.

5. Only person that seems to be drinkin' is you.
I make all kinda lists. Thank you and ALL Arizona guys for reading my posts and remembering me and hoping for my next forum appearance.
Originally Posted by WhiskeyMan
LOL, you Arizona dudes all need lives. That stuff that you remember goes back years!!!


Can't wait for the head on with Crossfire cool
If foterbuket costs for ya, I give up, you win, pass the bottle.
I lived in WY for 6 years. I remember ya'll well.

I took the buck in my avatar there in 1996. OTC tag......BLM land. Unit 96....Green Mtn. Found him in 1995, but couldn't whack him that year. I WROTE AN ARTICLE FOR THE ADA MAG ON THIS BUCK.

And....Photobucket ain't GD free!

You know your in WY when there is a whiskey shop on every corner and the porn section in the c-store is bigger than the candy section.
Crossfire=Wuss and a BIG reason this forum has gone to sheet.
Oh well, I know how you feel, all shy and all. Just cuz they talk about catching the gay here don't mean it's that kinda site.

Kent
Originally Posted by WhiskeyMan
Crossfire=Wuss and a BIG reason this forum has gone to sheet.


sez the dude who just got here, who can't figure out how to operate photobucket
I can't wait for him/her to chit in one hand and expect an apology in the other, and see which one fills up faster.
Oh, ok...

your defenitely bringing it out of the slums, thank you.
Originally Posted by WhiskeyMan

And....Photobucket ain't GD free!



If it ain't, they been sendin' my bill to the wrong address.
Originally Posted by WhiskeyMan

And....Photobucket ain't GD free!


I've been using Photobucket for a couple of years.

It's been free up until now.

Should I send the money to you?

I'll need your address for payment, or will this one get it to you?

Pompous A-Hole
I've Done it all Drive
Fenix, AZ 87233
I said........send me yer email and I'll send you a pic to post of my 2003 UT bull that scores 332 and was taken with my .338 RUM Rem M700 LSS at 362 yards pushing a 250 gr Nosler Partition Gold moly-free. Got a bigger one the next year IN THE SAME PLACE.

Do it.
Feedin the troll we are, yep, yep!
Send me *your* e-mail,..and I'll send you a pic of a groundhog that was shot square in the bunghole with an H&R .32 long wadcutter.
Geez, get off your own NUTZ!
Things that make me go Huh?

I can add an avatar, write a mag artical, email and have no idea how to post a pic and call everyone a liar when they tell me how.

Huh?

Kent
Go huh.

I have it figgerd out......just ain't willing to spend $25 to entertain strangers without reciprocation. Seems like at least one here would have an email and a Photobucket account.

Everyone ain't a liar. Just some are full of sheet. But......you already seem to know this.

My 2009 Colorado un-guided public land bull goes 350.
But have ya bagged a Boone and Crockett groundhog?!
dude....you'll see my email address when you pry it out of my cold dead fingers

Originally Posted by WhiskeyMan
I lived in WY for 6 years. I remember ya'll well.

* * *

You know your in WY when there is a whiskey shop on every corner . . .


Given your handle, I'm surprised, but not sad, that you moved away.
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and now for something completely different

Musical theatre
From Wikipedia, the free encyclopedia
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The Black Crook (1866), considered by some historians to be the first musical[1]Musical theatre is a form of theatre combining music, songs, spoken dialogue and dance. The emotional content of the piece � humor, pathos, love, anger � as well as the story itself, is communicated through the words, music, movement and technical aspects of the entertainment as an integrated whole. Since the early 20th century, musical theatre stage works have generally been called simply, "musicals".

Musicals are performed all around the world. They may be presented in large venues, such as big budget West End and Broadway theatre productions in London and New York City, or in smaller fringe theatre, Off-Broadway or regional productions, on tour, or by amateur groups in schools, theatres and other performance spaces. In addition to Britain and North America, there are vibrant musical theatre scenes in many countries in Europe, Latin America and Asia.

Some famous musicals include Show Boat, Oklahoma!, West Side Story, The Fantasticks, Hair, A Chorus Line, Les Mis�rables, The Phantom of the Opera, Rent, and The Producers.

Contents [hide]
1 Definitions
2 History
2.1 Antiquity to Middle Ages
2.2 Renaissance to the 1700s
2.3 Development of musical comedy
2.4 Operetta and World War I
2.5 The Roaring Twenties and the Great Depression
2.6 1930s
2.7 The Golden Age (1940s to 1960s)
2.7.1 1940s
2.7.2 1950s
2.7.3 1960s
2.7.4 Social themes
2.8 More recent periods
2.8.1 1970s
2.8.2 1980s and 1990s
2.8.3 2000s
2.9 International musicals
2.10 Relevance
3 See also
4 Notes
5 References
6 Further reading
7 External links


[edit] Definitions
The three main components of a musical are the music, the lyrics, and the book. The book of a musical refers to the story � in effect, its spoken (not sung) lines; however, "book" can also refer to the dialogue and lyrics together, which are sometimes referred to (as in opera) as the libretto (Italian for �little book�). The music and lyrics together form the score of the musical. The interpretation of the musical by the creative team heavily influences the way that the musical is presented. The creative team includes a director, a musical director and usually a choreographer. A musical's production is also creatively characterized by technical aspects, such as set, costumes, stage properties, lighting, etc. that generally change from production to production (although some famous production aspects tend to be retained from the original production, for example, Bob Fosse's choreography in Chicago). The 20th century "book musical" has been defined as a musical play where the songs and dances are fully integrated into a well-made story, with serious dramatic goals, that is able to evoke genuine emotions other than laughter.[2]

There is no fixed length for a musical. It can range from a short one-act entertainment to several acts and several hours in length (or even a multi-evening presentation); however, most musicals range from one and a half hours to three hours. Musicals today are typically presented in two acts, with one intermission ten to twenty minutes in length. The first act is almost always somewhat longer than the second act, and generally introduces most of the music. A musical may be built around four to six main theme tunes that are reprised throughout the show, or consist of a series of songs not directly musically related. Spoken dialogue is generally interspersed between musical numbers, although the use of "sung dialogue" or recitative is not unknown, especially in so-called "sung-through" musicals such as Les Mis�rables and Evita.


A Gaiety Girl (1893) was one of the first hit musicals.Musical theatre is closely related to another theatrical performance art, opera. These forms are usually distinguished by weighing a number of factors. Musicals generally have a greater focus on spoken dialogue (though some musicals are entirely accompanied and sung through, such as Jesus Christ Superstar and Les Mis�rables; and on the other hand, some operas, such as Die Zauberfl�te, and most operettas, have some unaccompanied dialogue); on dancing (particularly by the principal performers as well as the chorus); on the use of various genres of popular music (or at least popular singing styles); and on the avoidance of certain operatic conventions. In particular, a musical is almost never performed in any but the language of its audience. Musicals produced in London or New York, for instance, are invariably sung in English, even if they were originally written in another language (again, Les Mis�rables, originally written in French, is a good example). While an opera singer is primarily a singer and only secondarily an actor (and rarely needs to dance), a musical theatre performer is usually an actor first and then a singer and dancer. Someone who is equally accomplished at all three is referred to as a "triple threat". Composers of music for musicals often consider the vocal demands of roles with musical theatre performers in mind. Today, theatres staging musicals generally use amplification of the actors' singing voices in a way that would normally be disapproved of in an operatic context.

Some works (e.g. by George Gershwin, Leonard Bernstein and Stephen Sondheim) have received both "musical theatre" and "operatic" productions.[3][4] Similarly, some older operettas or light operas (such as The Pirates of Penzance by Gilbert and Sullivan) have had modern productions or adaptations that treat them as musicals. For some works, production styles are almost as important as actual musical or dramatic content in defining into which art form the piece falls.[5] Sondheim said: "I really think that when something plays Broadway it's a musical, and when it plays in an opera house it's opera. That's it. It's the terrain, the countryside, the expectations of the audience that make it one thing or another."[6] This article primarily concerns musical theatre works that are "non-operatic", but overlap remains between lighter operatic forms and the more musically complex or ambitious musicals. In practice, it is often difficult to distinguish among the various kinds of musical theatre, including "musical play", "musical comedy", "operetta" and "light opera".

A "book" musical's moments of greatest dramatic intensity are often performed in song. Proverbially, "when the emotion becomes too strong for speech (or recitative) you sing; when it becomes too strong for song, you dance." A song is ideally crafted to suit the character (or characters) and their situation within the story; although there have been times in the history of the musical (e.g. the 1890s and 1920s) when this integration between music and story has been tenuous. As New York Times critic Ben Brantley described the ideal of song in theatre in reviewing the 2008 revival of Gypsy, "There is no separation at all between song and character, which is what happens in those uncommon moments when musicals reach upward to achieve their ideal reasons to be."[7]

A musical often opens with a song that sets the tone of the show, introduces some or all of the major characters, and shows the setting of the play. Within the compressed nature of the musical, the writers must develop the characters and the plot. Music provides a means to express emotion. However, typically, many fewer words are sung in a five-minute song than are spoken in a five-minute block of dialogue. Therefore there is less time to develop drama than in a straight play of equivalent length, since a musical usually devotes more time to music than to dialogue.

The material for musicals is often original, but many musicals are adapted from novels (Wicked and Man of La Mancha), plays (Hello, Dolly!), classic legends (Camelot), historical events (Evita) or films (The Producers and Hairspray). On the other hand, many successful musical theatre works have been adapted for musical films, such as The Sound of Music, West Side Story, My Fair Lady, and Chicago.

India produces numerous musical films, referred to as "Bollywood" musicals, and Japan produces Anime-style musicals. Another recent genre of musicals, called "jukebox musicals" (for instance, Mamma Mia!), weaves songs written by (or introduced by) a popular artist or group into a story, sometimes based on the life or career of the person/group in question. Shorter "junior" versions of many musicals are available for schools and youth groups, and very short works created or adapted for performance by children are sometimes called minimusicals.[8][9]

[edit] History
[edit] Antiquity to Middle Ages
Musical theatre in Europe dates back to the theatre of the ancient Greeks, who included music and dance in their stage comedies and tragedies in the 5th century BCE[10] The dramatists Aeschylus and Sophocles composed their own music to accompany their plays and choreographed the dances of the chorus. The 3rd-century BCE Roman comedies of Plautus included song and dance routines performed with orchestrations. The Romans introduced technical innovations. For example, to make the dance steps more audible in large open air theatres, Roman actors attached metal chips called "sabilla" to their stage footwear � the first tap shoes.[11] By the Middle Ages, theatre in Europe consisted mostly of travelling minstrels and small performing troupes of performers singing and offering slapstick comedy.[12] In the 12th and 13th centuries, religious dramas, such as The Play of Herod and The Play of Daniel taught the liturgy, set to church chants. Later "Mystery plays" were created that told a biblical story in a sequence of entertaining parts. Several pageant wagons (stages on wheels) would move about the city, and a group of actors would tell their part of the story. Once finished, the group would move on with their wagon, and the next group would arrive to tell its part of the story. These plays developed into an autonomous form of musical theatre, with poetic forms sometimes alternating with the prose dialogues and liturgical chants. The poetry was provided with modified or completely new melodies.[13]

Main article: Classical Indian musical theatre
The musical theatre of India also dates back to Antiquity. Ancient Sanskrit drama had a highly stylized nature with an emphasis on spectacle, where music, dance and gesture combined "to create a vibrant artistic unit with dance and mime being central to the dramatic experience." Sanskrit dramas were known as natya, derived from the root word nrit (dance), characterizing them as spectacular dance-dramas. Traditional folk theatre became popular from around the 10th century with the decline of Sanskrit theatre. These regional traditions include the Yatra of Bengal, the Ramlila of Uttar Pradesh, and the Terukkuttu of Tamil Nadu. In particular, Parsi theatre "blended realism and fantasy, music and dance, narrative and spectacle, earthy dialogue and ingenuity of stage presentation, integrating them into a dramatic discourse of melodrama. The Parsi plays contained crude humour, melodious songs and music, sensationalism and dazzling stagecraft." These traditions in musical theatre have continued in modern Indian cinema, particularly in musical films produced by Bollywood.[14]

[edit] Renaissance to the 1700s
The Renaissance saw these forms evolve into commedia dell'arte, an Italian tradition where raucous clowns improvised their way through familiar stories, and from there, opera buffa.


A view of Rhodes, designed by John Webb, to be painted on a backshutter for the first performance of The Siege of Rhodes, 1856In England, Elizabethan and Jacobean plays frequently included music, with performances on organs, lutes, viols and pipes for up to an hour before and during the performance.[15] Plays, perhaps particularly the heavier histories and tragedies, were frequently broken up with a short musical play, perhaps derived from the Italian intermezzo, with music, jokes and dancing, or were followed by an afterpiece known as a jigg, often consisting of scandalous or libellous dialogue set to popular tunes (anticipating the Ballad Opera).[16] Court masques developed during the Tudor period. Masques were elaborate performances involving music, dancing, singing and acting, often with expensive costumes and a complex stage design, sometimes by a renowned architect such as Inigo Jones, presented a deferential allegory flattering to a noble or royal patron.[17] Ben Jonson wrote many masques, often collaborating with Jones. Shakespeare included masque-like sections in many of his plays.[18]

The musical sections of masques developed into sung plays that are recognizable as English operas, the first usually being thought of as William Davenant's The Siege of Rhodes (1656), originally given in a private performance.[19] In France, meanwhile, Moli�re turned several of his farcical comedies into musical entertainments with songs (music provided by Jean Baptiste Lully) and dance in the late 1600s. His Psyche was the model for an English opera by Thomas Shadwell, The Miser produced in 1672.[20] Davenant produced The Tempest in 1667, which was the first Shakespeare plot set to music, and which was then adapted by Shadwell into an opera in 1674 (composed by Matthew Locke and others).[20] About 1683, John Blow composed Venus and Adonis, often considered the first true English-language opera.[21] Blow was followed by Henry Purcell and a brief period of English opera. After the death of Charles II in 1685, English opera began to fall out of fashion.[19]


Painting based on The Beggar's Opera, Scene V, William Hogarth, c. 1728By the 1700s, two forms of musical theatre were popular in Britain, France and Germany: ballad operas, like John Gay's The Beggar's Opera (1728), that included lyrics written to the tunes of popular songs of the day (often spoofing opera), and comic operas, with original scores and mostly romantic plot lines, like Michael Balfe's The Bohemian Girl (1845). Other musical theatre forms developed by the 19th century, such as vaudeville, British music hall, melodrama and burlesque. Melodramas and burlettas, in particular, were popularized partly because most London theatres were licensed only as music halls and not allowed to present plays without music. In any event, what a piece was called did not necessarily define what it was. The Broadway extravaganza The Magic Deer (1852) advertised itself as "A Serio Comico Tragico Operatical Historical Extravaganzical Burletical Tale of Enchantment."[12]

The first recorded long running play of any kind was The Beggar's Opera, which ran for 62 successive performances in 1728. It would take almost a century before the first play broke 100 performances, with Tom and Jerry, based on the book Life in London (1821), and the record soon reached 150 in the late 1820s.[22]

Colonial America did not have a significant theatre presence until 1752, when London entrepreneur William Hallam sent a company of twelve actors to the colonies with his brother Lewis as their manager.[23] They established a theatre in Williamsburg, Virginia and opened with The Merchant of Venice and The Anatomist. The company moved to New York in the summer of 1753, performing ballad-operas such as The Beggar�s Opera and ballad-farces like Damon and Phillida.[23] By the 1840s, P.T. Barnum was operating an entertainment complex in lower Manhattan.[24] Theatre in New York moved from downtown gradually to midtown from around 1850, seeking less expensive real estate prices, and did not arrive in the Times Square area until the 1920s and 1930s. Broadway's first "long-run" musical was a 50 performance hit called The Elves in 1857. New York runs continued to lag far behind those in London, but Laura Keene's "musical burletta" Seven Sisters (1860) shattered previous New York records with a run of 253 performances.[25]

[edit] Development of musical comedy
The first theatre piece that conforms to the modern conception of a musical, adding dance and original music that helped to tell the story, is generally considered to be The Black Crook, which premiered in New York on September 12, 1866. The production was a staggering five-and-a-half hours long, but despite its length, it ran for a record-breaking 474 performances. The same year, The Black Domino/Between You, Me and the Post was the first show to call itself a "musical comedy." At that time, in England, musical theatre consisted of mostly of music hall, adaptations of risqu� French operetta and musical burlesques, notably at the Gaiety Theatre beginning in 1868. In reaction to these a few family-friendly entertainments were created, such as the German Reed Entertainments.

