Strangers on a Train is a 1951 American psychological thriller film noir produced and directed by Alfred Hitchcock, and based on the 1950 novel Strangers on a Train by Patricia Highsmith. It was shot in the autumn of 1950 and released by Warner Bros. on June 30, 1951, starring Farley Granger, Ruth Roman, and Robert Walker.

The story concerns two strangers who meet on a train, one of whom is a psychopath who suggests that they "exchange" murders so that neither will be caught. The film initially received mixed reviews but has since been regarded much more favorably. In 2021, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".

Plot

Amateur tennis star Guy Haines wants to divorce his promiscuous wife Miriam so he can marry Anne Morton, the daughter of a US Senator. On a train, wealthy smooth-talking psychopath Bruno Antony recognizes Haines and reveals his idea for a murder scheme: two strangers meet and "swap murders"—Bruno suggests he kill Miriam and Guy kill Bruno's hated father. Each will murder a stranger, with no apparent motive, so neither will be suspected. Guy humors Bruno by pretending to find his idea amusing, but is so eager to get away from Bruno that he leaves behind his engraved cigarette lighter.

Guy meets with Miriam, who is pregnant by someone else, at her workplace in Metcalf, their hometown. Miriam informs Guy that she no longer wants to end their marriage. She threatens to claim that he is the father, in order to thwart any divorce attempt. That evening, Bruno follows Miriam to an amusement park and strangles her while Guy is on the train to Washington. When Guy arrives home, Bruno informs him Miriam is dead and insists that he must now honor their deal.

Guy goes to the Mortons' home, where Anne's father informs Guy that his wife has been murdered. Anne's sister Barbara says that the police will think that Guy is the murderer since he has a motive. The police question Guy, but cannot confirm his alibi: a professor Guy met on the train was so drunk that he cannot remember their encounter. The police assign an escort to watch him.

Bruno follows Guy around Washington, introduces himself to Anne, and appears at a party at Senator Morton's house. To amuse another guest, Bruno playfully demonstrates how to strangle a woman. His gaze falls upon Barbara, whose appearance resembles Miriam's. This triggers a flashback; Bruno compulsively squeezes the woman's neck, and other guests intervene to stop him from strangling her to death. Barbara tells Anne that Bruno was looking at her while strangling the other woman, and Anne realizes Barbara's resemblance to Miriam. Her suspicions aroused, Anne confronts Guy, who tells her the truth about Bruno's scheme.

Bruno sends Guy a package containing a pistol, a house key, and a map showing the location of his father's bedroom. Guy creeps into Bruno's father's room to warn him of his son's murderous intentions, but instead finds Bruno there waiting for him. Guy tries to persuade Bruno to seek psychiatric help, but Bruno threatens to punish Guy for breaking their deal.

Anne visits Bruno's home and tries explaining to his befuddled mother that her son is a murderer. Bruno mentions Guy's missing cigarette lighter to Anne and claims that Guy asked him to search the murder site for it. Guy infers that Bruno intends to plant it at the scene of the murder and incriminate him. After winning a tennis match, Guy evades the police escort and heads for the amusement park to stop Bruno.

When Bruno arrives at the amusement park, a carnival worker recognizes him from the night of the murder; he informs the police, who think he has recognized Guy. After Guy arrives, he and Bruno fight on the park's carousel. Believing that Guy is trying to escape, a police officer shoots at him, but instead kills the carousel operator, causing the carousel to spin out of control. A carnival worker crawls underneath it and applies the brakes too abruptly, causing the carousel to spin off its support, trapping the mortally injured Bruno underneath. The worker who called the police tells them that Bruno, not Guy, is the one he remembers seeing the night of the murder. As Bruno dies, his fingers unclench to reveal Guy's lighter in his hand. Realizing that Guy is not the murderer, the police ask him to come to the station to tie up loose ends.

Sometime later, another stranger on a train attempts to strike up conversation with Guy in the same way as Bruno had done. Guy and Anne coldly walk away from him.

Cast

 Farley Granger as Guy Haines
 Ruth Roman as Anne Morton
 Robert Walker as Bruno Antony
 Leo G. Carroll as Senator Morton
 Patricia Hitchcock as Barbara Morton
 Kasey Rogers as Miriam Joyce Haines
 Marion Lorne as Mrs. Antony
 Jonathan Hale as Mr. Antony
 Howard St. John as Police Capt. Turley
 John Brown as Professor Collins
 Norma Varden as Mrs. Cunningham
 Robert Gist as Detective Hennessey

Alfred Hitchcock's cameo appearance occurs 11 minutes into the film. He is seen carrying a double bass as he climbs onto a train.

Hitchcock said that correct casting saved him "a reel of storytelling time", since audiences would sense qualities in the actors that did not have to be spelled out. Hitchcock said that he originally wanted William Holden for the Guy Haines role, but Holden declined. "Holden would have been all wrong—too sturdy, too put off by Bruno", writes critic Roger Ebert. "Granger is softer and more elusive, more convincing as he tries to slip out of Bruno's conversational web instead of flatly rejecting him."

Warner Bros. wanted their own stars, already under contract, cast wherever possible. In the casting of Anne Morton, Jack L. Warner got what he wanted when he assigned Ruth Roman to the project, over Hitchcock's objections. The director found her "bristling" and "lacking in sex appeal" and said that she had been "foisted upon him." Perhaps it was the circumstances of her forced casting, but Roman became the target of Hitchcock's scorn throughout the production. Granger described Hitchcock's attitude toward Roman as "disinterest" in the actress, and said he saw Hitchcock treat Edith Evanson the same way on the set of Rope (1948). "He had to have one person in each film he could harass," Granger said.

Kasey Rogers (credited as Laura Elliott) noted that she had perfect vision at the time the movie was made, but Hitchcock insisted she wear the character's thick eyeglasses, even in long shots when regular glass lenses would have been undetectable. Rogers was effectively blind with the glasses on and needed to be guided by the other actors.

Production

Pre-production
Hitchcock secured the rights to the Patricia Highsmith novel for just $7,500 since it was her first novel. As usual, Hitchcock kept his name out of the negotiations to keep the purchase price low. Highsmith was quite annoyed when she later discovered who bought the rights for such a small amount.