Comedians Edward Harrigan and Tony Hart produced and starred in musicals on Broadway between 1878 (The Mulligan Guard Picnic) and 1885, with book and lyrics by Harrigan and music by his father-in-law David Braham. These musical comedies featured characters and situations taken from the everyday life of New York's lower classes and represented a significant step forward from vaudeville and burlesque, towards a more literate form. They starred high quality singers (Lillian Russell, Vivienne Segal, and Fay Templeton) instead of the ladies of questionable repute who had starred in earlier musical forms.


Poster for an early production.The length of runs in the theatre changed rapidly around the same time that the modern musical was born. As transportation improved, poverty in London and New York diminished, and street lighting made for safer travel at night, the number of potential patrons for the growing number of theatres increased enormously. Plays could run longer and still draw in the audiences, leading to better profits and improved production values. The first play to achieve 500 consecutive performances was the London (non-musical) comedy Our Boys, opening in 1875, which set an astonishing new record of 1,362 performances.[22]

This run was not equaled on the musical stage until World War I, but musical theatre soon broke the 500 performance mark in London, most notably by the series of more than a dozen long-running Gilbert and Sullivan family-friendly comic opera hits, including H.M.S. Pinafore in 1878 and The Mikado in 1885. The Chimes of Normandy, 1878 (adapted from the French Les Cloches de Corneville), ran for 705 performances in London, beating any of the Gilbert and Sullivan pieces. Its run was not exceeded by any other piece of musical theatre until Alfred Cellier and B. C. Stephenson's record-breaking 1886 hit, Dorothy (a show midway between comic opera and musical comedy), with 931 performances, which was chased (but not equaled) by several of the most successful London musicals of the 1890s. Other British composers of the period included Edward Solomon and F. Osmond Carr. The most popular of these shows also enjoyed profitable New York productions and tours of Britain, America, Europe, Australasia and South Africa. These shows were fare for "respectable" audiences, a marked contrast from the risqu� burlesques, melodramas, bawdy music hall shows and badly translated French operettas that dominated the stage earlier in the 19th century and drew a sometimes seedy crowd looking for easy entertainment.

Charles Hoyt's A Trip to Chinatown (1891) was Broadway's long-run champion (until Irene in 1919), running for 657 performances. Gilbert and Sullivan's comic operas were both pirated and imitated in New York by productions such as Reginald de Koven's Robin Hood (1891) and John Philip Sousa's El Capitan (1896). A Trip to Coontown (1898) was the first musical comedy entirely produced and performed by African Americans in a Broadway theatre (largely inspired by the routines of the minstrel shows), followed by the ragtime-tinged Clorindy the Origin of the Cakewalk (1898), and the highly successful In Dahomey (1902). Hundreds of musical comedies were staged on Broadway in the 1890s and early 1900s composed of songs written in New York's Tin Pan Alley by composers such as Gus Edwards, John Walter Bratton and George M. Cohan (Little Johnny Jones (1904)). Still, New York runs continued to be relatively short, with a few exceptions, compared with London runs, until the 1920s.[22]


George EdwardesMeanwhile, musicals had spread to the London stage by the Gay Nineties. George Edwardes had left the management of Richard D'Oyly Carte's Savoy Theatre. He took over the Gaiety Theatre and, at first, he improved the quality of the old Gaiety Theatre burlesques. He perceived that audiences wanted a new alternative to the Savoy-style comic operas and their intellectual, political, absurdist satire. He experimented with a modern-dress, family-friendly musical theatre style, with breezy, popular songs, snappy, romantic banter, and stylish spectacle at the Gaiety, Daly's Theatre and other venues. These drew on the traditions of comic opera and also used elements of burlesque and of the Harrigan and Hart pieces. He replaced the bawdy women of burlesque with his "respectable" corps of dancing, singing Gaiety Girls to complete the musical and visual fun. The success of the first of these, In Town in 1892 and A Gaiety Girl in 1893, confirmed Edwardes on the path he was taking. These "musical comedies", as he called them, revolutionized the London stage and set the tone for the next three decades.

Edwardes' early Gaiety hits included a series of light, romantic "poor maiden loves aristocrat and wins him against all odds" shows, usually with the word "Girl" in the title, including The Shop Girl (1894) and A Runaway Girl (1898), with music by Ivan Caryll and Lionel Monckton. These shows were immediately widely copied at other London theatres (and soon in America), and the Edwardian musical comedy swept away the earlier musical forms of comic opera and operetta. At Daly's Theatre, Edwardes presented slightly more complex comedy hits. The Geisha (1896) by Sidney Jones with lyrics by Harry Greenbank and Adrian Ross and then Jones' San Toy (1899) each ran for more than two years and also found great international success.

The British musical comedy Florodora (1899) by Leslie Stuart and Paul Rubens made a splash on both sides of the Atlantic, as did A Chinese Honeymoon (1901), by British lyricist George Dance and American-born composer Howard Talbot, which ran for a record setting 1,074 performances in London and 376 in New York. The story concerns couples who honeymoon in China and inadvertently break the kissing laws (shades of The Mikado). The Belle of New York (1898) ran for 697 performances in London after a brief New York run, becoming the first American musical to run for over a year in London. After the turn of the century, Seymour Hicks (who joined forces with American producer Charles Frohman) wrote popular shows with composer Charles Taylor and others, and Edwardes and Ross continued to churn out hits like The Toreador (1901), A Country Girl (1902), The Orchid (1903), The Girls of Gottenberg (1907) and Our Miss Gibbs (1909). Other Edwardian musical comedy hits included The Arcadians (1909) and The Quaker Girl (1910).

[edit] Operetta and World War I
Probably the best known composers of operetta, beginning in the second half of the 19th century, were Jacques Offenbach and Johann Strauss II (usually played in bad, bawdy translations in London and New York). In England in the 1870s and 1880s, W. S. Gilbert and Arthur Sullivan created a family-friendly alternative to French operetta, styled British comic opera. Although British and American musicals of the 1890s and the first few years of the 20th century had virtually swept operetta and comic opera from the stage, operettas returned to London and Broadway in 1907 with The Merry Widow, and operettas and musicals became direct competitors for a while.


Victor HerbertIn the early years of the 20th century, English-language adaptations of 19th century continental operettas, as well as operettas by a new generation of European composers, such as Franz Leh�r and Oscar Straus, among others, spread throughout the English-speaking world, and Victor Herbert, whose work included some intimate musical plays with modern settings as well as his string of famous operettas (The Fortune Teller (1898), Babes in Toyland (1903), Mlle. Modiste (1905), The Red Mill (1906) and Naughty Marietta (1910)). These operetta composers were joined by British and American composers and librettists of the 1910s, including P. G. Wodehouse, Guy Bolton and Harry B. Smith (the "Princess Theatre" shows). Following in the footsteps of Gilbert and Sullivan, they paved the way for Jerome Kern's later work by showing that a musical could combine light, popular entertainment with continuity between its story and songs.[26]

The winner of this competition between operetta and musicals was the theatre-going public, who needed escapist entertainment during the dark times of World War I and flocked to theatres for musical theatre hits like Maid of the Mountains, Irene (whose run of 670 performances was a Broadway record that held until 1938's Hellzapoppin) and especially Chu Chin Chow (whose run of 2,238 performances, more than twice as many as any previous musical, set a record that stood for nearly forty years until Salad Days) as well as popular revues like The Bing Boys Are Here. The legacy of the operetta composers served as an inspiration to the next generation of composers of operettas and musicals in the 1920s and 1930s, such as Rudolf Friml, Irving Berlin, Sigmund Romberg, George Gershwin, and Noel Coward, and these, in turn, influenced Rodgers, Sondheim, and many others later in the century.[12]

At the same time, the primacy of British musical theatre from the 19th century through World War I was gradually replaced by American innovation in the 20th century, as George M. Cohan filled the theatres with lively musical entertainments, the Tin Pan Alley composers began to produce international hits, new musical styles such as ragtime and jazz were created, and the Shubert Brothers began to take control of the Broadway theatres. Musical theatre writer Andrew Lamb notes, "The triumph of American works over European in the first decades of the twentieth century came about against a changing social background. The operatic and theatrical styles of nineteenth-century social structures were replaced by a musical style more aptly suited to twentieth-century society and its vernacular idiom. It was from America that the more direct style emerged, and in America that it was able to flourish in a developing society less hidebound by nineteenth-century tradition."[27]

[edit] The Roaring Twenties and the Great Depression
The motion picture mounted a challenge to the stage. At first, films were silent and presented only a limited challenge to theatre. But by the end of the 1920s, films like The Jazz Singer could be presented with synchronized sound, and critics wondered if the cinema would replace live theatre altogether. The musicals of the Roaring Twenties, borrowing from vaudeville, music hall and other light entertainments, tended to ignore plot in favor of emphasizing star actors and actresses, big dance routines, and popular songs. Throughout the first half of the twentieth century, popular music was dominated by theatre writers. Many shows were revues with little plot. For instance, Florenz Ziegfeld produced annual spectacular song-and-dance revues on Broadway featuring extravagant sets and elaborate costumes, but there was little to tie the various numbers together. In London, the Aldwych Farces were similarly successful, and stars such as Ivor Novello were popular. These spectacles also raised production values, and mounting a musical generally became more expensive.


Sheet music from Sally, 1920Typical of the decade were lighthearted productions like Sally; Lady Be Good; Sunny; No, No, Nanette; Oh, Kay!; and Funny Face. Their books may have been forgettable, but they produced enduring standards from George Gershwin, Cole Porter, Jerome Kern, Vincent Youmans, and Richard Rodgers and Lorenz Hart, among others, and stars like Marilyn Miller and Fred Astaire. Audiences tapped their toes to these musicals on both sides of the Atlantic ocean while continuing to patronize the popular operettas that were continuing to come out of continental Europe and also from composers like Noel Coward in London and Sigmund Romberg and Rudolf Friml in America. Clearly, cinema had not killed live theatre.

Leaving these comparatively frivolous entertainments behind, and taking the drama a giant step beyond Victor Herbert and sentimental operetta, Show Boat, which premiered on December 27, 1927 at the Ziegfeld Theatre in New York, represented a far more complete integration of book and score, with dramatic themes, as told through the music, dialogue, setting and movement, woven together more seamlessly than in previous musicals. Show Boat, with a book and lyrics adapted from Edna Ferber's novel by Oscar Hammerstein II and P. G. Wodehouse, and music by Jerome Kern, presented a new concept that was embraced by audiences immediately. "Here we come to a completely new genre � the musical play as distinguished from musical comedy. Now... the play was the thing, and everything else was subservient to that play. Now... came complete integration of song, humor and production numbers into a single and inextricable artistic entity."[28] Despite some of its startling themes�miscegenation among them�the original production ran a total of 572 (or 575, depending on the source) performances. Still, Broadway runs lagged behind London's in general. By way of comparison, in 1920, The Beggar's Opera began an astonishing run of 1,463 performances at the Lyric Theatre in Hammersmith, England.

[edit] 1930s

Ethel MermanThe Great Depression affected theatre audiences on both sides of the Atlantic, as people had little money to spend on entertainment. In addition, "talkie" films at low prices presented a strong challenge to theatre of all kinds. Only a few shows exceeded a run on Broadway or in London of 500 performances. Still, for those who could afford it, this was an exciting time in the development of musical theatre. Encouraged by the success of Show Boat, creative teams began following the "format" of that popular hit. Of Thee I Sing (1931), a political satire with music by George Gershwin and lyrics by Ira Gershwin and Morrie Ryskind, was the first musical to be awarded the Pulitzer Prize. The Band Wagon (1931), starred dancing partners Fred Astaire and his sister Adele. Porter's Anything Goes (1934) affirmed Ethel Merman's position as the First Lady of musical theatre � a title she maintained for many years. As Thousands Cheer (1933) was an Irving Berlin and Moss Hart success that marked Marilyn Miller's last show and the first Broadway show to star an African-American, Ethel Waters).[29]

Gershwin's Porgy and Bess (1935) was a step closer to opera than Show Boat and the other musicals of the era, and in some respects it foreshadowed such "operatic" musicals as West Side Story and Sweeney Todd. The Cradle Will Rock (1937), with a book and score by Marc Blitzstein and directed by Orson Welles, was a highly political piece that, despite the controversy surrounding it, managed to run for 108 performances. Kurt Weill's Knickerbocker Holiday brought to the musical stage New York City's early history, using as its source writings by Washington Irving, while good-naturedly satirizing the good intentions of President Franklin D. Roosevelt.


Rodgers and HartBritish writers such as Noel Coward and Ivor Novello continued to deliver old fashioned, sentimental musicals, such as The Dancing Years. Similarly, Rodgers & Hart returned from Hollywood to churn out a series of lighthearted Broadway hits, including On Your Toes (1936, with Ray Bolger, the first Broadway musical to make dramatic use of classical dance), Babes In Arms (1937), I'd Rather Be Right, a political satire with George M. Cohan as President Franklin D. Roosevelt, and The Boys From Syracuse (1938), and Cole Porter wrote a similar string of hits, including Anything Goes (1934) and DuBarry Was a Lady (1939). He later would go on to write scores for such classics as Can-Can (1953) and Silk Stockings (1955). But the longest running piece of musical theatre of the 1930s was Hellzapoppin (1938), a revue with audience participation, which played for 1,404 performances, setting a new Broadway record that was finally beaten by Oklahoma!

Despite the economic woes and the competition from film, the musical survived. In fact, the move towards political satire in Of Thee I Sing, I'd Rather Be Right and Knickerbocker Holiday, together with the musical sophistication of the Gershwin, Kern, Rodgers and Weill musicals and the fast-paced staging and naturalistic dialogue style created by director George Abbott showed that musical theatre was finally evolving beyond the gags and showgirls musicals of the Gay Nineties and Roaring Twenties and the sentimental romance of operetta.

[edit] The Golden Age (1940s to 1960s)

Rodgers and Hammerstein (left and right) and Irving Berlin (center)[edit] 1940s
The 1940s would begin with more hits from Porter, Irving Berlin, Rodgers and Hart, Weill and Gershwin, some with runs over 500 performances as the economy rebounded, but artistic change was in the air.

Rodgers and Hammerstein's Oklahoma! completed the revolution begun by Show Boat, by tightly integrating all the aspects of musical theatre, with a cohesive plot, songs that furthered the action of the story, and featured dream ballets and other dances that advanced the plot and developed the characters, rather than using dance as an excuse to parade scantily-clad women across the stage. Rodgers and Hammerstein hired ballet choreographer Agnes de Mille, who used everyday motions to help the characters express their ideas. It defied musical conventions by raising its first act curtain not on a bevy of chorus girls, but rather on a woman churning butter, with an off-stage voice singing the opening lines of Oh, What a Beautiful Mornin'. It was the first "blockbuster" Broadway show, running a total of 2,212 performances, and was made into a hit film. It remains one of the most frequently produced of the team's projects. William A. Everett and Paul R. Laird wrote that this was a "show, that, like Show Boat, became a milestone, so that later historians writing about important moments in twentieth-century theatre would begin to identify eras according to their relationship to Oklahoma!"[30]

"After Oklahoma!, Rodgers and Hammerstein were the most important contributors to the musical-play form... The examples they set in creating vital plays, often rich with social thought, provided the necessary encouragement for other gifted writers to create musical plays of their own".[28] The two collaborators created an extraordinary collection of some of musical theatre's best loved and most enduring classics, including Carousel (1945), South Pacific (1949), The King and I (1951), and The Sound of Music (1959). Some of these musicals treat more serious subject matter than most earlier shows: the villain in Oklahoma! is a suspected murderer and psychopath with a fondness for lewd post cards; Carousel deals with spousal abuse, thievery, suicide and the afterlife; South Pacific explores miscegenation even more thoroughly than Show Boat; and the hero of The King and I dies onstage.

Americana was displayed on Broadway during the "Golden Age", as the wartime cycle of shows began to arrive. An example of this is On the Town (1944), written by Betty Comden and Adolph Green, composed by Leonard Bernstein and choreographed by Jerome Robbins. The musical is set during wartime, where a group of three sailors are on a 24 hour shore leave in New York. During their day, they each meet a wonderful woman. The women in this show have a specific power to them, as if saying, "Come here! I need a man!" The show also gives the impression of a country with an uncertain future, as the sailors also have with their women before leaving.

Oklahoma! inspired others to continue the trend. Irving Berlin used sharpshooter Annie Oakley's career as a basis for his Annie Get Your Gun (1946, 1,147 performances); Burton Lane, E. Y. Harburg, and Fred Saidy combined political satire with Irish whimsy for their fantasy Finian's Rainbow (1947, 1,725 performances); and Cole Porter found inspiration in William Shakespeare's Taming of the Shrew for Kiss Me, Kate (1948, 1,077 performances). The American musicals overwhelmed the old-fashioned British Coward/Novello-style shows, one of the last big successes of which was Novello's Perchance to Dream (1945, 1,021 performances).

[edit] 1950s

Julie AndrewsDamon Runyon's eclectic characters were at the core of Frank Loesser's and Abe Burrows' Guys and Dolls, (1950, 1,200 performances); and the Gold Rush was the setting for Alan Jay Lerner and Frederick Loewe's Paint Your Wagon (1951). The relatively brief seven-month run of that show didn't discourage Lerner and Loewe from collaborating again, this time on My Fair Lady (1956), an adaptation of George Bernard Shaw's Pygmalion starring Rex Harrison and Julie Andrews, which at 2,717 performances held the long-run record for many years. Popular Hollywood movies were made of all of these musicals. The Boy Friend (1954) ran for 2,078 performances in London, briefly becoming the third-longest running musical in West End or Broadway history (after Chu Chin Chow and Oklahoma!), until it was demoted by Salad Days. It marked Julie Andrews' American debut. Another record was set by The Threepenny Opera, which ran for 2,707 performances, becoming the longest-running off-Broadway musical until The Fantasticks. The production also broke ground by showing that musicals could be profitable off-Broadway in a small-scale, small orchestra format. This was confirmed in 1959 when a revival of Jerome Kern and P. G. Wodehouse's Leave it to Jane ran for more than two years. The 1959�1960 Off-Broadway season included a dozen musicals and revues including Little Mary Sunshine, The Fantasticks and Ernest in Love, a musical adaptation of Oscar Wilde's 1895 hit The Importance of Being Earnest.[31]


Leonard Bernstein, 1971As in Oklahoma!, dance was an integral part of West Side Story (1957), which transported Romeo and Juliet to modern day New York City and converted the feuding Montague and Capulet families into opposing ethnic gangs, the Jets and the Sharks. The book was adapted by Arthur Laurents, with music by Leonard Bernstein and lyrics by newcomer Stephen Sondheim. It was embraced by the critics but failed to be a popular choice for the "blue-haired matinee ladies," who preferred the small town River City, Iowa of Meredith Willson's The Music Man to the alleys of Manhattan's Upper West Side. Apparently Tony Award voters were of a similar mind, since they favored the former over the latter. West Side Story had a respectable run of 732 performances (1,040 in the West End), while The Music Man ran nearly twice as long, with 1,375 performances. However, the film of West Side Story was extremely successful.

Laurents and Sondheim teamed up again for Gypsy (1959, 702 performances), with Jule Styne providing the music for a backstage story about the most driven stage mother of all-time, stripper Gypsy Rose Lee's mother Rose. The original production ran for 702 performances, and was given four subsequent revivals, with Angela Lansbury, Tyne Daly, Bernadette Peters and Patti LuPone later tackling the role made famous by Ethel Merman.

Automotive companies and other types of corporations began to hire Broadway talent to write corporate musicals, private shows which were only seen by their employees or customers. The 1950s ended with Rodgers and Hammerstein's last hit, The Sound of Music, which also became another hit for Mary Martin. It ran for 1,443 performances and shared the Tony Award for Best Musical. Together with its extremely successful 1965 film version, it has become one of the most popular musicals in history.

[edit] 1960s
In 1960, The Fantasticks was first produced off-Broadway. This intimate allegorical show would quietly run for over 40 years at the Sullivan Street Theatre in Greenwich Village, becoming by far the longest-running musical in history. Its authors produced other innovative works in the 1960s, such as Celebration and I Do! I Do!, the first two-character Broadway musical. The 1960s would see a number of blockbusters, like Fiddler on the Roof (1964; 3,242 performances), Hello, Dolly! (1964; 2,844 performances), Funny Girl (1964; 1,348 performances), and Man of La Mancha (1965; 2,328 performances), and some more risqu� pieces like Cabaret, before ending with the emergence of the rock musical. Two men had considerable impact on musical theatre history beginning in this decade, Stephen Sondheim and Jerry Herman.


Bernadette Peters (shown in 2008) has starred in several Sondheim showsThe first project for which Sondheim wrote both music and lyrics was A Funny Thing Happened on the Way to the Forum (1962, 964 performances), with a book based on the works of Plautus by Burt Shevelove and Larry Gelbart, and starring Zero Mostel. Sondheim moved the musical beyond its concentration on the romantic plots typical of earlier eras; his work tended to be darker, exploring the grittier sides of life both present and past. Some of his earlier works include Anyone Can Whistle (1964, which�at a mere nine performances, despite having star power in Lee Remick and Angela Lansbury�is an infamous flop), Company (1970), Follies (1971), and A Little Night Music (1973). He has found inspiration in the unlikeliest of sources�the opening of Japan to Western trade for Pacific Overtures, a legendary murderous barber seeking revenge in the Industrial Age of London for Sweeney Todd, the paintings of Georges Seurat for Sunday in the Park with George, fairy tales for Into the Woods, and a collection of individuals intent on eliminating the President of the United States in Assassins.

While some critics have argued that some of Sondheim�s musicals are less popular with the public because of their unusual lyrical sophistication and musical complexity, others have praised these features of his work, as well as the interplay of lyrics and music in his shows. Some of Sondheim's notable innovations include a show presented in reverse (Merrily We Roll Along) and the above-mentioned Anyone Can Whistle, in which Act 1 ends with the cast informing the audience that they are mad.

Jerry Herman played a significant role in American musical theatre, beginning with his first Broadway production, Milk and Honey (1961, 563 performances), about the founding of the state of Israel, and continuing with the smash hits Hello, Dolly! (1964, 2,844 performances), Mame (1966, 1,508 performances), and La Cage aux Folles (1983, 1,761 performances). Even his less successful shows like Dear World (1969) and Mack & Mabel (1974) have had memorable scores (Mack & Mabel was later reworked into a London hit). Writing both words and music, many of Herman's show tunes have become popular standards, including "Hello, Dolly!", "We Need a Little Christmas", "I Am What I Am", "Mame", "The Best of Times", "Before the Parade Passes By", "Put On Your Sunday Clothes", "It Only Takes a Moment", "Bosom Buddies", and "I Won't Send Roses", recorded by such artists as Louis Armstrong, Eydie Gorme, Barbra Streisand, Petula Clark and Bernadette Peters. Herman's songbook has been the subject of two popular musical revues, Jerry's Girls (Broadway, 1985), and Showtune (off-Broadway, 2003).

"Aquarius"

A chorus from the Original Broadway Cast

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The musical started to diverge from the relatively narrow confines of the 1950s. Rock music would be used in several Broadway musicals, beginning with Hair, which featured not only rock music but also nudity and controversial opinions about the Vietnam War, race relations and other social issues.

[edit] Social themes
After Show Boat and Porgy and Bess, and as the struggle in America and elsewhere for minorities' civil rights progressed, Hammerstein, Harold Arlen, Yip Harburg and others were emboldened to write more musicals and operas which aimed to normalize societal toleration of minorities and urged racial harmony. Early Golden Age works that focused on racial tolerance included Finian's Rainbow, South Pacific, and The King and I. Towards the end of the Golden Age, several shows tackled Jewish subjects and issues, such as Fiddler on the Roof, Milk and Honey, Blitz! and later Rags. The original concept that became West Side Story was set in the Lower East Side during Easter-Passover celebrations; the rival gangs were to be Jewish and Italian Catholic. The creative team later decided that the Polish (white) vs. Puerto Rican conflict was fresher.[32]

Tolerance as an important theme in musicals has continued in recent decades. The final expression of West Side Story left a message of racial tolerance. By the end of the '60s, musicals became racially integrated, with black and white cast members even covering each others' roles, as they did in Hair.[33] Casting in some musicals is an attempt to represent the community at the subject of the drama, as in Rent and In the Heights. Homosexuality has been explored in such musicals, beginning with Hair, and even more overtly in La Cage aux Folles and Falsettos. Parade is a sensitive exploration of both anti-Semitism and historical American racism.

[edit] More recent periods
[edit] 1970s
After the success of Hair, rock musicals flourished in the 1970s, with Jesus Christ Superstar, Godspell, The Rocky Horror Show and Two Gentlemen of Verona. Some of these rock musicals began with "concept albums" and then moved to film or stage, such as Tommy. Others had no dialogue or were otherwise reminiscent of opera, with dramatic, emotional themes; these sometimes started as concept albums and were referred to as rock operas. The musical also went in other directions. Shows like Raisin, Dreamgirls, Purlie, and The Wiz brought a significant African-American influence to Broadway. More varied musical genres and styles were incorporated into musicals both on and especially off-Broadway.

1975 brought one of the great contemporary musicals to the stage. A Chorus Line emerged from recorded group therapy-style sessions Michael Bennett conducted with Gypsies � those who sing and dance in support of the leading players �from the Broadway community. From hundreds of hours of tapes, James Kirkwood, Jr. and Nick Dante fashioned a book about an audition for a musical, incorporating into it many of the real-life stories of those who had sat in on the sessions � and some of whom eventually played variations of themselves or each other in the show. With music by Marvin Hamlisch and lyrics by Edward Kleban, A Chorus Line first opened at Joseph Papp's Public Theater in lower Manhattan. Advance word-of-mouth� that something extraordinary was about to explode � boosted box office sales, and after critics ran out of superlatives to describe what they witnessed on opening night, what initially had been planned as a limited engagement eventually moved to the Shubert Theatre uptown for a run that seemed to last forever. The show swept the Tony Awards and won the Pulitzer Prize, and its hit song, What I Did for Love, became an instant standard.

Clearly, Broadway audiences were eager to welcome musicals that strayed from the usual style and substance. John Kander and Fred Ebb explored the rise of Nazism in Germany in Cabaret and Prohibition-era Chicago, which relied on old vaudeville techniques to tell its tale of murder and the media. Pippin, by Stephen Schwartz, was set in the days of Charlemagne. Federico Fellini's autobiographical film 8� became Maury Yeston's Nine. At the end of the decade, Evita gave a more serious political biography than audiences were used to at musicals, and Sweeney Todd was the precursor to the darker, big budget musicals of the 1980s like Les Mis�rables, Miss Saigon, and The Phantom of the Opera, that depended on dramatic stories, sweeping scores and spectacular effects. But during this same period, old-fashioned values were still embraced in such hits as Annie, 42nd Street, My One and Only, and popular revivals of No, No, Nanette and Irene.

[edit] 1980s and 1990s
The 1980s and 1990s saw the influence of European "mega-musicals" or "pop operas," which typically featured a pop-influenced score and had large casts and sets and were identified as much by their notable effects�a falling chandelier (in Phantom), a helicopter landing on stage (in Miss Saigon)�as they were by anything else in the production. Many were based on novels or other works of literature. The most important writers of mega-musicals include the French team of Claude-Michel Sch�nberg and Alain Boublil, responsible for Les Mis�rables, which became the longest-running international musical hit in history. The team, in collaboration with Richard Maltby, Jr., continued to produce hits, including Miss Saigon (inspired by the Puccini opera Madame Butterfly).


Elaine PaigeThe British composer Andrew Lloyd Webber, saw similar mega-success with Evita, based on the life of Argentina's Eva Per�n, and Cats, derived from the poems of T. S. Eliot, both of which musicals originally starred Elaine Paige, who with continued success has become known as the First Lady of British Musical Theatre. Other Lloyd Webber musical successes include Starlight Express, famous for being performed on roller skates; The Phantom of the Opera, derived from the novel "Le Fant�me de l'Op�ra" written by Gaston Leroux; and Sunset Boulevard (from the classic film of the same name). Several of these mega-musicals ran (or are still running) for decades in both New York and London. The 90s also saw the influence of large corporations on the production of musicals. The most important has been The Walt Disney Company, which began adapting some of its animated movie musicals�such as Beauty and the Beast and The Lion King�for the stage, and also created original stage productions like Aida, with music by Elton John. Disney continues to create new musicals for Broadway and West End theatres, such as, Tarzan, a stage adaptation of the classic Mary Poppins, and, most recently, a stage version of 1989's The Little Mermaid.