Securing the rights to the novel was the least of the hurdles Hitchcock would have to vault to get the property from printed page to screen. He got a treatment that pleased him on the second attempt, from writer Whitfield Cook, who wove a homoerotic subtext into the story. With treatment in hand, Hitchcock shopped for a screenwriter; he wanted a "name" writer to lend some prestige to the screenplay, but was turned down by eight writers, including John Steinbeck and Thornton Wilder, all of whom thought the story too tawdry and were put off by Highsmith's first-timer status. Talks with Dashiell Hammett got further, but here too communications ultimately broke down, and Hammett never took the assignment.

Hitchcock then tried Raymond Chandler, who had earned an Oscar nomination for his first screenplay, Double Indemnity, in collaboration with Billy Wilder. Chandler took the job despite his opinion that it was "a silly little story." But Chandler was a notoriously difficult collaborator and the two men could not have had more different meeting styles: Hitchcock enjoyed long, rambling off-topic meetings where often the film would not even be mentioned for hours, while Chandler was strictly business and wanted to get out and get writing. He called the meetings "god-awful jabber sessions which seem to be an inevitable although painful part of the picture business." Chandler also felt that the original novel's plot was superior to Hitchcock's version, and argued that it should be restored. He complained privately that Hitchcock was too ready "to sacrifice dramatic logic (insofar as it exists) for the sake of a camera effect." Interpersonal relations deteriorated rapidly until finally Chandler became openly combative; at one point, upon viewing Hitchcock struggling to exit from his limousine, Chandler remarked within earshot, "Look at the fat bastard trying to get out of his car!" This would be their last collaboration. Chandler completed a first draft, then wrote a second, without hearing a single word back from Hitchcock; when finally he did get a communication from the director in late September, it was his dismissal from the project.

Next, Hitchcock tried to hire Ben Hecht, but learned he was unavailable. Hecht suggested his assistant, Czenzi Ormonde, to write the screenplay. Although Ormonde was without a formal screen credit, she did have two things in her favor: her recently published collection of short stories, Laughter From Downstairs, was attracting good notices from critics, and she was "a fair-haired beauty with long shimmering hair."—always a plus with Hitchcock. With his new writer, he wanted to start from square one:

There was not much time though—less than three weeks until location shooting was scheduled to start in the East. Ormonde hunkered down with Hitchcock's associate producer Barbara Keon—disparagingly called "Hitchcock's factotum" by Chandler—and Alma Reville, Hitchcock's wife. Together the three women, working under the boss's guidance and late into most nights, finished enough of the script in time to send the company East. The rest was complete by early November. Three notable additions the trio had made were the runaway merry-go-round, the cigarette lighter, and the thick eyeglasses.

There was one point of agreement between Chandler and Hitchcock, although it would come only much later, near the release of the film: they both acknowledged that since virtually none of Chandler's work remained in the final script, his name should be removed from the credits. Hitchcock preferred the writing credit of Whitfield Cook and Czenzi Ormonde, but Warner Bros. wanted the cachet of the Chandler name and insisted it stay on.

Even while the torturous writing stage was plodding its course, the director's excitement about the project was boundless. "Hitchcock raced ahead of everyone: the script, the cast, the studio... pieces of the film were dancing like electrical charges in his brain." The more the film resolved in his mind's eye, the more he knew his director of photography would play a critical role in the scenes' execution. He found exactly what he needed right on the Warners lot in the person of staff cameraman Robert Burks, who would continue to work with Hitchcock, shooting every Hitchcock picture through to Marnie (1964), with the exception of Psycho. "Low-keyed, mild mannered", Burks was "a versatile risk-taker with a penchant for moody atmosphere. Burks was an exceptionally apt choice for what would prove to be Hitchcock's most Germanic film in years: the compositions dense, the lighting almost surreal, the optical effects demanding." None was more demanding than Bruno's strangulation of Miriam, shown reflected in her eyeglass lens: "It was the kind of shot Hitchcock had been tinkering with for twenty years—and Robert Burks captured it magnificently."

Burks considered his fourteen years with Hitchcock the best of his career: "You never have any trouble with him as long as you know your job and do it. Hitchcock insists on perfection. He has no patience with mediocrity on the set or at a dinner table. There can be no compromise in his work, his food or his wines." Robert Burks received the film's sole Academy Award nomination for its black and white photography.

Production
With cast nailed down, a script in hand, and a director of photography in tune with Hitchcock's vision on board, the company was ready to commence filming. Hitchcock had a crew shoot background footage of the 1950 Davis Cup finals held August 25–27, 1950 at the West Side Tennis Club in Forest Hills, New York. While there, the crew had done some other location scouting. Exteriors would be shot on both coasts, and interiors on Warner Brothers' soundstages.

Hitchcock and his cast and crew decamped for the East Coast on October 17, 1950. For six days, they shot at Penn Station in New York City, at the railroad station at Danbury, Connecticut—which became Guy's hometown Metcalf—and in spots around Washington, D.C.

By month's end, they were back in California. Hitchcock had written exacting specifications for an amusement park, which was constructed on the ranch of director Rowland Lee in Chatsworth, California. The amusement park exteriors were shot there and at an actual Tunnel of Love at a fairground in Canoga Park, California. Hitchcock had already shot the long shots for the tennis match at Forest Hills and would add closer shots with Granger and Jack Cushingham, Granger's tennis coach off-screen and Guy's tennis opponent Fred Reynolds on-screen at a tennis club in South Gate, California. The rest of the shooting would take place on Warner soundstages, including many seemingly exterior and on-location shots that were actually done inside in front of rear-projection screens.

Strangers on a Train marked something of a renaissance for Hitchcock, after several years of low enthusiasm for his late-1940s output, and he threw himself into the micromanagement of some of its production. Hitchcock himself designed Bruno's lobster necktie, revealed in a close-up to have strangling lobster claws, and "he personally selected an orange peel, a chewing-gum wrapper, wet leaves, and a bit of crumpled paper that were used for sewer debris" in the scene where Bruno inadvertently drops Guy's lighter down the storm drain.

He also showed intense interest in a seldom-considered detail of character delineation: food.

One of the most memorable single shots in the Hitchcock canon—it "is studied by film classes", says Kasey Rogers, who played Miriam—is her character's strangulation by Bruno on the Magic Isle. "[I]n one of the most unexpected, most aesthetically justified moments in film," the slow, almost graceful, murder is shown as a reflection in the victim's eyeglasses, which have been jarred loose from her head and dropped to the ground. The unusual angle was a more complex proposition than it seems. First Hitchcock got the exterior shots in Canoga Park, using both actors, then later he had Rogers alone report to a soundstage where there was a large concave reflector set on the floor. The camera was on one side of the reflector, Rogers was on the other, and Hitchcock directed Rogers to turn her back to the reflector and "float backwards, all the way to the floor... like you were doing the limbo." The first six takes went badly—Rogers thudded to the floor with several feet yet to go—but on the seventh take, she floated smoothly all the way. Hitchcock's even-strained response: "Cut. Next shot." Hitchcock then had the two elements "ingenious[ly]" double printed, yielding a shot of "oddly appealing originality [with] a stark fusion of the grotesque and the beautiful.... The aestheticizing of the horror somehow enables the audience to contemplate more fully its reality."

Hitchcock was, above all, the master of great visual setpieces, and "[p]erhaps the most memorable sequence in Strangers on a Train is the climactic fight on a berserk carousel." While Guy and Bruno fight, the ride runs out of control until it tears itself to pieces, flinging wooden horses into the crowd of screaming mothers and squealing children. "The climactic carousel explosion was a marvel of miniatures and background projection, acting close-ups and other inserts, all of it seamlessly matched and blended under film editor William H. Ziegler's eye."

The explosion is triggered by the attempts of a carnival man to stop the ride after crawling under the whirling carousel deck to get to the controls in the center. Although Hitchcock admitted to undercranking the shot (artificially accelerating the action), it was not a trick shot: the man actually had to crawl under the spinning ride, just inches from possible injury. "Hitchcock told me that this scene was the most personally frightening moment for him in any of his films", writes biographer Charlotte Chandler. "The man who crawled under the out-of-control carousel was not an actor or a stuntman, but a carousel operator who volunteered for the job. 'If the man had raised his head even slightly", Hitchcock said, "it would have gone from being a suspense film into a horror film."

The final scene of the so-called American version of the film has Barbara and Anne Morton waiting for Guy to call on the telephone. Hitchcock wanted the phone in the foreground to dominate the shot, emphasizing the importance of the call, but the limited depth-of-field of contemporary motion picture lenses made it difficult to get both phone and women in focus. So Hitchcock had an oversized phone constructed and placed in the foreground. Anne reaches for the big phone, but actually answers a regular one: "I did that on one take", Hitchcock explained, "by moving in on Anne so that the big phone went out of the frame as she reached for it. Then a grip put a normal-sized phone on the table, where she picked it up."

Principal photography wrapped just before Christmas, and Hitchcock and Alma left for a vacation in Santa Cruz, then in late March 1951, on to St. Moritz, for a 25th anniversary European excursion.

Music
Composer Dimitri Tiomkin was Jack Warner's choice to score Strangers on a Train. While he had previous Hitchcock experience on Shadow of a Doubt (1943), and would go on to score two more consecutive Hitchcock films, the director and composer "simply never developed much of a kinship" and "the Hitchcock films are not Tiomkin's best".

Nevertheless, the score does pick up on the ubiquitous theme of doubles—often contrasting doubles—right from the opening title sequence: "The first shot—two sets of male shoes, loud versus conservative, moving toward a train—carries a gruff bass motif set against Gershwin-like riffs, a two-part medley called "Strangers" and "Walking" that is never heard again." The powerful music accurately underscores the visuals of that title sequence—the massive granite edifice of New York's Pennsylvania Station, standing in for Washington's Union Station—because it was scored for an unusually large orchestra, including alto, tenor and baritone saxes, three clarinets, four horns, three pianos and a novachord.

Tiomkin's contrasting musical themes continued throughout the film, delineating two characters with substantial differences: "For 'Guy's Theme', Tiomkin created a hesitant, passive idea, made-to-order music for Farley Granger's performance." Bruno, who tells Guy on the train that he admires people "who do things", gets a more vigorous musical treatment from Tiomkin: "Harmonic complexity defines the motifs associated with Bruno: rumbling bass, shocking clusters, and glassy string harmonics. These disturbing sounds, heard to superb effect in cues such as 'The Meeting,' 'Senator's Office,' and 'Jefferson Memorial,' are not just about Bruno, but about how he is perceived by those whose lives he crosses—first Guy, then everyone in Guy's entourage."

But perhaps the most memorable music in Strangers is the calliope music, heard first at the fairground and again, later, when Bruno is strangling Mrs. Cunningham at Senator Morton's soirée, and experiences his unfortunate flashback and subsequent fainting spell. It was Hitchcock, not Tiomkin, whose idea brought the four evocative numbers—"The Band Played On", "Carolina in the Morning", "Oh, You Beautiful Doll", and "Baby Face"—to the soundtrack:In one of Hitchcock's most explicit operatic gestures, the characters at the fateful carnival sing the score, giving it full dimension as part of the drama. In a conventional movie, the tune would play in the background as a clever ironic backdrop. But Hitchcock takes music to another level. Miriam and the two boyfriends in her odd ménage à trois bring "The Band Played On" to life by singing it on the merry-go-round, lustily and loudly... Grinning balefully on the horse behind them, Bruno then sings it himself, making it his motto. The band plays on through Bruno's stalking of his victim and during the murder itself, blaring from the front of the screen, then receding into the darkness as an eerie obbligato when the doomed Miriam enters the Tunnel of Love."The Band Played On" makes its final reprise during Guy's and Bruno's fight on the merry-go-round, even itself shifting to a faster tempo and higher pitch when the policeman's bullet hits the ride operator and sends the carousel into its frenzied hyper-drive.

Critic Jack Sullivan had kinder words for Tiomkin's score for Strangers than did biographer Spoto: "[S]o seamlessly and inevitably does it fit the picture's design that it seems like an element of Hitchcock's storyboards", he writes. It is a score that "goes largely uncelebrated."

Promotion and release
With a release scheduled for early summer, the studio press agents swung into high gear early in 1951. Hitchcock, promotionally photographed many times over the years strangling various actresses and other women—some one-handed, others two—found himself in front of a camera with his fingers around the neck of a bust of daughter Patricia; the photo found its way into newspapers nationwide. He was also photographed adding the letter L to Strangers on the official studio poster for the film, thus changing the word to Stranglers.