With the growing scale (and cost) of musicals, style was sometimes emphasized in favor of substance during the last two decades of the 20th century. At the same time, however, many writers broke from this pattern and began to create smaller scale, but critically-acclaimed and financially successful musicals, such as Falsettoland, Passion, Little Shop of Horrors, Bat Boy: The Musical, and Blood Brothers. The topics vary widely, and the music ranges from rock to pop, but they often are produced off-Broadway (or for smaller London theatres) and feature smaller casts and generally less expensive productions. Some of these have been noted as imaginative and innovative.[34]

The cost of tickets to Broadway and West End musicals was escalating beyond the budget of many theatregoers, and the trend was for these musicals to be viewed by a smaller and smaller audience. Jonathan Larson's musical Rent (based on the opera La Boh�me) was marketed to increase the popularity of musicals among a younger audience. It featured a young cast, and the score is heavily rock-influenced. The musical became a hit. Its young fans, many of them students, calling themselves RENTheads, lined up at the Nederlander Theatre hours early in hopes of winning the lottery for $20 front row tickets, and some have seen the show more than 50 times. Other writers who have attempted to bring a taste of modern rock music to the stage include Jason Robert Brown. Also, a majority of shows on Broadway have now followed Rent's lead by offering heavily discounted day-of-performance or standing-room tickets, although often the discounts are offered only to students.[35]

[edit] 2000s
Recent trends
In recent years, familiarity has been embraced by producers and investors anxious to guarantee that they recoup their considerable investments, if not show a healthy profit. Some took (usually modest-budget) chances on the new and unusual, such as Urinetown (2001), Avenue Q (2003), The 25th Annual Putnam County Spelling Bee (2005), Spring Awakening (2006), In the Heights (2007) and Next to Normal (2009). But most took a safe route with revivals of familiar fare, such as Fiddler on the Roof, A Chorus Line, South Pacific, Gypsy, Hair, West Side Story and Grease, or with other proven material, such as films (The Producers, Spamalot, Hairspray, Legally Blonde, Billy Elliot, The Color Purple, Young Frankenstein, Shrek, 9 to 5) or literature (Little Women, The Scarlet Pimpernel, Dracula and Wicked) hoping that the shows will have a built-in audience as a result. The reuse of plots, especially those from The Walt Disney Company (such as Mary Poppins in 2004 and The Little Mermaid in 2008), has been considered by some critics to be a redefinition of Broadway as, rather than a creative outlet, a tourist attraction.[12]

It is less likely today that a sole producer, such as David Merrick or Cameron Mackintosh, backs a production. Corporate sponsors dominate Broadway, and often alliances are formed to stage musicals which require an investment of $10 million or more. In 2002, the credits for Thoroughly Modern Millie listed ten producers, and among those names were entities composed of several individuals.[36] Typically, off-Broadway and regional theatres tend to produce smaller and therefore less expensive musicals, and development of new musicals has increasingly taken place outside of New York and London or in smaller venues. For example, Spring Awakening and Grey Gardens were developed off-Broadway before being launched on Broadway.

Several musicals returned to the spectacle format that was successful in the 1980s in such shows as Phantom of the Opera and Starlight Express, recalling extravaganzas that have been presented at times, throughout theatre history, since the ancient Romans staged mock sea battles. Examples are seen in the musical adaptations of Gone With the Wind (2008) and The Lord of the Rings in London (2007), billed as the biggest stage production in musical theatre history. The expensive productions lost money. Conversely, The Drowsy Chaperone, The 25th Annual Putnam County Spelling Bee, Xanadu and others are part of a Broadway trend to present musicals uninterrupted by an intermission, with short running time of less than two hours. The latter two, together with works like Avenue Q, also represent a trend towards presenting smaller-scale, smaller-cast musicals that are able to show a good profit in a smaller house.

Jukebox musicals
Another trend has been to create a minimal plot to fit a collection of songs that have already been hits. Following the earlier success of Buddy - The Buddy Holly Story, these have included Movin' Out (2002, based on the tunes of Billy Joel), Good Vibrations (the Beach Boys), All Shook Up (Elvis Presley), Jersey Boys (2006, The Four Seasons), The Times They Are A-Changin' (2006, Bob Dylan), and many others. This style is often referred to as the "jukebox musical." Similar but more plot-driven musicals have been built around the canon of a particular pop group including Mamma Mia! (1999, featuring songs by ABBA), Our House (2002, based on the songs of Madness) and We Will Rock You (2002, based on the works of Queen).

Renaissance of the movie-musical and TV "musicals"
After the 1996 film of Evita, the first successful movie musical in nearly two decades, Baz Luhrmann continued the revival of the movie musical with Moulin Rouge! (2001). This was followed by a number of film successes, including Chicago in 2002, Phantom of the Opera in 2004, Dreamgirls in 2006, Hairspray and Sweeney Todd in 2007, and Mamma Mia! in 2008. Dr. Seuss's How the Grinch Stole Christmas! (2000) and The Cat in the Hat (2003), made the children's book into live-action movie musicals, and Disney and other animated musicals and more adult animated musical films, like South Park: Bigger, Longer & Uncut (1999), paved the way for the revival of the movie musical. In addition, India is producing numerous "Bollywood" film musicals, and Japan is producing "Anime" film musicals.

"Made for TV" movies, in musical format, were popular in the 1990s (for example, Gypsy (1993) and Cinderella (1997)). Several made-for-TV musical movies in the 2000s were actually adaptations of the stage version, such as South Pacific in 2001, The Music Man in 2003 and Once Upon A Mattress in 2005, and a televised version of the stage musical Legally Blonde in 2007. Additionally, several musicals were filmed on stage and broadcast on Public Television, for example Contact in 2002 and Kiss Me Kate and Oklahoma! in 2003. The made-for-TV musical High School Musical, and its several sequels, enjoyed particular success and were adapted for stage musicals and other media.

Some recent television shows have set episodes as a musical. Examples include episodes of Ally McBeal, Xena, Buffy the Vampire Slayer's episode Once More, with Feeling, That's So Raven, Daria's episode Daria!, Oz's Variety, Scrubs (one episode was written by the creators of Avenue Q), Batman: The Brave and the Bold episode "Mayhem of the Music Meister", and the 100th episode of That '70s Show. Others have included scenes where characters suddenly begin singing and dancing in a musical-theatre style during an episode, such as in several episodes of The Simpsons, 30 Rock, Hannah Montana, South Park and Family Guy. The television series Cop Rock extensively used the musical format, as do the series Flight of the Conchords, Glee, and The Mighty Boosh.

There have also been musicals made for the internet, including Dr. Horrible's Sing-Along Blog, about a low-rent super-villain played by Neil Patrick Harris. It was written during the WGA writer's strike.[37] Several reality TV shows have been used to help market musical revivals by holding a competition to cast leads. Examples of these are How Do You Solve a Problem Like Maria?, Grease: You're the One that I Want!, Any Dream Will Do and Legally Blonde - The Musical: The Search for Elle Woods.

[edit] International musicals
The U.S. and Britain were the most active sources of book musicals from the 19th century through much of the 20th century (although Europe produced various forms of popular light opera and operetta, for example Spanish Zarzuela, during that period and even earlier). However, the light musical stage in other countries has become more active in recent decades.

Musicals from other English-speaking countries (notably Australia and Canada) often do well locally, and occasionally even reach Broadway or the West End (e.g., The Boy from Oz and The Drowsy Chaperone). South Africa has an active musical theatre scene, with revues like African Footprint and Umoja and book musicals, such as Kat and the Kings and Sarafina! touring internationally. Locally, musicals like Vere, Love and Green Onions, Over the Rainbow: the all-new all-gay... extravaganza and Bangbroek Mountain and In Briefs - a queer little Musical have been produced successfully.

Successful musicals from continental Europe include shows from (among other countries) Germany (Elixier and Ludwig II), Austria (Tanz der Vampire, Elisabeth, Mozart! and Rebecca), Czech Republic (Angelika), France (Notre Dame de Paris, Les Mis�rables, Ang�lique, Marquise des Anges and Romeo & Juliette) and Spain (Hoy No Me Puedo Levantar).

Japan has recently seen the growth of an indigenous form of musical theatre, both animated and live action, mostly based on Anime and Manga, such as Kiki's Delivery Service and Tenimyu. The popular Sailor Moon metaseries has had twenty-nine Sailor Moon musicals, spanning thirteen years. Beginning in 1914, a series of popular revues have been performed by the all-female Takarazuka Revue, which currently fields five performing troupes. Elsewhere in Asia, the Indian Bollywood musical, mostly in the form of motion pictures, is tremendously successful. Hong Kong's first modern musical, produced in both Mandarin and Cantonese, is Snow.Wolf.Lake.

Other countries with an especially active musicals scene include the Netherlands, Italy, Sweden, Mexico, Brazil, Argentina, Russia, Turkey and China.[citation needed]

[edit] Relevance
The Broadway League announced that in the 2007�08 season, 12.27 million tickets were purchased for Broadway shows for a gross sale amount of almost a billion dollars.[38] The League further reported that during the 2006-07 season, approximately 65% of Broadway tickets were purchased by tourists, and that foreign tourists were 16% of attendees.[39] (These figures do not include off-Broadway and smaller venues.) The Society of London Theatre reported that 2007 set a record for attendance in London. Total attendees in the major commercial and grant-aided theatres in Central London were 13.6 million, and total ticket revenues were �469.7 million.[40] Also, as noted above, the international musicals scene has been particularly active in recent years. However, Stephen Sondheim has been pessimistic:

You have two kinds of shows on Broadway � revivals and the same kind of musicals over and over again, all spectacles. You get your tickets for The Lion King a year in advance, and essentially a family... pass on to their children the idea that that's what the theater is � a spectacular musical you see once a year, a stage version of a movie. It has nothing to do with theater at all. It has to do with seeing what is familiar.... I don't think the theatre will die per se, but it's never going to be what it was.... It's a tourist attraction."[41]

The success of original material like Avenue Q, Urinetown, and Spelling Bee, as well as creative re-imaginings of film properties, including Thoroughly Modern Millie, Hairspray, Billy Elliot and The Color Purple, and plays-turned-musicals, such as Spring Awakening, prompts Broadway historian John Kenrick to write: "Is the Musical dead? ...Absolutely not! Changing? Always! The musical has been changing ever since Offenbach did his first rewrite in the 1850s. And change is the clearest sign that the musical is still a living, growing genre. Will we ever return to the so-called 'golden age,' with musicals at the center of popular culture? Probably not. Public taste has undergone fundamental changes, and the commercial arts can only flow where the paying public allows."[12]

[edit] See also
Musical Theatre portal

Yakshagana, a form of musical drama from India that involves dance, songs and dialogueRelated forms
Cast recording
Chinese Opera
Classical Indian dance
Show tunes
Industrial musical
Yakshagana (Indian art form)
General
List of musicals
List of musicals by composer
List of musical theatre composers
List of the longest-running Broadway shows
Long-running musical theatre productions
List of Tony Award and Olivier Award winning musicals
List of choreographers
AFI's 100 Years of Musicals
Orchestral enhancement
[edit] Notes
^ Morley 1987, p.15.
^ Everett 2002, p. 137
^ "Porgy and Bess: That old black magic", The Independent, October 27, 2006, accessed November 1, 2009
^ Lister, David. "The Royal Opera opens a window on Sondheim", The Independent, April 5, 2003, accessed November 1, 2009
^ Teachout, Terry. "Sweeney Todd", National Endowment for the Arts website, accessed November 1,
Amen let that be an end to the undeserved attention to this thread.
Originally Posted by WhiskeyMan
I took the buck in my avatar there in 1996. OTC tag......BLM land. Unit 96....Green Mtn. Found him in 1995, but couldn't whack him that year. I WROTE AN ARTICLE FOR THE ADA MAG ON THIS BUCK.



Okay... try this.... Post your pics at whatever site your avatar is hosted, DUMBASS!!!

[bleep]' trolls these days... You'd think it was ARFCOM
looks like he uploaded the avatar to the site here.

Photobucket IS free.

Unless you exceed your bandwidth (which I am always close to doing)

photobucket pro will cost ya around 25 a month but a regular account is free.

Originally Posted by WhiskeyMan
WOW.....my first post has 1000+ hits. Some of ya are bored.......while some are world-record paranoid, hehe. I'm original.....not some disgruntled booted punk. But I caution you now....I do hit hard.

My present comments are:

1) Les=Wuss. This thread ain't about you pal.......its ALLLLLLL about me. Stop it.
2) Please don't insult me by trying to hurt my feelers.
3) Someone.....please send me your email and I'll send ya a pic or two to post. I still ain't interested in paying Photobucket $25 just to show ya'll how its done.
4) I expect a 100% full apology from those who questioned my first post.


This has JO written all over it. If even he's not dumb enough to think photobucket charges you. Unless pictures of yourself are taking up all the free space on there....I'd say you done caught the gay.
Originally Posted by WhiskeyMan
I said........send me yer email and I'll send you a pic to post of my 2003 UT bull that scores 332 and was taken with my .338 RUM Rem M700 LSS at 362 yards pushing a 250 gr Nosler Partition Gold moly-free. Got a bigger one the next year IN THE SAME PLACE.

Do it.


Details on the Utah bulls

This has JO written all over it. If even he's not dumb enough to think photobucket charges you. Unless pictures of yourself are taking up all the free space on there....I'd say you done caught the gay. [/quote]



It sure seems that way to me also. It's gotta be JO.
It's not me. Promise.

He sounds a little like Big Stick on a lucid day... or maybe some new, hitherto unknown mega-troll. smile

But it ain't me.

Dan is onto something.. someone right-click his avatar, see where it's hosted. I'm on my iPhone right now.... get Teal to do it; he got into my Photobucket acct the other day via my avatar.
he's uploaded it right to the site here. that's a dead end, i already tried.

well, its not me grin

Someones gotta have some super ninja detectin skillz they can use here!
Go away Bragard Troll.

I would rather eat my own Sh_t than listen to blowhards like you.
Originally Posted by northern_dave
he's uploaded it right to the site here. that's a dead end, i already tried.



Huh.. I see that now. Didn't even know you could do that.

Well.... I don't know. Just what we need around here, another pot-stirring troll.
Originally Posted by WhiskeyMan
WOW.....my first post has 1000+ hits. Some of ya are bored.......while some are world-record paranoid, hehe. I'm original.....not some disgruntled booted punk. But I caution you now....I do hit hard.

My present comments are:

1) Les=Wuss. This thread ain't about you pal.......its ALLLLLLL about me. Stop it.
2) Please don't insult me by trying to hurt my feelers.
3) Someone.....please send me your email and I'll send ya a pic or two to post. I still ain't interested in paying Photobucket $25 just to show ya'll how its done.
4) I expect a 100% full apology from those who questioned my first post.


WTF Over, don't drag me into yer stuff, GFY! Photobucket's free unless yer a moron!
actually he's right.

for those of you that have been failing to make your photobucket payments, you can make it right by sending you backdated payments to me, I'll take care of it for you all grin

check or money order Dave?

I don't want you shuttin me down, I have pics linked to a gunbroker listing, can't jeopardize that!

laugh laugh

Mr. whiskey here seems awfully swollen up on himself. he wouldn't know a 350 class elk if it came up and bit him
Elk bite?

No wonder ya'll use a big gun fer 'em.
WhiskeyMan, my dog can beat your dog at checkers.
175rltw, that's the first successful attempt at internet filibustering I've ever witnessed. Nice work. I'll holler at you when we need you to argue with "E" over on the optics threads.
your signature line is interesting

Originally Posted by WhiskeyMan

________________________
WhiskeyMan

Confucious say.....he who angers you.....controls you.


How about a Big Mule Deer story?

I know you've got it in ya.

Sycamore

Well well I reckon I recall ole' WhiskeyMan getting the schittcan from at least one website here in AZ for being a trolling sack.


Well, I guess if it was quite a few years ago like he said, it was a different A I was thinking of. It was more like someone from MM I have a feeling I remembered.

Sorry WhiskeyMan, you weren't the right A H, try harder though, I may remember you next time.

Kent
Originally Posted by JGRaider
175rltw, that's the first successful attempt at internet filibustering I've ever witnessed. Nice work. I'll holler at you when we need you to argue with "E" over on the optics threads.