One studio press release gave rise to a myth that still lingers on today. Hitchcock and Patricia both were afraid of heights, and father offered daughter a hundred dollars to ride the Ferris wheel—only to order the power cut, leaving her in the dark at the very top of the ride. The press release embellished the tale, claiming he left her "dangling in total darkness for an hour," only then allowing his "trembling daughter" to be lowered and released. Although that account continues to be published in books to this day, "it just wasn't true", according to Patricia Hitchcock O'Connell. First of all, she was not up there alone: flanking her were the actors playing Miriam's two boyfriends—"and I have a picture of us waving." "This was good stuff for press agents paid to stir up thrills and it has been repeated in other books to bolster the idea of Hitchcock's sadism," but "we were [only] up there two or three minutes at the outside.... My father wasn't ever sadistic. The only sadistic part was I never got the hundred dollars."

Strangers on a Train previewed on March 5, 1951, at the Huntington Park Theatre, with Alma, Jack Warner, Whitfield Cook and Barbara Keon in the Hitchcock party and it won a prize from the Screen Directors Guild. It premiered in New York on July 3, marking the reopening of the extensively remodeled Strand Theatre as the Warner Theatre, and in a dozen cities around the country. Hitchcock made personal appearances in most of them, and was often accompanied by his daughter.

Some audience feedback arriving at Jack Warner's office condemned the film for its sordid story, while just as many others were favorable. Of greater interest to Warner was the box office take, and the "receipts soon told the true story: Strangers on a Train was a success, and Hitchcock was pronounced at the top of his form as master of the dark, melodramatic suspense thriller."

Themes and motifs
The film includes a number of puns and visual metaphors that demonstrate a running motif of crisscross, double-crossing, and crossing one's double. Talking about the structure of the film, Hitchcock said to Truffaut, "Isn't it a fascinating design? One could study it forever."

The two characters, Guy and Bruno, can be viewed as doppelgängers. As with Shadow of a Doubt, Strangers on a Train is one of many Hitchcock films to explore the doppelgänger theme. The pair has what writer Peter Dellolio refers to as a "dark symbiosis." Bruno embodies Guy's dark desire to kill Miriam, a "real-life incarnation of Guy's wish-fulfillment fantasy".

Doubles
The theme of doubles is "the key element in the film's structure," and Hitchcock starts right off in his title sequence making this point: there are two taxicabs, two redcaps, two pairs of feet, two sets of train rails that cross twice. Once on the train, Bruno orders a pair of double drinks—"The only kind of doubles I play", he says charmingly. In Hitchcock's cameo he carries a double bass.

Hitchcock carries the theme into his editing, crosscutting between Guy and Bruno with words and gestures: one asks the time and the other, miles away, looks at his watch; one says in anger "I could strangle her!" and the other, far distant, makes a choking gesture.

This doubling has some precedent in the novel, but more of it was deliberately added by Hitchcock, "dictated in rapid and inspired profusion to Czenzi Ormonde and Barbara Keon during the last days of script preparation." It undergirds the whole film because it finally serves to associate the world of light, order, and vitality with the world of darkness, chaos, lunacy and death."

Guy and Bruno are in some ways doubles, but in many more ways, they are opposites. The two sets of feet in the title sequence match each other in motion and in cutting, but they immediately establish the contrast between the two men: the first shoes "showy, vulgar brown-and-white brogues; [the] second, plain, unadorned walking shoes." They also demonstrate Hitchcock's gift for deft visual storytelling: For most of the film, Bruno is the actor, Guy the reactor, and Hitchcock always shows Bruno's feet first, then Guy's. And since it is Guy's foot that taps Bruno's under the table, we know Bruno has not engineered the meeting.

Roger Ebert wrote that "it is this sense of two flawed characters—one evil, one weak, with an unstated sexual tension—that makes the movie intriguing and halfway plausible, and explains how Bruno could come so close to carrying out his plan."

Darkness–light continuum
It is those flaws that set up the real themes of Strangers. It was not enough for Hitchcock to construct merely a world of doubles—even contrasting doubles—in a strict polar-opposite structure; for Hitchcock, the good-and-evil, darkness-and-light poles "didn't have to be mutually exclusive." Blurring the lines puts both Guy and Bruno on a good-evil continuum, and the infinite shades of gray in between, became Hitchcock's canvas for telling the story and painting his characters.

At first glance, Guy represents the ordered life where people stick to rules, while Bruno comes from the world of chaos, where they get thrown out of multiple colleges for drinking and gambling. Yet both men, like so many of Hitchcock's protagonists, are insecure and uncertain of their identity. Guy is suspended between tennis and politics, between his tramp wife and his senator's daughter, and Bruno is seeking desperately to establish an identity through violent, outré actions and flamboyance (shoes, lobster-patterned tie, name proclaimed to the world on his tiepin)."

Bruno tells Guy early on that he admires him: "I certainly admire people who do things", he says. "Me, I never do anything important." Yet as Bruno describes his "theories" over lunch, "Guy responds to Bruno—we see it in his face, at once amused and tense. To the man committed to a career in politics, Bruno represents a tempting overthrow of all responsibility." And at this point the blurring of good and evil accelerates: Guy fails to repudiate Bruno's suggestive statement about murdering Miriam ("What's a life or two, Guy? Some people are better off dead.") with any force or conviction. "When Bruno openly suggests he would like to kill his wife, he merely grins and says 'That's a morbid thought,' but we sense the tension that underlies it." It ratchets up a notch when Guy leaves Bruno's compartment and "forgets" his cigarette lighter. "He is leaving in Bruno's keeping his link with Anne, his possibility of climbing into the ordered existence to which he aspires.... Guy, then, in a sense connives at the murder of his wife, and the enigmatic link between him and Bruno becomes clear.

Light and dark onscreen
Having given his characters overlapping qualities of good and evil, Hitchcock then rendered them on the screen according to a very strict template, with which he stuck to a remarkable degree. Ebert wrote:

Nowhere is this more evident than the scene where Guy arrives home at his D.C. apartment to find Bruno lurking across the street; Bruno killed Miriam that evening in Metcalf, and has her glasses to give to Guy almost as a "receipt" that he has executed his part of their "deal". "On one side of the street, [are] stately respectable houses; towering in the background, on the right of the screen, the floodlit dome of the U.S. Capitol, the life to which Guy aspires, the world of light and order." Bruno tells Guy what he has done and gives him the glasses. "You're a free man now", he says, just as a police car drives up, looking for the husband of a certain recent murder victim. Guy nervously steps into the shadows with Bruno, literally behind the bars of an iron fence; "You've got me acting like I'm a criminal", he says. "The scene gives a beautifully exact symbolic expression to Guy's relationship with Bruno and what he stands for."