I was worried I was gonna have to do it again in a minute...
Originally Posted by krp
Well, I guess if it was quite a few years ago like he said, it was a different A I was thinking of. It was more like someone from MM I have a feeling I remembered.

Sorry WhiskeyMan, you weren't the right A H, try harder though, I may remember you next time.

Kent


Their is a whiskybent on MM, but havent seen much trolling out of him. As far as hunting goes..guys on that site know the who's who, and who's BSing.
Anyone remember the name "Moosey" from years ago?
Originally Posted by THOMASMAGNUM
Well well I reckon I recall ole' WhiskeyMan getting the schittcan from at least one website here in AZ for being a trolling sack.




Trolls don't deliver deep, useful, productive, interesting info about taking big animals. I can, and you can't. I've shut many of you AZ hypocrits up with this over the years....and you know it.

I see a few folks here actually have hair on their a$$ and know how to have fun. Arizona boys are complete wusses who get "offended" and then petition the mods to get rid of the "offender" cuz he is a better hunter and their fragile egos can't stand that. I don't know what it is to be "offended" (just what exactly does that mean???), but then I'm not a touchy-feely, emotional Arizona native liberal thin-skinned, cry baby person. Real men don't get offended, they get pissed off, fight back, and roll with the punches. Real men don't say "Amanda, he hurt my feelings....waaaaaaaaaaa."

Give me a little time to get some pics and stories posted. For all the blowhards here, I thought at least one would nut up and PM me with his email and post a few of my pics.
Quote
I thought at least one would nut up and PM me with his email and post a few of my pics.


I thought by now you would have figured out that PhotoBucket is free and done it on your own.
Originally Posted by WhiskeyMan
Crossfire=Wuss and a BIG reason this forum has gone to sheet.


Wow,.........WTF Septic pumping company dropped you off ?

GTC
Originally Posted by WhiskeyMan
Originally Posted by THOMASMAGNUM
Well well I reckon I recall ole' WhiskeyMan getting the schittcan from at least one website here in AZ for being a trolling sack.




Trolls don't deliver deep, useful, productive, interesting info about taking big animals. I can, and you can't. I've shut many of you AZ hypocrits up with this over the years....and you know it.

I see a few folks here actually have hair on their a$$ and know how to have fun. Arizona boys are complete wusses who get "offended" and then petition the mods to get rid of the "offender" cuz he is a better hunter and their fragile egos can't stand that. I don't know what it is to be "offended" (just what exactly does that mean???), but then I'm not a touchy-feely, emotional Arizona native liberal thin-skinned, cry baby person. Real men don't get offended, they get pissed off, fight back, and roll with the punches. Real men don't say "Amanda, he hurt my feelings....waaaaaaaaaaa."

Give me a little time to get some pics and stories posted. For all the blowhards here, I thought at least one would nut up and PM me with his email and post a few of my pics.


My mistake, I thought you were a troll.....you really are a just blowhard douche bag ...........you are about as useful as a hemorrhoid.
Originally Posted by crossfireoops
Originally Posted by WhiskeyMan
Crossfire=Wuss and a BIG reason this forum has gone to sheet.


Wow,.........WTF Septic pumping company dropped you off ?

GTC


Alright Crossfire, I maybe overdid it with ya just a bit.

However, if you're from anywhere in AZ......then to me.....it's a case of guilt by association. Sorry, that's just the way I operate these days.

Take care, and look at Utah or Western Wyoming.
Ahh, Muley Boy, I remember now, new name? Thought you said it was years ago, that was recent.

I enjoy a good back and forth, but starting out with BS and misrepresentation, there's no joy to be had there.

Don't you live in Az now, I think you may or did recent, maybe Az banned you also, deleated your account?

School me on elk and Coues, I need lessons bad, really!

Kent

Originally Posted by krp
Ahh, Muley Boy, I remember now, new name? Thought you said it was years ago, that was recent.

I enjoy a good back and forth, but starting out with BS and misrepresentation, there's no joy to be had there.

Don't you live in Az now, I think you may or did recent, maybe Az banned you also, deleated your account?

School me on elk and Coues, I need lessons bad, really!

Kent



BS? That's debatable. Misrepresentation? Not. I hereby call BS on that comment. I have done just exactly every last bit of what I claim.

At any rate, thanks for remembering me and my life history and making my time spent on forums worthwhile. Your not the first to admit that I'm memorable.

Have another beer tonite, Kent. Or maybe share some Wild Turkey shooters with the previous poster.
BS is living in Az and acting like you don't.

BS is your photoshop tirade.

BS is anything about your animal claims, once a BSer, it sticks on you like stink.

Oh, we're experienced with BS here.

I didn't really remember anything much except for Muley Man, opps Boy, the rest was a guess and you confirmed.

Kent
Originally Posted by krp
BS is living in Az and acting like you don't.

BS is your photoshop tirade.

BS is anything about your animal claims, once a BSer, it sticks on you like stink.

Oh, we're experienced with BS here.

I didn't really remember anything much except for Muley Man, opps Boy, the rest was a guess and you confirmed.

Kent



Never claimed I didn't live in chickensheet AZ. The economy drove me here for employment. I'm not married to it tho......or the disappointing people here.

Never photoshopped anything.

My animule claims are ALL legit and you have a case of little weiner syndrome.

I'm memorable and produce posts with a high number of hits. Deal with it.

Take care, Kent.

Guilt by association, look into Utah or Western WY, AZ dickweed.

Yep photobucket, my fat finger mistake.

BSers and liars never get it, your word's no good even if you tell the truth.

Admitting you know the size of my wiener means you must have caught the gay and you also promised not to tell.

The number of views aren't about you.

Kent



One thing I've learned in life is that telling lies doesn't push peoples buttons nearly as much as stating the cold, hard truth.
you ever hiked 50 miles in a hurricane during a blizzard while growing your own walnut trees to make snowshoes. then invent gps so you could find your way back to your f16 that you consulted on or shoot a capebuff with iron sights at 1000 yrds
Originally Posted by WhiskeyMan
One thing I've learned in life is that telling lies doesn't push peoples buttons nearly as much as stating the cold, hard truth.


[Linked Image]
Well, isn't that special
That's why your buttons are pushed about your Utah elk, Az's are bigger. Hell I find bigger ones than you claimed to have killed during a rifle rut hunt, just laying on the ground.

[Linked Image]

Kent

New guyz with weecrank posts are getting old.

Go find a tree with a knot hole and "impress" it Whisker Dick.
Anybody ever tell you guys not to drink and post on the same night? Sheeesh.
Originally Posted by WhiskeyMan
Anybody ever tell you guys not to drink and post on the same night? Sheeesh.


Here,...here,...lemme tell ya,...back up outta here,..take a new handle, then start up all over again.

You done fugged up your first attempt *big* time.
,...and next time,..don't be talkin' alla that, "I shot a big ass elk and you ain't", stuff.

,..ain't nobody here givva damn.
Originally Posted by WhiskeyMan
Anybody ever tell you guys not to drink and post on the same night? Sheeesh.


Never heard that one.....
If ya gonna be a pekkerhead, ya gotta do it like Steelhead does.

He posts pics of a killer whale he plugged, then goads everybody by sayin', "I shot a killer whale and alla you old fuggers is gonna be dead soon!,...so THERE"

It'd suck for most people,..but for some reason, it works for Steelhead.
Originally Posted by Bristoe
,...and next time,..don't be talkin' alla that, "I shot a big ass elk and you ain't", stuff.

,..ain't nobody here givva damn.


1800 posts and the burning flame next to it. Hmmmmmmm. That = hot thread. Evidently, its what people here wanna read.

Please find my UT & CO bulls thread and post your whoppers there. I'm eagerly waiting. Really.....I won't cry hijack. See if you can get krp to do the same.

Also, enjoy yer hangover tomorrow.
I've read the first and last page of this thread.

This lesbian is a waste of time.

Last post for me on any of her threads.
How's your other thread doing. Of course you want me to go over and post on it ... naw ... let it die.

Anyway, you've already run out of material ... kinda lightweight.

Kent
Originally Posted by WhiskeyMan
Please find my UT & CO bulls thread


I done told ya,...ain't nobody givva damn about your threads.

They're boring as a rainy day in March.

I'm tryin' ya work with ya here guy,...

Your lame ass could shoot a bigfoot,..and you couldn't relate the matter in a way that people would find interesting.

People here want to be entertained.

Write a post about how you shot an ingrown toenail off with a 6mm PPC.

When you can get 27 pages out of that, you're ready to start talkin' chit to me.

Until then, you're just static.
Originally Posted by SU35
I've read the first and last page of this thread.

This lesbian is a waste of time.

Last post for me on any of her threads.


No you haven't. That's the whole point. You kept track all along and finally found enough gumption to post and insult. Same as these other dudes. And you'll keep looking.

Why don't you all switch to my bulls thread and let's talk about units, bugling, big bulls we've seem elk rifles, and other elk stuff???
Bugling big bulls!

(bugling?)

Does that mean one was porkin' the other when ya plugged em with your .338 LMNOP?
Originally Posted by WhiskeyMan
Originally Posted by Bristoe
,...and next time,..don't be talkin' alla that, "I shot a big ass elk and you ain't", stuff.

,..ain't nobody here givva damn.


1800 posts and the burning flame next to it. Hmmmmmmm. That = hot thread. Evidently, its what people here wanna read.

Please find my UT & CO bulls thread and post your whoppers there. I'm eagerly waiting. Really.....I won't cry hijack. See if you can get krp to do the same.

Also, enjoy yer hangover tomorrow.


Search your own words and you might find what some may find in the 19000 posts....

Those posts have very little of "my", "I" and "me", for a hint.
Originally Posted by HawkI
Originally Posted by WhiskeyMan
Originally Posted by Bristoe
,...and next time,..don't be talkin' alla that, "I shot a big ass elk and you ain't", stuff.

,..ain't nobody here givva damn.


1800 posts and the burning flame next to it. Hmmmmmmm. That = hot thread. Evidently, its what people here wanna read.

Please find my UT & CO bulls thread and post your whoppers there. I'm eagerly waiting. Really.....I won't cry hijack. See if you can get krp to do the same.

Also, enjoy yer hangover tomorrow.


Search your own words and you might find what some may find in the 19000 posts....

Those posts have very little of "my", "I" and "me", for a hint.


I only use those words to get under yer hide, Einstein. Why can't you see that and have some fun? Really!
Originally Posted by Bristoe
Originally Posted by WhiskeyMan
Please find my UT & CO bulls thread


I done told ya,...ain't nobody givva damn about your threads.

They're boring as a rainy day in March.

I'm tryin' ya work with ya here guy,...

Your lame ass could shoot a bigfoot,..and you couldn't relate the matter in a way that people would find interesting.

People here want to be entertained.

Write a post about how you shot an ingrown toenail off with a 6mm PPC.

When you can get 27 pages out of that, you're ready to start talkin' chit to me.

Until then, you're just static.


Now THAT is funny. May I try to shoot YOUR ingrown toenail off with my 338 RUM?
Originally Posted by WhiskeyMan
Originally Posted by Bristoe
Originally Posted by WhiskeyMan
Please find my UT & CO bulls thread


I done told ya,...ain't nobody givva damn about your threads.

They're boring as a rainy day in March.

I'm tryin' ya work with ya here guy,...

Your lame ass could shoot a bigfoot,..and you couldn't relate the matter in a way that people would find interesting.

People here want to be entertained.

Write a post about how you shot an ingrown toenail off with a 6mm PPC.

When you can get 27 pages out of that, you're ready to start talkin' chit to me.

Until then, you're just static.


Now THAT is funny. May I try to shoot YOUR ingrown toenail off with my 338 RUM?


I prefer Bacardi, if it's all the same to you.
Why don't you go someplace else. Didn't you see the sign at the azzhole parking area ?


LOT FULL
Yeah,

I guess all of the pronouns threw me off.....

Do they have to be BULL elk, or just elk?
Originally Posted by Bristoe
Originally Posted by WhiskeyMan
Originally Posted by Bristoe
Originally Posted by WhiskeyMan
Please find my UT & CO bulls thread


I done told ya,...ain't nobody givva damn about your threads.

They're boring as a rainy day in March.

I'm tryin' ya work with ya here guy,...

Your lame ass could shoot a bigfoot,..and you couldn't relate the matter in a way that people would find interesting.

People here want to be entertained.

Write a post about how you shot an ingrown toenail off with a 6mm PPC.

When you can get 27 pages out of that, you're ready to start talkin' chit to me.

Until then, you're just static.


Now THAT is funny. May I try to shoot YOUR ingrown toenail off with my 338 RUM?


I prefer Bacardi, if it's all the same to you.




Hmmmmmm. 338 Bacardi. Think I'll run down and patent that one and try to sell it to Winchester-Olin on a royalty percentage basis.
Originally Posted by HawkI
Yeah,

I guess all of the pronouns threw me off.....

Do they have to be BULL elk, or just elk?


Heck man, post em up.
You want to talk about blowing bugles on units, is that what they call it now. Are you any good at the 'chuckling' technique?

Kent
Originally Posted by WhiskeyMan
Originally Posted by HawkI
Yeah,

I guess all of the pronouns threw me off.....

Do they have to be BULL elk, or just elk?


Heck man, post em up.


Pronouns?

Naw, I ain't that shallow....
1918 flu pandemic
From Wikipedia, the free encyclopedia
Jump to: navigation, search

Two American Red Cross nurses demonstrate treatment practices during the influenza pandemic of 1918.Influenza (Flu)

Types
Avian (A/H5N1 subtype) � Canine
Equine � Swine (A/H1N1 subtype)
Vaccines
2009 pandemic (Pandemrix)
ACAM-FLU-A � Fluzone � Influvac
Live attenuated (FluMist) � Optaflu
Treatment
Amantadine � Arbidol � Laninamivir
Oseltamivir � Peramivir � Rimantadine
Vitamin D � Zanamivir
Pandemics
2009 � 1968-1969 Hong Kong � 1918
Outbreaks
2008 West Bengal
2007 Bernard Matthews H5N1
2007 Australian equine
2006 H5N1 India � 1976 swine flu
See also
Flu season � Influenza evolution
Influenza research
Influenza-like illness
v � d � e

The 1918 flu pandemic (commonly referred to as the Spanish Flu) was an influenza pandemic that spread to nearly every part of the world. It may have been caused by an unusually virulent and deadly influenza A virus strain of subtype H1N1. Historical and epidemiological data are inadequate to identify the geographic origin of the virus.[1] Most of its victims were healthy young adults, in contrast to most influenza outbreaks which predominantly affect juvenile, elderly, or otherwise weakened patients. The flu pandemic has also been implicated in the sudden outbreak of encephalitis lethargica in the 1920s.[2]

The pandemic lasted from approximately March 1918 to June 1920,[3] spreading even to the Arctic and remote Pacific islands. It is estimated that anywhere from 50 to 100 million people were killed worldwide which is from three to seven times the casualties of the First World War (15 million), making it the most deadly natural disaster in human history.[4][5][6][7][8] An estimated 50 million people, about 3% of the world's population (approximately 1.6 billion at the time), died of the disease. An estimated 500 million, or 1/3 were infected.[5]

Scientists have used tissue samples from frozen victims to reproduce the virus for study. Given the strain's extreme virulence there is controversy regarding the wisdom of such research. Among the conclusions of this research is that the virus kills via a cytokine storm (overreaction of the body's immune system) which perhaps explains its unusually severe nature and the concentrated age profile of its victims. The strong immune systems of young adults ravaged the body, whereas the weaker immune systems of children and middle-aged adults caused fewer deaths.[9]

Contents [hide]
1 Origins of name
2 History
3 Source
4 Mortality
4.1 Patterns of fatality
4.2 Deadly second wave
4.3 Devastated communities
4.4 Less affected areas
4.5 End of the pandemic
5 Cultural impact
6 Spanish flu research
7 Gallery
8 Victims
8.1 Notable fatalities
8.2 Notable survivors
9 See also
10 References
11 Further reading
12 External links


[edit] Origins of name
Although the first cases of the disease were registered in the continental U.S, and the rest of Europe long before getting to Spain, the 1918 pandemic received its nickname "Spanish flu" because Spain, a neutral country in WWI, had no special censorship of news regarding the disease and its consequences. Given the fact that Spanish King Alfonso XIII became gravely ill and was hence the highest-profile patient about whom there was any new coverage anywhere, the widest and most reliable news coverage of the disease came from Spain, thus giving the false impression that Spain was the most�if not the only�affected zone.[9][10]

[edit] History
While World War I did not cause the flu, the close troop quarters and massive troop movements hastened the pandemic and probably increased transmission, augmented mutation and may have increased the lethality of the virus. Some researchers speculate that the soldiers' immune systems were weakened by malnourishment as well as the stresses of combat and chemical attacks, increasing their susceptibility to the disease.[11] Price-Smith has made the controversial argument that the virus helped tip the balance of power in the latter days of the war towards the Allied cause. Specifically, he provides data that the viral waves hit the Central Powers before they hit the Allied powers, and that both morbidity and mortality in Germany and Austria were considerably higher than in Britain and France.[12]

A large factor of worldwide flu occurrence was increased travel. Modern transportation systems made it easier for soldiers, sailors, and civilian travelers to spread the disease quickly to communities worldwide.

[edit] Source
Some scholars theorized that the flu originated in the Far East.[13] Dr. C. Hannoun, leading expert of the 1918 flu for the Institut Pasteur, asserted that the former virus was likely to have come from China, mutated in the United States near Boston, and spread to Brest, France, Europe's battlefields, Europe, and the world using Allied soldiers and sailors as main spreaders.[14] Hannoun considered several other theories of origin, such as Spain, Kansas, and Brest, as being possible but not likely.

Historian Alfred W. Crosby observed that the flu seems to have originated in Kansas.[15] Political scientist Andrew Price-Smith published data from the Austrian archives suggesting that the influenza had earlier origins, beginning in Austria in the spring of 1917.[16] Popular writer John Barry echoed Crosby in describing Haskell County, Kansas as the likely point of origin.[17] In the United States the disease was first observed at Fort Riley, Kansas, on March 4, 1918,[18] and Queens, New York, on March 11, 1918. In August 1918, a more virulent strain appeared simultaneously in Brest, France, in Freetown, Sierra Leone, and in the U.S. at Boston, Massachusetts. The Allies of World War I came to call it the Spanish flu, primarily because the pandemic received greater press attention after it moved from France to Spain in November 1918. Spain was not involved in the war and had not imposed wartime censorship.[19]

Investigative work by a British team, led by virologist John Oxford[20] of St Bartholomew's Hospital and the Royal London Hospital, has suggested that a principal British troop staging camp in �taples, France was at the center of the 1918 flu pandemic or was the location of a significant precursor virus.[21]

[edit] Mortality

The difference between the influenza mortality age-distributions of the 1918 epidemic and normal epidemics. Deaths per 100,000 persons in each age group, United States, for the interpandemic years 1911�1917 (dashed line) and the pandemic year 1918 (solid line).[22]
Three pandemic waves: weekly combined influenza and pneumonia mortality, United Kingdom, 1918�1919[23]The global mortality rate from the 1918/1919 pandemic is not known, but it is estimated that 10% to 20% of those who were infected died. With about a third of the world population infected, this case-fatality ratio means that 3% to 6% of the entire global population died.[24] Influenza may have killed as many as 25 million in its first 25 weeks. Older estimates say it killed 40�50 million people[4] while current estimates say 50�100 million people worldwide were killed.[25] This pandemic has been described as "the greatest medical holocaust in history" and may have killed more people than the Black Death.[26]

As many as 17 million died in India, about 5% of India's population at the time.[27] In Japan, 23 million people were affected, and 390,000 died.[28] In the U.S., about 28% of the population suffered, and 500,000 to 675,000 died.[29] In Britain as many as 250,000 died; in France more than 400,000.[30] In Canada approximately 50,000 died.[31] Entire villages perished in Alaska[32] and southern Africa.[which?] Tafari Makonnen (the future Haile Selassie) was one of the first Ethiopians who contracted influenza but survived,[33] although many of his subjects did not; estimates for the fatalities in the capital city, Addis Ababa, range from 5,000 to 10,000, with some experts opining that the number was even higher,[34] while in British Somaliland one official there estimated that 7% of the native population died from influenza.[35] In Dutch East Indies (now Indonesia), around 1.5 million assumed died from 30 million inhabitants.[36] In Australia an estimated 12,000 people died and in the Fiji Islands, 14% of the population died during only two weeks, and in Western Samoa 22%.

This huge death toll was caused by an extremely high infection rate of up to 50% and the extreme severity of the symptoms, suspected to be caused by cytokine storms.[4] Indeed, symptoms in 1918 were so unusual that initially influenza was misdiagnosed as dengue, cholera, or typhoid. One observer wrote, "One of the most striking of the complications was hemorrhage from mucous membranes, especially from the nose, stomach, and intestine. Bleeding from the ears and petechial hemorrhages in the skin also occurred."[25] The majority of deaths were from bacterial pneumonia, a secondary infection caused by influenza, but the virus also killed people directly, causing massive hemorrhages and edema in the lung.[22]

The unusually severe disease killed between 2 and 20% of those infected, as opposed to the more usual flu epidemic mortality rate of 0.1%.[22][25] Another unusual feature of this pandemic was that it mostly killed young adults, with 99% of pandemic influenza deaths occurring in people under 65, and more than half in young adults 20 to 40 years old.[37] This is unusual since influenza is normally most deadly to the very young (under age 2) and the very old (over age 70), and may have been due to partial protection caused by exposure to a previous Russian flu pandemic of 1889.[38]

[edit] Patterns of fatality
The influenza strain was unusual in that this pandemic killed many young adults and otherwise healthy victims; typical influenzas kill mostly weak individuals, such as infants (aged 0�2 years), the elderly, and the immunocompromised. Older adults may have had some immunity from the earlier Russian flu pandemic of 1889.[38] Another oddity was that the outbreak was widespread in the summer and autumn (in the Northern Hemisphere); influenza is usually worse in winter.[39]

In fast-progressing cases, mortality was primarily from pneumonia, by virus-induced pulmonary consolidation. Slower-progressing cases featured secondary bacterial pneumonias, and there may have been neural involvement that led to mental disorders in some cases. Some deaths resulted from malnourishment and even animal attacks in overwhelmed communities.[40]

[edit] Deadly second wave
The second wave of the 1918 pandemic was much deadlier than the first. The first wave had resembled typical flu epidemics; those most at risk were the sick and elderly, while younger, healthier people recovered easily. But in August, when the second wave began in France, Sierra Leone and the United States,[41] the virus had mutated to a much deadlier form. This has been attributed to the circumstances of the First World War.[42] In civilian life evolutionary pressures favour a mild strain: those who get really sick stay home, and those mildly ill continue with their lives, go to work and go shopping, preferentially spreading the mild strain. In the trenches the evolutionary pressures were reversed: soldiers with a mild strain remained where they were, while the severely ill were sent on crowded trains to crowded field hospitals, spreading the deadlier virus. So the second wave began and the flu quickly spread around the world again.[43] It was the same flu, in that most of those who recovered from first-wave infections were immune, but it was now far more deadly, and the most vulnerable people were those who were like the soldiers in the trenches�young, otherwise healthy adults.[44] Consequently, during modern pandemics, health officials pay attention when the virus reaches places with social upheaval, looking for deadlier strains of the virus.[43]

[edit] Devastated communities

Chart of deaths in major citiesEven in areas where mortality was low, so many people were incapacitated that much of everyday life stopped. Some communities closed all stores or required customers to leave their orders outside. There were many reports of places where the health-care workers could not tend the sick nor the grave-diggers bury the dead because they too were ill. Mass graves were dug by steam shovel and bodies buried without coffins in many places.[45] Several Pacific island territories were particularly hard-hit. The pandemic reached them from New Zealand, which was too slow to implement measures to prevent ships carrying the flu from leaving its ports. From New Zealand the flu reached Tonga (killing 8% of the population), Nauru (16%) and Fiji (5%, 9,000 people). Worst affected was Western Samoa, a territory then under New Zealand military administration. A crippling 90% of the population was infected; 30% of adult men, 22% of adult women and 10% of children were killed. By contrast, the flu was kept away from American Samoa by a commander who imposed a blockade.[46] In New Zealand itself 8,573 deaths were attributed to the 1918 pandemic influenza, resulting in a total population fatality rate of 7.4 per thousand (0.74%) .[47]

[edit] Less affected areas
In Japan, 257,363 deaths were attributed to influenza by July 1919, giving an estimated 0.425% mortality rate, much lower than nearly all other Asian countries for which data are available. The Japanese government severely restricted maritime travel to and from the home islands when the pandemic struck.

In the Pacific, American Samoa[48] and the French colony of New Caledonia[49] also succeeded in preventing even a single death from influenza through effective quarantines. In Australia, nearly 12,000 perished.[50]

[edit] End of the pandemic
After the lethal second wave struck in the autumn of 1918, the disease died down abruptly. New cases almost dropped to nothing after the peak in the second wave.[9] In Philadelphia for example, 4,597 people died in the week ending October 16, but by November 11 influenza had almost disappeared from the city. One explanation for the rapid decline of the lethality of the disease is that doctors simply got better at preventing and treating the pneumonia which developed after the victims had contracted the virus, although John Barry states in his book that researchers have found no evidence to support this. Another theory holds that the 1918 virus mutated extremely rapidly to a less lethal strain. This is a common occurrence with influenza viruses: there is a general tendency for pathogenic viruses to become less lethal with time, providing more living hosts.[9]

[edit] Cultural impact

American Red Cross nurses tend to flu patients in temporary wards set up inside Oakland Municipal Auditorium, 1918In the United States, the United Kingdom and other countries, despite the relatively high morbidity and mortality rates that resulted from the epidemic in 1918�1919, the Spanish flu began to fade from public awareness over the decades until the arrival of news about bird flu and other pandemics in the 1990s and 2000s.[51] This has led some historians to label the Spanish flu a "forgotten pandemic".[15]

Several theories have been offered as to why the Spanish flu may have been "forgotten" by historians and the public over so many years. The rapid pace of the pandemic, which killed most of its victims in the United States, for example, within a period of less than nine months, resulted in limited media coverage in a given area. The general population was also familiar with patterns of pandemic disease in the late 19th and early 20th centuries: typhoid, yellow fever, diphtheria, and cholera all occurred near the same time period. These outbreaks probably lessened the significance of the influenza pandemic for the public.[52]

In addition the outbreak coincided with the deaths and media focus on the First World War.[53] Another explanation involves the age group affected by the disease. The majority of fatalities, from both the war and the epidemic, were among young adults. The deaths caused by the flu may have been overlooked due to the large numbers of deaths of young men in the war or as a result of injuries. When people read the obituaries of the era, they saw the war or post-war deaths and the deaths from the influenza side by side. Particularly in Europe, where the war's toll was extremely high, the flu may not have had a great, separate, psychological impact, or may have seemed a mere "extension" of the war's tragedies.[54] The duration of the pandemic and the war could have also played a role: the disease would usually only affect a certain area for a month before leaving, while the war, which most expected to end quickly, had lasted for four years by the time the pandemic struck. This left little time for the disease to have a significant impact on the economy.

One of the few major works of American literature written after 1918 that deals directly with the Spanish flu is Katherine Anne Porter�s Pale Horse, Pale Rider. In 1935 John O'Hara wrote a long short story, "The Doctor's Son", about the experience of his fictional alter ego during the flu epidemic in a Pennsylvania coal mining town. In 1937 American novelist William Keepers Maxwell, Jr. wrote They Came Like Swallows, a fictional reconstruction of the events surrounding his mother's death from the flu. Mary McCarthy, the American novelist and essayist, wrote about her parents' deaths in Memories of a Catholic Girlhood. Bodie and Brock Thoene's "Shiloh Legacy" series led off with an account of the Spanish flu in New York and Arkansas in their novel In My Father's House (1992). In 1997 David Morrell's short story "If I Die Before I Wake"�dealing with a small American town during the second wave�was published in the anthology Revelations, which was framed by Clive Barker. In 2006 Thomas Mullen published a novel called The Last Town on Earth about the impact of the Spanish flu on a fictional mill town in Washington. In 2005 the Canadian television series ReGenesis presented fictional research into the Spanish Flu and Encephalitis Lethargica. In 2008, Dennis Lehane's novel "The Given Day" described the pandemic from the point of view of one of the novel's protagonists Boston police officer Danny Coughlin; and also from the point of view of protagonist Luther Laurence, a black hotel houseman in Tulsa.

[edit] Spanish flu research

Centers for Disease Control and Prevention�s Dr. Terrence Tumpey examining a reconstructed version of the 1918 flu.Main article: Spanish flu research
The origin of the Spanish flu pandemic, and the relationship between the near simultaneous outbreaks in humans and swine, have been highly controversial. One theory is that the virus strain originated at Fort Riley, Kansas, by two genetic mechanisms � genetic drift and antigenic shift � in viruses in poultry and swine which the fort bred for food; the soldiers were then sent from Fort Riley to different places around the world, where they spread the disease. Similarities between a reconstruction of the virus and avian viruses, combined with the human pandemic preceeding the first reports of influenza in swine, led researchers to conclude that the influenza virus jumped directly from birds to humans, and swine caught the disease from humans.[55][56] Others have disagreed,[57] and more recent research has suggested that the strain may have originated in a non-human mammalian species.[58] An estimated date for its appearance in mammalian hosts has been put at the period 1882�1913.[59] This ancestor virus diverged about 1913�1915 into two clades which gave rise to the classical swine and human H1N1 influenza lineages. The last common ancestor of human strains dates to between February 1917 and April 1918. Because pigs are more readily infected with avian influenza viruses than are humans, it is suggested that they were the original recipient of the virus, passing the virus to humans sometime between 1913 and 1918.