Hitchcock continues the interplay of light and dark throughout the film: Guy's bright, light tennis attire, versus "the gothic gloominess of [Bruno's] Arlington mansion"; the crosscutting between his game in the sunshine at Forest Hills while Bruno's arm stretches into the dark and debris of the storm drain trying to fish out the cigarette lighter; even a single image where "Walker is photographed in one visually stunning shot as a malignant stain on the purity of the white-marble Jefferson Memorial, as a blot on the order of things."

Political subtext

Although its first rumblings came in 1947 with the trial and conviction of the "Hollywood Ten," the so-called Red Scare was gathering steam in 1950, with the espionage-related arrests of Julius and Ethel Rosenberg and the trial of Alger Hiss. These events were the background to their work, while Hitchcock, Cook, Ormonde and Keon were preparing the script for Strangers, and film scholar Robert L. Carringer has written of a political subtext to the film. Treatment writer Cook used Guy to make the film "a parable quietly defiant of the Cold War hysteria sweeping America."

Carringer has argued that the film was crucially shaped by the Congressional inquiries, making Guy the stand-in for victims of the homophobic climate. "To all appearances Guy is the all-American stereotype, an athlete, unassuming despite his fame, conservatively dressed," wrote Carringer; he is "a man of indeterminate sexual identity found in circumstances making him vulnerable to being compromised." Hitchcock, who had drawn gay characters so sharply yet subtly in Rope in 1948, "drafted the left-leaning Cook... expressly because he was comfortable with sexually ambiguous characters."

Differences from the novel
Even before sewing up the rights for the novel, Hitchcock's mind was whirling with ideas about how to adapt it for the screen. He narrowed the geographic scope to the Northeast corridor, between Washington, D.C., and New York—the novel ranged through the southwest and Florida, among other locales. The scripting team added the tennis match—and the crosscutting with Bruno's storm drain travails in Metcalf—added the cigarette lighter, the Tunnel of Love, Miriam's eyeglasses; in fact, the amusement park is only a brief setting in the novel.

Hitchcock's biggest changes were in his two lead characters:

The character called Bruno Antony in the film is called Charles Anthony Bruno in the book. In the book, Bruno dies in a boating accident far removed from a merry-go-round.

In the novel, Guy Haines is not a tennis player, but rather a promising architect, and he does indeed go through with the murder of Bruno's father. In the movie, "Guy became a decent guy who refuses to carry out his part of the crazed bargain..." writes Patrick McGilligan, "to head off the censors." In the novel, Guy is pursued and entrapped by a tenacious detective.

The merry-go-round scene is not in the book, but is taken from the climax of Edmund Crispin's 1946 novel The Moving Toyshop. All the major elements of the scene—the two men struggling, the accidentally shot attendant, the out-of-control merry-go-round, the crawling under the moving merry-go-round to disable it—are present in Crispin's account, though he received no screen credit for it.

Reception

Critical reception
Upon its release in 1951, Strangers on a Train received mixed reviews. Variety praised it, writing: "Performance-wise, the cast comes through strongly. Granger is excellent as the harassed young man innocently involved in murder. Roman's role as a nice, understanding girl is a switch for her, and she makes it warmly effective. Walker's role has extreme color, and he projects it deftly."

Conversely, Bosley Crowther of The New York Times criticized the film: "Mr. Hitchcock again is tossing a crazy murder story in the air and trying to con us into thinking that it will stand up without support. ... Perhaps there will be those in the audience who will likewise be terrified by the villain's darkly menacing warnings and by Mr. Hitchcock's sleekly melodramatic tricks. ... But, for all that, his basic premise of fear fired by menace is so thin and so utterly unconvincing that the story just does not stand." Leslie Halliwell felt that Hitchcock was "at his best" and that the film "makes superior suspense entertainment," but called the story "unsatisfactory."

In contrast, modern reviews have been overwhelmingly positive. On Rotten Tomatoes the film has an approval rating of 98% based on reviews from 52 critics, with an average rating of 8.80/10. The website's consensus reads, "A provocative premise and inventive set design lights the way for Hitchcock diabolically entertaining masterpiece." Roger Ebert has called Strangers on a Train a "first-rate thriller" that he considers one of Hitchcock's five best films. He added the film in his Great Movies list. In 2012, The Guardian praised the film writing "Hitchcock's study of the guilt that taints the human condition is just one cinematic masterstroke after another".

David Keyes, writing at Cinemaphile in 2002, saw the film as a seminal entry in its genre: "Aside from its very evident approach as a crowd-pleasing popcorn flick, the movie is one of the original shells for identity-inspired mystery thrillers, in which natural human behavior is the driving force behind the true macabre rather than supernatural elements. Even classic endeavors like Fargo and A Simple Plan seem directly fueled by this concept..."

Almar Haflidason was effusive about Strangers on a Train in 2001 at the BBC website: "Hitchcock's favourite device of an ordinary man caught in an ever-tightening web of fear plunges Guy into one of the director's most fiendishly effective movies. Ordinary Washington locations become sinister hunting grounds that mirror perfectly the creeping terror that slowly consumes Guy, as the lethally smooth Bruno relentlessly pursues him to a frenzied climax. Fast, exciting, and woven with wicked style, this is one of Hitchcock's most efficient and ruthlessly delicious thrillers."

Patricia Highsmith's opinion of the film varied over time. She initially praised it, writing: "I am pleased in general. Especially with Bruno, who held the movie together as he did the book." Later in life, while still praising Robert Walker's performance as Bruno, she criticized the casting of Ruth Roman as Anne, Hitchcock's decision to turn Guy from an architect into a tennis player, and the fact that Guy does not murder Bruno's father as he does in the novel.

Box office
According to Warner Bros' records, the film earned $1,788,000 domestically and $1,144,000 in foreign territories.

Accolades

American Film Institute listed the film as #32 in AFI's 100 Years...100 Thrills.

Alternative versions
An early preview edit of the film, sometimes labeled the "British" version although it was never released in Britain or anywhere else, includes some scenes either not in, or else different from, the film as released. According to biographer Charlotte Chandler (Lyn Erhard), Hitchcock himself did not like either the "British" or the "American" version:

In 1997, Warner released the film onto DVD as a double sided disc, with the "British" version on one side, and the "Hollywood" version on the reverse. Between the two versions of the film, the "British" version most prominently omits the final scene on the train. A two-disc DVD edition was released in 2004 containing both versions of the film, this time with the "British" version titled "Preview Version" (102:49 long) and the "Hollywood" version titled "Final Release Version" (100:40 long). The film was later made available on Blu-ray in 2012 with the same contents as the 2004 DVD edition.