An electron micrograph showing recreated 1918 influenza virionsAn effort to recreate the 1918 flu strain (a subtype of avian strain H1N1) was a collaboration among the Armed Forces Institute of Pathology, Southeast Poultry Research Laboratory and Mount Sinai School of Medicine in New York City; the effort resulted in the announcement (on October 5, 2005) that the group had successfully determined the virus's genetic sequence, using historic tissue samples recovered by pathologist Johan Hultin from a female flu victim buried in the Alaskan permafrost and samples preserved from American soldiers.[60]

On January 18, 2007, Kobasa et al. reported that monkeys (Macaca fascicularis) infected with the recreated strain exhibited classic symptoms of the 1918 pandemic and died from a cytokine storm[61]�an overreaction of the immune system. This may explain why the 1918 flu had its surprising effect on younger, healthier people, as a person with a stronger immune system would potentially have a stronger overreaction.[62]

On September 16, 2008, the body of Yorkshireman Sir Mark Sykes was exhumed to study the RNA of the Spanish flu virus in efforts to understand the genetic structure of modern H5N1 bird flu. Sykes had been buried in 1919 in a lead coffin which scientists hope will have helped preserve the virus.[63]

In December 2008, research by Yoshihiro Kawaoka of the University of Wisconsin linked the presence of three specific genes (termed PA, PB1, and PB2) and a nucleoprotein derived from 1918 flu samples to the ability of the flu virus to invade the lungs and cause pneumonia. The combination triggered similar symptoms in animal testing.[64]

[edit] Gallery
Albertan farmers wearing masks to protect themselves from the flu.
Policemen wearing masks provided by the American Red Cross in Seattle, 1918
A street car conductor in Seattle in 1918 refusing to allow on passengers who are not wearing a mask
Red Cross workers remove a flu victim in St. Louis, Missouri (1918)

Influenza ward at Walter Reed Hospital during the Spanish flu pandemic of 1918-1919.
Burying flu victims, North River, Labrador, Canada (1918)


[edit] Victims
[edit] Notable fatalities
Admiral Dot (1864�1918), circus performer under P. T. Barnum[65]
Amadeo de Souza Cardoso, Portuguese painter, (October 25, 1918)
Francisco de Paula Rodrigues Alves, Brazilian re-elected president, died before taking office(January 16, 1919)[66]
Guillaume Apollinaire, French poet (November 9, 1918)
Felix Arndt, American pianist (October 16, 1918)
Louis Botha, first Prime Minister of the Union of South Africa, (August 27, 1919)[67]
Randolph Bourne, American progressive writer and public intellectual, (December 22, 1918)[68]
Dudley John Beaumont, husband of the Dame of Sark (November 24, 1918) [69]
Larry Chappell, American baseball player, (November 8, 1918)
Angus Douglas, Scottish international footballer, (December 14, 1918)
Harry Elionsky, American champion long-distance swimmer[67]
Ella Flagg Young, American educator (October 26, 1918)
George Freeth, father of modern surfing and lifeguard (April 7, 1919)
Sophie Halberstadt-Freud, daughter of Austrian psychoanalyst Sigmund Freud, (1920)
Irma Cody Garlow, daughter of Buffalo Bill Cody[65]
Harold Gilman, British painter (February 12, 1919)
Henry G. Ginaca, American engineer, inventor of the Ginaca machine (October 19, 1918)
Myrtle Gonzalez, American film actress (October 22, 1918)[68]
Kenneth Sawyer Goodman, namesake of Chicago's famous Goodman Theatre
Edward Kidder Graham, President of the University of North Carolina (October 26, 1918)
Charles Tomlinson Griffes, American composer (April 8, 1920)
Joe Hall, Montreal Canadiens defenceman, a member of the Hockey Hall of Fame (April 6, 1919)
Phoebe Hearst, mother of William Randolph Hearst, (April 13, 1919)
Bohumil Kubi�ta, Czech painter, (November 27, 1918)
Hans E. Lau, Danish astronomer, (October 16, 1918)[68]
Julian L'Estrange[3] stage and screen actor, husband of actress Constance Collier (October 22, 1918)
Ruby Lindsay, an Australian illustrator and painter, (12 March 1919)
Harold Lockwood, American silent film star, (October 19, 1918)[65]
Francisco Marto, F�tima child (April 4, 1919)
Jacinta Marto, F�tima child (February 20, 1920)
Alan Arnett McLeod, Victoria Cross recipient, (6 November 1918)
Dan McMichael, manager of Scottish association football club Hibernian (1919)
Leon Morane, French aircraft company founder and pre-WW1 aviator (October 20, 1918)
William Francis Murray, Postmaster of Boston and former U.S. Representative (September 21, 1918)
Sir Hubert Parry, British composer, (October 7, 1918)
Henry Ragas, pianist of the Original Dixieland Jass Band
William Leefe Robinson, Victoria Cross recipient, (December 31, 1918)
Edmond Rostand, French dramatist, best known for his play Cyrano de Bergerac, (December 2, 1918)
Egon Schiele, Austrian painter (October 31, 1918, Vienna).[70]
Reggie Schwarz, South African cricketer and rugby player (November 18, 1918)[68]
Yakov Sverdlov, Bolshevik party leader and official of pre-USSR Russia (March 16, 1919)
Mark Sykes, British politician and diplomat, body exhumed 2008 for scientific research (February 16, 1919)
Frederick Trump, Grandfather of businessman Donald Trump, (March 30, 1918)
Prince Umberto, Count of Salemi, Member of Italian royal family, (October 19, 1918)
Max Weber, German political economist and sociologist (June 14, 1920)
Prince Erik, Duke of V�stmanland (Erik Gustav Ludvig Albert Bernadotte), Prince of Sweden, Duke of V�stmanland (September 20, 1918)
Vera Kholodnaya, Russian actress (February 16, 1919)
Dark Cloud (actor), aka Elijah Tahamont, American Indian actor, in Los Angeles (1918).
Franz Karl Salvator (1893�1918), son of Archduchess Marie Valerie of Austria and Archduke Franz Salvator, grandson of Empress Elisabeth of Bavaria and Emperor Franz Joseph I of Austria, died unmarried and childless.
Anaseini Takipō, Queen of Tonga from 1909, consort of King George Tupou II of Tonga, survived by one daughter, (November 26, 1918)
King Watzke, American violinist and bandleader, (1920)[68]
Bill Yawkey, Major League Baseball executive and owner of the Detroit Tigers, in Augusta, Georgia (March 5, 1919)
[edit] Notable survivors
Alexandrine of Mecklenburg-Schwerin (1879�1952), Queen of Denmark[40]
Alfonso XIII of Spain (1866-1941), King of Spain[9]
Walter Benjamin, (1892�1940) German-Jewish philosopher and Marxist literary critic.[71]
Walt Disney (1901�1966), cartoonist.[40]
Peter Fraser (1884�1950), New Zealand prime minister.[40]
David Lloyd George (1863�1945), British prime minister.[40]
Lillian Gish (1893�1993), early motion picture star.[72]
Friedrich Hayek (1899�1992), economist and Nobel Laureate
Joseph Joffre (1852�1931), French World War I general, victor of the Marne.[40]
Prince Maximilian of Baden (1867�1929), Chancellor of Germany during the armistice.[40]
William Keepers Maxwell, Jr. (August 16, 1908�July 31, 2000) American novelist and editor
Edward Munch, (1863�1944) Norwegian painter.[73]
Georgia O'Keeffe, (1887�1986) American modernist painter.[74]
John J. Pershing (1860�1948) American general.[40]
Mary Pickford (1892�1979), early motion picture star.[40]
Katherine Anne Porter (1890�1980), Pulitzer Prize-winning American writer[40]
Franklin D. Roosevelt (1882�1945), American president[40]
Haile Selassie (1892�1975), Emperor of Ethiopia.[33]
Leo Szilard (1898�1964), nuclear physicist, discoverer of the nuclear chain reaction.[75]
Wilhelm II, German Emperor (1859�1941)[40]
Woodrow Wilson (1856�1924) American president.[40]
[edit] See also
List of epidemics
List of wars and disasters by death toll
SS Talune
[edit] References
Notes
^ "1918 Influenza Pandemic | CDC EID". Archived from the original on 2009-10-01. http://www.webcitation.org/5kCUlGdKu. Retrieved 2009-09-28.
^ Vilensky JA, Foley P, Gilman S (August 2007). "Children and encephalitis lethargica: a historical". Pediatr. Neurol. 37 (2): 79�84. doi:10.1016/j.pediatrneurol.2007.04.012. PMID 17675021. http://linkinghub.elsevier.com/retrieve/pii/S0887-8994(07)00194-4.
^ Institut Pasteur. La Grippe Espagnole de 1918 (Powerpoint presentation in French).
^ a b c Patterson, KD; Pyle GF (Spring 1991). "The geography and mortality of the 1918 influenza pandemic". Bull Hist Med. 65 (1): 4�21. PMID 2021692.
^ a b Centers for Disease Control and Prevention. Jeffery K. Taubenberger and David M. Morens. 1918 Influenza: the Mother of All Pandemics, January, 2006. Retrieved on May 9, 2009. Archived 2009-10-01.
^ Tindall 2007
^ The 1918 Influenza Pandemic. Accessed 2009-05-01. Archived 2009-05-04.
^ Johnson NP, Mueller J (2002). "Updating the accounts: global mortality of the 1918�1920 "Spanish" influenza pandemic". Bull Hist Med 76 (1): 105�15. doi:10.1353/bhm.2002.0022. PMID 11875246.
^ a b c d e Barry 2004
^ Duncan 2003, p. 7
^ Ewald 1994, p. 110.
^ Andrew Price-Smith, Contagion and Chaos, MIT Press, 2009.
^ 1918 killer flu secrets revealed. BBC News. February 5, 2004.
^ Pr. C. HANNOUN :
La Grippe, Ed Techniques EMC (Encyclop�die M�dico-Chirurgicale), Maladies infectieuses, 8-069-A-10, 1993.
Documents de la Conf�rence de l'Institut Pasteur : La Grippe Espagnole de 1918.
^ a b Crosby 2003
^ Andrew Price-Smith, Contagion and Chaos, Cambridge, MA: MIT Press, 2009.
^ Barry, John. The site of origin of the 1918 influenza pandemic and its public health implications, Journal of Translational Medicine, 2:3. Accessed 2009-05-01. Archived 2009-05-04.
^ Avian Bird Flu. 1918 Flu (Spanish flu epidemic).
^ Channel 4 - News - Spanish flu facts.
^ "EU Research Profile on Dr. John Oxford". Archived from the original on 2009-05-11. http://www.webcitation.org/5ghdULukN. Retrieved 2009-05-09.
^ Connor, Steve, "Flu epidemic traced to Great War transit camp", The Guardian (UK), Saturday, 8 January 2000. Accessed 2009-05-09. Archived 2009-05-11.
^ a b c Taubenberger, J; Morens D (2006). "1918 Influenza: the mother of all pandemics". Emerg Infect Dis 12 (1): 15�22. PMID 16494711. Archived from the original on 2009-10-01. http://www.webcitation.org/5kCUlGdKu. Retrieved 2009-09-28.
^ "1918 Influenza: the Mother of All Pandemics". Cdc.gov. Archived from the original on 2009-10-01. http://www.webcitation.org/5kCUlGdKu. Retrieved 2009-09-02.
^ Taubenberger, J., Morens, M. (2006). "1918 Influenza Pandemic". www.cdc.gov. Archived from the original on 2009-10-01. http://www.webcitation.org/5kCUlGdKu. Retrieved 2009-05-14.
^ a b c Knobler 2005, pp. 60�61.
^ Potter, CW (October 2006). "A History of Influenza". J Appl Microbiol. 91 (4): 572�579. doi:10.1046/j.1365-2672.2001.01492.x. PMID 11576290. http://www.blackwell-synergy.com/doi/full/10.1046/j.1365-2672.2001.01492.x.
^ Flu experts warn of need for pandemic plans. British Medical Journal.
^ "Spanish Influenza in Japanese Armed Forces, 1918�1920". Centers for Disease Control and Prevention (CDC).
^ Pandemics and Pandemic Threats since 1900, U.S. Department of Health & Human Services.
^ The 'bird flu' that killed 40 million. BBC News. October 19, 2005.
^ "A deadly virus rages throughout Canada at the end of the First World War". CBC History.
^ "The Great Pandemic of 1918: State by State". Archived from the original on 2009-05-06. http://www.webcitation.org/5gZqOpdgM. Retrieved 2009-05-04.
^ a b Harold Marcus, Haile Sellassie I: The formative years, 1892�1936 (Trenton: Red Sea Press, 1996), pp. 36f; Pankhurst 1990, p. 48f.
^ Pankhurst 1990, p. 63.
^ Pankhurst 1990, p. 51f.
^ Historical research report from University of Indonesia, School of History, as reported in Emmy Fitri. Looking Through Indonesia's History For Answers to Swine Flu. The Jakarta Globe. 28 October 2009 edition.
^ Simonsen, L; Clarke M, Schonberger L, Arden N, Cox N, [bleep] K (July 1998). "Pandemic versus epidemic influenza mortality: a pattern of changing age distribution". J Infect Dis 178 (1): 53�60. PMID 9652423.
^ a b O Hansen, 1923, Unders�kelser om influenzaens opptr�den specielt i Bergen 1918�1922 Skrifter utgit ved Klaus Hanssens Fond. Bergen: Medicinsk avdeling, Haukeland Sykehus, 1923: 3.
^ Key Facts about Swine Influenza [1] accessed 22:45 GMT-6 30/04/2009. Archived 2009-05-04.
^ a b c d e f g h i j k l m Collier 1974
^ UK Parliament - http://www.parliament.the-stationery-office.com/pa/ld200506/ldselect/ldsctech/88/88.pdf. Accessed 2009-05-06. Archived 2009-05-08.
^ Gladwell, Malcolm. "The Dead Zone". The New Yorker (September 29, 1997): 55.
^ a b Gladwell, Malcolm. "The Dead Zone". The New Yorker (September 29, 1997): 63.
^ Gladwell, Malcolm. "The Dead Zone". The New Yorker (September 29, 1997): 56.
^ Fortune article "Viruses of Mass Destruction" written 1st November 2004 [2] accessed 01:12 GMT+1 30/04/2009
^ DENOON, Donald, �New Economic Orders: Land, Labour and Dependency�, in DENOON, Donald (�d.), The Cambridge History of the Pacific Islanders, Cambridge University Press, 2004, ISBN 0-521-00354-7, p. 247.
^ RICE, Geoffrey, Black November; the 1918 Ifluenza Pandemic in New Zealand, University of Canterbury Press, 2005, ISBN 1877257354, p. 221.
^ "Influenza of 1918 (Spanish Flu) and the US Navy". www.history.navy.mil. http://www.history.navy.mil/library/online/influenza_main.htm. Retrieved 2009-05-14.
^ World Health Organization Writing Group (2006). "Nonpharmaceutical interventions for pandemic influenza, international measures". Centers for Disease Control and Prevention (CDC) Emerging Infectious Diseases (EID) Journal 12 (1): 189. http://www.cdc.gov/ncidod/EID/vol12no01/05-1370.htm.
^ Anne Grant, History House, Portland. Influenza Pandemic 1919. Portland Victoria.
^ Honigsbaum
^ Morrisey, Carla R. "The Influenza Epidemic of 1918." Navy Medicine 77, no. 3 (May-June 1986): 11�17.
^ Crosby 2003, pp. 320�322.
^ Simonsen, L; Clarke M, Schonberger L, Arden N, Cox N, [bleep] K (Jul 1998). "Pandemic versus epidemic influenza mortality: a pattern of changing age distribution."
^ Sometimes a virus contains both avian adapted genes and human adapted genes. Both the H2N2 and H3N2 pandemic strains contained avian flu virus RNA segments. "While the pandemic human influenza viruses of 1957 (H2N2) and 1968 (H3N2) clearly arose through reassortment between human and avian viruses, the influenza virus causing the 'Spanish flu' in 1918 appears to be entirely derived from an avian source (Belshe 2005)." (from Chapter Two: Avian Influenza by Timm C. Harder and Ortrud Werner, an excellent free on-line book called Influenza Report 2006 which is a medical textbook that provides a comprehensive overview of epidemic and pandemic influenza.)
^ Taubenberger JK, Reid AH, Lourens RM, Wang R, Jin G, Fanning TG (October 2005). "Characterization of the 1918 influenza virus polymerase genes". Nature 437 (7060): 889�93. doi:10.1038/nature04230. PMID 16208372.
^ Antonovics J, Hood ME, Baker CH (April 2006). "Molecular virology: was the 1918 flu avian in origin?". Nature 440 (7088): E9; discussion E9�10. doi:10.1038/nature04824. PMID 16641950.
^ Vana G, Westover KM (June 2008). "Origin of the 1918 Spanish influenza virus: a comparative genomic analysis". Molecular Phylogenetics and Evolution 47 (3): 1100�10. doi:10.1016/j.ympev.2008.02.003. PMID 18353690.
^ Dos Reis M, Hay AJ, Goldstein RA.(2009) Using Non-Homogeneous Models of Nucleotide Substitution to Identify Host Shift Events: Application to the Origin of the 1918 'Spanish' Influenza Pandemic Virus. J Mol Evol
^ Center for Disease Control: Researchers Reconstruct 1918 Pandemic Influenza Virus; Effort Designed to Advance Preparedness Retrieved on 2009-09-02
^ Kobasa, Darwyn; et al. (2007). "Aberrant innate immune response in lethal infection of macaques with the 1918 influenza virus". Nature 445 (7125): 319�323. doi:10.1038/nature05495. PMID 17230189.
^ USA Today: Research on monkeys finds resurrected 1918 flu killed by turning the body against itself Retrieved on 2008-08-14.
^ BBC News: Body exhumed in fight against flu Retrieved on 2008-09-16.
^ "Reuters. December 29, 2008. Researchers unlock secrets of 1918 flu pandemic.". Reuters.com. 2008-12-29. http://www.reuters.com/article/newsOne/idUSTRE4BS56420081229. Retrieved 2009-09-02.
^ a b c "Influenza 1918 - Among the Victims". American Experience, PBS. http://www.pbs.org/wgbh/amex/influenza/sfeature/victims.html. Retrieved 2009-04-27.
^ Frank D. McCann (2004). Soldiers of the P�tria: a history of the Brazilian Army, 1889-1937. Stanford University Press. ISBN 9780804732222. http://books.google.com/books?id=xDep7jGaHPwC&pg=RA2-PA191&dq=Francisco+influenza.
^ a b Duncan 2003, p. 16
^ a b c d e dMAC Health Digest.
^ Hathaway, Sibyl (1962). [http://www.archive.org/details/dameofsark006367mbp - Dame of Sark: An Autobiography. 2nd printing.]. New York: Coward-McCann, Inc.. pp. 59. http://www.archive.org/details/dameofsark006367mbp -.
^ Frank Whitford, Expressionist Portraits, Abbeville Press, 1987, p. 46. ISBN 0896597806
^ Sholem, Gershom. Walter Benjamin: The Story of a Friendship. Trans. The Jewish Publication Society of America. London: Faber & Faber, 1982. 76.
^ Lillian Gish: The Movies, Mr. Griffith, and Me, ISBN 0135366496.
^ Munch Museum, "A timeline of Munch's life".Munch Museum. Accessed 2009-05-24. Archived 2009-05-27.
^ Roxana Robinson, Georgia O'Keeffe: A Life. University Press of New England, 1989. p. 193. ISBN 0874519063
^ Richard Rhodes, The Making of the Atomic Bomb, ISBN 0684813785.
Bibliography
Barry, John M. (2004). The Great Influenza: The Epic Story of the Greatest Plague in History. Viking Penguin. ISBN 0-670-89473-7.
Collier, Richard (1974). The Plague of the Spanish Lady - The Influenza Pandemic of 1918�19. USA: Atheneum. ISBN 978-0689105920.
Crosby, Alfred W. (1976). Epidemic and Peace, 1918. Westport, Ct: Greenwood Press. ISBN 0-8371-8376-6.
Crosby, Alfred W. (2003). America's Forgotten Pandemic: The Influenza of 1918 (2 ed.). Cambridge: Cambridge University Press. ISBN 0689105924. http://books.google.com/books?id=KYtAkAIHw24C.
Duncan, Kirsty (2003). Hunting the 1918 flu: one scientist's search for a killer virus (illustrated ed.). University of Toronto Press. ISBN 9780802087485. http://books.google.com/books?id=HPDI_30wRsEC.
Ewald, Paul. Evolution of infectious disease, New York, Oxford University Press, 1994.
Hakim, Joy (1995). War, Peace, and all that Jazz. New York: Oxford University Press.
Honigsbaum, Mark. Living with Enza: The Forgotten Story of Britain and the Great Flu Pandemic of 1918, ISBN 978-0230217744.
Knobler S, Mack A, Mahmoud A, Lemon S, ed. "1: The Story of Influenza". The Threat of Pandemic Influenza: Are We Ready? Workshop Summary (2005). Washington, D.C.: The National Academies Press. http://darwin.nap.edu/books/0309095042/html/60.html.
Pankhurst, Richard. An Introduction to the Medical History of Ethiopia. Trenton: Red Sea Press, 1990
Tindall, George Brown & Shi, David Emory. America: A Narrative History, 7th ed. copyright 2007 by W.W Norton & Company, Inc.
[edit] Further reading
Barry, John M., The Great Influenza: The Epic Story of the Deadliest Plague in History, Viking Press, 2004. ISBN 0670894737, ISBN 978-0670894734.
Beiner, Guy (2006). "Out in the Cold and Back: New-Found Interest in the Great Flu". Cultural and Social History 3 (4): 496�505.
Johnson, Niall (2006). Britain and the 1918�19 Influenza Pandemic: A Dark Epilogue. London and New York: Routledge. ISBN 0-415-36560-0.
Johnson, Niall (2003). "Measuring a pandemic: Mortality, demography and geography". Popolazione e Storia: 31�52.
Johnson, Niall (2003). "Scottish �flu � The Scottish mortality experience of the �Spanish flu". Scottish Historical Review 83 (2): 216�226.
Johnson, Niall; Juergen Mueller (2002). "Updating the accounts: global mortality of the 1918�1920 �Spanish� influenza pandemic". Bulletin of the History of Medicine 76 (1): 105�15. doi:10.1353/bhm.2002.0022. PMID 11875246.
Kolata, Gina (1999). Flu: The Story of the Great Influenza Pandemic of 1918 and the Search for the Virus That Caused It. New York: Farrar, Straus and Giroux. ISBN 0-374-15706-5.
Little, Jean (2007). If I Die Before I Wake: The Flu Epidemic Diary of Fiona Macgregor, Toronto, Ontario, 1918. Dear Canada. Markham, Ont.: Scholastic Canada. ISBN 9780439988377.
Noymer, Andrew; Michel Garenne (2000). "The 1918 Influenza Epidemic's Effects on Sex Differentials in Mortality in the United States". Population and Development Review 26 (3): 565�581. doi:10.1111/j.1728-4457.2000.00565.x. PMID 19530360.
Oxford JS, Sefton A, Jackson R, Innes W, Daniels RS, Johnson NP (2002). "World War I may have allowed the emergence of "Spanish" influenza". The Lancet infectious diseases 2 (2): 111�4. doi:10.1016/S1473-3099(02)00185-8. PMID 11901642.
Oxford JS, Sefton A, Jackson R, Johnson NP, Daniels RS (1999). "Who's that lady?". Nat. Med. 5 (12): 1351�2. doi:10.1038/70913. PMID 10581070.
Pettit, Dorothy; Janice Bailie (2008). A Cruel Wind: Pandemic Flu in America, 1918-1920. Murfreesboro, TN: Timberlane Books. ISBN 9780971542822(Pap.).
Phillips, Howard; David Killingray (eds) (2003). The Spanish Flu Pandemic of 1918: New Perspectives. London and New York: Routledge.
Rice, Geoffrey W.; Edwina Palmer (1993). "Pandemic Influenza in Japan, 1918�1919: Mortality Patterns and Official Responses". Journal of Japanese Studies 19 (2): 389�420. doi:10.2307/132645.
Rice, Geoffrey W. (2005). Black November: the 1918 Influenza Pandemic in New Zealand. Canterbury University Press: Canterbury Univ. Press. ISBN 1-877257-35-4.
Tumpey TM, Garc�a-Sastre A, Mikulasova A, et al. (2002). "Existing antivirals are effective against influenza viruses with genes from the 1918 pandemic virus". Proc. Natl. Acad. Sci. U.S.A. 99 (21): 13849�54. doi:10.1073/pnas.212519699. PMID 12368467. PMC 129786. http://www.pnas.org/cgi/content/full/99/21/13849.
[edit] External links
Wikimedia Commons has media related to: Spanish flu
Nature "Web Focus" on 1918 flu, including new research
Influenza Pandemic on stanford.edu
The Great Pandemic: The U.S. in 1918-1919. US Dept. of HHS
Little evidence for New York City quarantine in 1918 pandemic. Nov 27, 2007 (CIDRAP News)
Flu by Eileen A. Lynch. The devastating effect of the Spanish flu in the city of Philadelphia, PA, USA
Dialog: An Interview with Dr. Jeffery Taubenberger on Reconstructing the Spanish Flu
The Deadly Virus - The Influenza Epidemic of 1918 US National Archives and Records Administration - pictures and records of the time
The 1918 Influenza Pandemic in New Zealand - includes recorded recollections of people who lived through it
PBS - recovery of flu samples from Alaskan flu victims
An Avian Connection as a Catalyst to the 1918-1919 Influenza Pandemic
Fluwiki.com Annotated links to articles, books and scientific research on the 1918 influenza pandemic
Alaska Science Forum - Permafrost Preserves Clues to Deadly 1918 Flu
Pathology of Influenza in France, 1920 Report
Yesterday's News blog 1918 newspaper account on impact of flu on Minneapolis
"Study uncovers a lethal secret of 1918 influenza virus" University of Wisconsin - Madison, January 17, 2007
Spanish Influenza in North America, 1918�1919
1918 Influenza Virus and memory B-cells - Exposure to virus generates life-long immune response.
Influenza Research Database � Database of influenza genomic sequences and related information.
Spanish Flu with rare pictures from Otis Historical Archives
"No Ordinary Flu" a comic book of the 1918 flu pandemic published by Seattle & King County Public Health
"Influenza 1918" The American Experience (PBS)
"Closing in on a Killer: Scientists Unlock Clues to the Spanish Influenza Virus" An online exhibit from the National Museum of Health and Medicine
Sources for the study of the 1918 influenza pandemic in Sheffield, UK Produced by Sheffield City Council's Libraries and Archives
[show]v � d � eInfluenza