Legacy
Strangers on a Train was adapted for the radio program Lux Radio Theatre on two occasions: on December 3, 1951, with Ruth Roman, Frank Lovejoy, and Ray Milland, and on April 12, 1954, with Virginia Mayo, Dana Andrews, and Robert Cummings.

BBC Radio 4's Afternoon Play broadcast on September 29, 2011, was Strangers on a Film by Stephen Wyatt, which gives an imagined account of a series of meetings between Hitchcock (Clive Swift) and Raymond Chandler (Patrick Stewart), as they unsuccessfully attempt to create the screenplay for Strangers on a Train.

The 1987 film Throw Momma from the Train by Danny DeVito was inspired by Strangers on a Train, which is also watched by DeVito's character in the film.

A television film remake, Once You Meet a Stranger, was written and directed by Tommy Lee Wallace, and aired on CBS on September 25, 1996. The film switches the genders of the main characters from male to female, and stars Jacqueline Bisset and Theresa Russell.

In 2021, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". In 2022, Time Out magazine ranked the film at No.75 on their list of "The 100 best thriller films of all time".

See also
 Influence on Carol Burnett's Star on Hollywood Walk of Fame

References

Bibliography

Further reading
 Hare, Bill. "Strangers on a Train: Hitchcock's Rich Imagery Reigning Supreme" on Noir of the Week, April 20, 2008.
 Schneider, Dan. "Strangers On A Train – DVD" on Culturevulture.net.

External links

 Strangers on a Train on Lux Radio Theater: April 12, 1954

1950s crime thriller films
1950s psychological thriller films
1950s mystery films
1951 films
American black-and-white films
American crime thriller films
American mystery films
American psychological thriller films
Film noir
Films about murderers
Films based on American thriller novels
Films based on works by Patricia Highsmith
Films directed by Alfred Hitchcock
Films produced by Alfred Hitchcock
Films scored by Dimitri Tiomkin
Films set in Washington, D.C.
Films set in amusement parks
Films shot in Connecticut
Films shot in New York City
Films shot in Washington, D.C.
Films with screenplays by Raymond Chandler
Rail transport films
Tennis films
United States National Film Registry films
1950s English-language films
1950s American films

Strangers on a Train (film)


The Chevrolet Corvette (C7) is the seventh generation of the Corvette sports car manufactured by American automobile manufacturer Chevrolet from 2014 until 2019. The first C7 Corvettes were delivered in the third quarter of 2013.

Development and introduction

GM executives began planning the next-generation (C7)  Corvette sports car in 2007. The car was originally planned for the 2011 model year, but was delayed. Mid-engine and rear-engine layouts had been considered, but the Front mid-engine, rear-wheel-drive platform was chosen to keep costs lower.

The lead exterior designer of the C7 Corvette was Hwasup Lee, whose team completed the design between 2010 and 2011. The design director for the C7 was Kirk Bennion and the design was approved by the division's design director, Tom Peters, in 2011.

The 2014 Corvette debuted on Sunday, January 13, 2013, in Detroit at the North American International Auto Show. Chevrolet also showed the new crossed flags logo for the Corvette.

While overall the C7 attempts to provide an evolutionary redesign to an iconic theme, the car's designers incorporated aggressive angular elements. The C7 received criticism for some of the more styled elements of the car. "The rear contains what will surely be the C7's most controversial styling elements. It's all creases and vents back there, with aggressive trapezoidal taillights similar to those found on the current Camaro and quadruple-barreled tailpipes lined up in a neat row in the center of the rear valance", wrote Jason Kavanagh for Edmunds. Functional aerodynamic aids are tacked on or cut into every body panel of the C7, often juxtaposed against sharp creases. This is a radical departure from the prior generations of Corvettes, whose styling had no spoiler, few body panel creases, and only semi-functional gills for front brake cooling. In addition, past Corvette models minimized the size of headlamps or even hid them altogether. The C7 reverses that minimalist styling language with intricately styled headlamps with integrated LED daytime running lights (DRL).

The C7's all-new LT1 6.2L Small Block V-8 engine develops  and  of torque. This comes with the performance exhaust package, which is already included in the Z51 Performance Package or the level-up model, the Grand Sport, but is very common to see the standalone performance exhaust package being paired up with the base model. Without the performance exhaust, the powertrain produces  and  of torque. With the performance exhaust, the car can accelerate from 0– in 3.7 seconds when paired with the eight-speed automatic gearbox.  The C7's suspension consists of independent unequal-length double wishbones with transverse fiberglass mono-leaf springs and optional magnetorheological dampers, similar to its predecessor.

2014 model year

Production
Production and customer delivery of the 2014 Corvette Stingray Coupe began in September 2013. Corvette assembly plant tours in Bowling Green, Kentucky, began in October 2013. Production of the Stingray Convertible began at the end of 2013. The fifth generation of the small block engine used in the 2014 Chevrolet Corvette Stingray was built in GM's Tonawanda Engine Plant.

The first production 2014 Chevrolet Corvette Stingray Convertible was sold in 2013 Barrett-Jackson Palm Beach to Hendrick Motorsports owner Rick Hendrick for US$1,000,000 in a Barbara Ann Karmanos Cancer institute charity lot.

A month after the first 2014 Corvette Stingray, 485 vehicles had been delivered. Of these early orders, 38% included 7-speed manual transmission, and 75% included the Z51 Performance Package (54% also selected the magnetic ride suspension system).

Equipment
The 2014 Corvette features a carbon fiber hood and removable roof panel. Its fenders, doors, and rear quarter panels remain fiberglass composite. The C7 uses Aerogel, a material developed by NASA, to keep heat from the transmission tunnel from transferring into the cabin. The under-body panels are made of "carbon-nano" composite. The chassis is made of hydro-formed aluminum. The rear tail lights use indirect LED technology.

Despite the increased use of aluminum and other light weight materials, the overall weight of the car remains the same as that of the previous generation (C6). The C7 Corvette offers a seven-speed manual transmission made by Tremec that implements active rev matching. The Corvette also provides a driver mode selector with five settings: Weather, Eco, Tour, Sport, and Track mode. The hood and side vents and inlets assist in cooling and aerodynamic stability. The interior features a driver display that allows the driver to select from several modes with up to 69 different sources of information, ranging from an interactive performance timer to a tire tread temperature display. Two seat options are available: a touring seat for everyday use, and a competition sports seat for track driving with pass-throughs for a racing harness.

The 2014 Corvette LT1 engine, the first of the fifth generation family of small block engines, retains the push-rods acting on overhead valves design. It implements direct fuel injection, Active Fuel Management (cylinder deactivation), and continuously variable valve timing.

Models and special editions

Corvette Stingray Coupe

The Corvette Stingray Coupe went on sale in the US in the third quarter of 2013, as a 2014 model-year vehicle. The 2014 Corvette was equipped with a Tremec TR-6070 7-speed manual with rev-matching for both downshifts and upshifts, or a Hydramatic 6L80 6-speed paddle-shift automatic transmission optimized for Active Fuel Management.

In Japan, sales of the Corvette Stingray Coupe and Z51 version began in April 2014.

The top-level 3LT interior package includes a Bose 10-speaker audio system, SiriusXM radio with HD receiver, color head-up display, Performance Data Recorder, memory package, navigation system, heated and ventilated seats with power lumbar and bolster adjustment, premium Napa leather seating surfaces, and leather-wrapped dash, instrument panel, console, and door panels.

Corvette Stingray Convertible

The 2014 Stingray Convertible is a version of the 2014 Corvette Stingray with a power-operated fabric roof. The roof can be opened at speeds of up to 30 mph (50 km/h). The convertible was unveiled at the 2013 Geneva Motor Show. The Japanese version went on sale in May 2014.

Z51 Performance Package
The Z51 Performance Package includes dry sump lubrication, specific close-ratio gearing, transmission-cooling system, 19-inch front and 20-inch rear aluminum alloy wheels and dual-compound Michelin tires (increasing the tire diameter by one inch from the base Stingray), larger slotted rotors and brake-cooling ducts, electronic limited-slip differential and differential cooling system, unique chassis tuning, and optional Magnetic Ride Control active-handling system with Performance Traction Management. A Z51 Stingray also comes with Brembo brakes, which massively improve the braking performance from the base model. The performance exhaust package that comes included in the Z51 Performance Package gives the LT1 engine 460 horsepower and 465 pound-feet of torque. Its center of gravity height is "; lower than the Lotus Elise.

2013 SEMA concepts
Three Corvette Stingray concepts were displayed at the 2013 SEMA Show.

The Corvette Stingray Gran Turismo concept was made to promote the Gran Turismo 6 video game, and was one of the playable cars. It features a custom blue paint scheme, yellow-tinted headlamps, carbon fiber rear spoiler, ground effects kit, and front splitter; and a custom front grille, front fender, and rear quarter vents.

The Corvette Stingray Convertible Atlantic concept had a Blade Silver body color, Carbon Flash Metallic front splitter, rocker extensions and rear lower diffuser, Fusion Gray headlamp housings and hood accents, a suede wrapped interior package, chrome five-spoke wheels, molded splash guards, a windscreen mounted behind the seats.  The Corvette Stingray Coupe Pacific concept had a Torch Red body color, Z51 Performance Package, a carbon fiber hood, trim kit, and removable roof panel; a black front splitter and rocker extensions, Z51 rear spoiler, a Carbon Flash graphics package, and satin black aluminum wheels with a red accent stripe.

Premiere Editions
The 2014 Corvette Stingray Premiere Edition marked the introduction of both the coupe and convertible.  The coupe version, which debuted in 2013, was limited to 500 units in Laguna Blue Tintcoat. The convertible, which debuted in early 2014, was limited to 550 units in Lime Rock Green.  Both versions featured Brownstone suede interior, carbon-fiber interior and roof, Z51 Performance Package, Magnetic Selective Ride Control, a "stinger" hood stripe, custom luggage from Thule, and an exclusive dash plaque.

2015 model year

Production
In 2015, the 8L90 eight-speed automatic transmission was available as an option for all Corvette models. The 8L90 is built at GM's Toledo, Ohio, transmission facility.

Equipment
Major changes for the 2015 model year, in addition to the reintroduction of the Z06, were limited to the introduction of the 8L90 automatic transaxle (replacing the 6L80 transaxle), as well as the dual mode exhaust becoming standard on Z51 cars.

Performance Data Recorder
The Performance Data Recorder (PDR) is an optional system that allows Corvette drivers to record performance data while driving and review the results.
A 720p high-definition camera mounted within the windshield header trim records the driver's point-of-view through the windshield, with audio recorded via a dedicated microphone in the cabin. The system uses a dedicated GPS receiver more precise than the one in the navigation system. The recorder can access vehicle information, ranging from engine speed and transmission-gear selection to braking force and steering-wheel angle.  It uses a dedicated SD-card for recording and transferring video and vehicle data.

The PDR system can record video with three data overlay options, each rendered in real time. "Track Mode" shows the most data on the screen, including speed, rpm, g-force, a location-based map, and lap time. "Sport Mode" shows fewer details but includes key data including speed and g-force. "Touring Mode" shows no data; it simply records and displays video and audio of the drive.  Additionally, "Performance Mode" records performance metrics, such as 0 to  acceleration, 1/4-mile speed and elapsed time, and  runs.

The PDR vehicle data can be viewed in the included "Cosworth Toolbox" software. The application overlays recorded laps on a satellite map of the track, and allows lap-by-lap comparison of vehicle speed, time, and cornering force.  The video can be viewed on the Corvette Stingray's eight-inch color touchscreen (when the car is parked), or transferred to a computer for editing and sharing on social media.

Models and special editions

Z06

For the 2015 model year, a performance version of the Corvette called the Z06 was introduced at the North American International Auto Show. The Z06 comes with a  supercharged and intercooled LT4 V8 engine with Rotocast A356T6 aluminum cylinder heads and a 1.7-liter Eaton R1740 TVS Supercharger, which generates  at 6,400 rpm and  at 3,600 rpm of torque, giving the Z06 a top speed of . The Z06 is available with a Tremec seven-speed manual with rev-matching technology or a Hydramatic 8L90 eight-speed automatic transmission with paddle shifters.