General topics Research - Vaccine - Treatment - Genome sequencing - Reassortment - Superinfection - Season

Influenza viruses Orthomyxoviridae - Influenza A - Influenza B - Influenza C

Influenza A virus
Subtypes H1N1 - H1N2 - H2N2 - H2N3 - H3N1 - H3N2 - H3N8 - H5N1 - H5N2 - H5N3 - H5N8 - H5N9 - H7N1 - H7N2 - H7N3 - H7N4 - H7N7 - H9N2 - H10N7

H1N1 Pandemics 1918 flu pandemic (Spanish flu) - 2009 flu pandemic (Swine flu)

Science 2009 A/H1N1


H5N1 Science Genetic structure - Transmission and infection - Global spread - Clinical Trials - Human mortality - Social impact - Pandemic preparation

Outbreaks Croatia (2005) - India (2006) - UK (2007) - West Bengal (2008)


Treatments Antiviral drug Arbidol - adamantane derivatives (Amantadine, Rimantadine) - neuraminidase inhibitors (Oseltamivir, Laninamivir, Peramivir, Zanamivir)
Experimental (Peramivir)

Flu vaccines FluMist - Fluzone


Influenza epidemics & pandemics Pandemics Russian flu (1889�1890) - Spanish flu - Asian flu - Hong Kong flu - 2009 flu pandemic

Epidemics Russian flu (1977�1978) - Fujian flu (H3N2)


Non-human Mammals Canine influenza - Cat influenza - Equine influenza (2007 Australian outbreak) - Swine influenza

Non-mammals Avian influenza - Fujian flu (H5N1)


Related Influenza-like illness


Retrieved from "http://en.wikipedia.org/wiki/1918_flu_pandemic"
Categories: 1918 flu pandemic
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Originally Posted by krp
That's why your buttons are pushed about your Utah elk, Az's are bigger. Hell I find bigger ones than you claimed to have killed during a rifle rut hunt, just laying on the ground.

[Linked Image]

Kent



Any more pics of this one?
Welcome! Great to have you here. I'm relatively new here too smile

Originally Posted by Ton264
Welcome! Great to have you here. I'm relatively new here too smile



another copycat troll and by the way unless you are Darin Knupp you shouldn't be using one his copyrighted images as an avatar http://www.darinknupp.com/illustrations.php
I believe that you are mistaking me for someone else. My name is Tony, nice to meet you!

BTW, my avatar is available free through Google Images.
Thank you smile
Yeah right.
Go away brooks.. You're a liar and a troll.
Yep.
Originally Posted by weaselsRus
Originally Posted by krp
That's why your buttons are pushed about your Utah elk, Az's are bigger. Hell I find bigger ones than you claimed to have killed during a rifle rut hunt, just laying on the ground.

[Linked Image]

Kent



Any more pics of this one?


[Linked Image]
Originally Posted by Ton264
I believe that you are mistaking me for someone else. My name is Tony, nice to meet you!
Dont think so Brooks.................
Glad you're out of prison Tom....
Yeah! dont tell anybody....."I broke out!"

Shhhhhh!
Dave send you a cake with a file in it???? grin
Originally Posted by MagMarc
Dave send you a cake with a file in it???? grin


Nah, he bribed some guard named "Brooks"..... laugh


Casey
Ouch shocked
Originally Posted by alpinecrick
Originally Posted by MagMarc
Dave send you a cake with a file in it???? grin


Nah, he bribed some guard named "Brooks"..... laugh


Casey
Bish....
Originally Posted by MagMarc
Dave send you a cake with a file in it???? grin
Yes, and Ingwe delivered it acting like a clergy member.
Ingwe's like that. I hear he loves conversing with the JWs when they come by. wink
In the nude. grin sick
True Dat.......... whistle


Ingwe
See??
Originally Posted by Tom264
In the nude. grin sick

Only for the guys whistle
OK...sometimes I wear the leopard thong for the JWs.... grin


Ingwe
Good clarification.

Thanks for the bust!
You're so thoughtful!
grin


Ingwe
You guys are beyond help! grin
Hey! I'm innocent!! Those other guys started it...... whistle

Ingwe
Yeah....just like you tried to drag me into it the other day with your weird dog people pic sick tell it to the jury buddy! laugh
Who WERE those "Dog people" , anyhoo ?

....not that I don't have a hunch.

GTC



One was EH76 and the other..Tom264....

Ingwe
What!!!!????
Pretty Sporty crew, ....what?

GTC
Originally Posted by Tom264
What!!!!????


Don't play stoopid.....

You know the tall one is you.... grin

Ingwe
You Bish...............
shocked

I'm SHOCKED that you would call me that.....



whistle
Ingwe
I bet..............
I'm digging the new sig line Tom- as if anyone could get you two confused...
Originally Posted by ingwe
One was me and the other..Lee24....

Ingwe
Much better. wink
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