Changes to the body of the Z06 include a removable carbon fiber roof panel, a front splitter, a unique carbon fiber hood with a larger vent, larger front fender vents and unique air blades over the inlets on the rear fenders, a larger unique rear spoiler, and rear-fascia openings that are larger than that of the Stingray. The redesigned mesh pattern on the front fascia allows for maximum airflow to the supercharger's intercooler heat exchanger, while dedicated brake-cooling intakes and wider grille outlets on the bottom serves as air diffusers.  It rides on 19×10-inch front and 20×12-inch rear spin-cast aluminum wheels on Michelin Pilot Sport P285/30ZR19 front and 335/25ZR20 rear tires.

Inside the Z06, there are a choice of two magnesium frame seats (GT seat or a Competition Sport seat with more aggressive side bolstering), a steel-reinforced grab bar on the center console for the passenger, soft-touch materials on the edge of the console, and a fully wrapped interior with Nappa leather, aluminum, carbon fiber, and microsuede, depending on the trim level.

Mechanical features of the Z06 include Brembo brakes (371×33-mm front and 365×25-mm rear two-piece steel disc brakes, aluminum six-piston front and four-piston rear fixed calipers), uniquely calibrated SLA-type front and rear suspension design, Magnetic Ride Control dampers, electronic limited-slip differential (eLSD) integrated with electronic stability control, and Performance Traction Management.

The US model of the Z06 went on sale in January 2015, with a base price of US$78,995 (~$ in ). Chevrolet offered buyers of the Z06 an opportunity to personally assemble the engine used in their cars at the Bowling Green, Kentucky assembly plant where they are built as part of a US$5,000 (~$ in ) package beginning in March 2015.

The Corvette Z06 Convertible includes a power-folding top that can activate at driving speeds up to , as well as repositioned safety-belt mounts.
It was unveiled at the 2014 New York International Auto Show, alongside the Corvette Z06 coupe.

Z07 performance package
The Z07 performance package includes Michelin Pilot Sport Cup 2 P285/30ZR19 front and 335/25ZR20 rear tires, 394x36mm front and 388x33mm rear carbon ceramic-matrix brake discs, and revised suspension tuning (RPO FE7) which raises spring rates front and rear 62% and 22% respectively, changes stabilizer bar bushing material, and fits the Magnetorheological shocks with modified valving for a higher "passive" curve in addition to more aggressive damping tuning.

The optional stage 2 carbon-fiber aero package (in either black or a visible carbon-fiber finish) adds a carbon fiber front splitter with small winglets, carbon fiber rocker panels, and a larger rear spoiler while stage 3 builds on that with larger front splitter winglets and a clear, adjustable wickerbill – a small, vertical section in the middle of the rear spoiler that significantly increases downforce.

Atlantic/Pacific Design Package
The 2015 Corvette Stingray Atlantic Design Package is based on Z51-equipped Corvette Stingray convertibles with 2LT or 3LT trim. The package includes a Z06-style front splitter, Shark Gray exterior vents, "stinger" graphic and tonneau inserts on the hood, chrome wheels, Stingray logos, and custom luggage bags.

The 2015 Corvette Stingray Pacific Design Package is based on the Z51-equipped Corvette Stingray coupe with 2LT or 3LT trim. The package includes satin black full-length racing stripes, satin black Z51 wheels with red stripe and Stingray center caps, carbon fiber ground effect package along with exposed carbon fiber roof panel, Carbon Flash rear spoiler, red brake calipers, Competition Sport seats, carbon fiber interior trim, and an indoor car cover.

2016 model year

Production
A mid-year production change involved the phasing out of 4 exterior colors and the addition of a new color, Admiral Blue, at the end of the 2016 production run.

Models and special editions

Three "design packages" were offered: the Twilight Blue Design Package, Spice Red Design Package, and Jet Black Suede Design Package.  They were available on 3LT and 3LZ trim models.  The Twilight Blue and Spice Red packages included full-color instrument panel, doors, and seats, chrome badges, and Shark Gray painted exterior vents.  Convertible models included a blue, red, or black top matching the package.  The packages included special aluminum wheels, 19" front and 20" rear, painted Pearl Nickel in the Twilight Blue and Spice Red packages for the Z06, and Satin Black in the Jet Black package.  The design packages were offered with white, gray, and silver exterior colors, along with a color matching the package (Night Race Blue, Long Beach Red, and Black, respectively).

Z06 C7.R Edition (ZCR)
Available only with 3LZ trim, the Z06 C7.R Edition is primarily an appearance package. Interior features include a Jet Black leather trimmed and suede wrapped interior, competition sport seats, suede wrapped steering wheel and shifter, yellow contrast stitching, carbon fiber interior package, C7.R Limited-Edition interior plaque (includes racing victories) and Corvette Racing sill plates. On the exterior, changes include black Z06 Wheels with yellow stripe, yellow brake calipers, Corvette Racing wheel center caps, visible carbon fiber, Spectra Gray grille and vents, C7.R graphics, and the Z07 Performance Package with carbon ceramic brakes. The package is available in either Black or Corvette Racing Yellow exterior colors. It included its own sequential VIN starting with 700001. Only 500 units were produced.

2017 model year

Production
Production for the 2017 model year began on July 11, 2016, and ended on May 29, 2017, with the 2018 model year production officially beginning the following week.

Models and special editions

Grand Sport (Z15)
In April 2016 at the Geneva Auto Show, Tadge Juechter, the chief engineer on the C7, introduced the new Grand Sport model for the 2017 model year. The Grand Sport is a hybrid of the Z51 Stingray and the Z06; sharing much of the wide body work of the Z06 (except the hood) with the Z51 LT1 dry sump engine. The Grand Sport features:
 Michelin Pilot Super Sport summer tires: 285/30ZR19 (front) and 335/25ZR20 (rear)
 unique Grand Sport wheel design: 19x10 inches (front) and 20x12 inches (rear)
 Brembo brake system:  rotors and six-piston calipers in front, and  rotors and four-piston calipers in the rear
 magnetic ride control, specific stabilizer bars and unique springs
 electronic limited-slip differential
 LT1 V8 engine rated at , with dry-sump oiling system and active exhaust
 7-speed manual transmission, with active rev match and available eight-speed paddle-shift automatic with specific performance calibration

Grand Sport models are offered as a convertible or coupe with either a 7-speed manual or 8-speed automatic transmission.

An available Z07 package adds carbon ceramic-matrix brakes and Michelin Pilot Sport 2 Cup tires.  An available Heritage Package includes interior brushed aluminum hash marks, and floor mats with the Grand Sport logo.

Grand Sport Collector Edition (Z25)

As part of the introduction of the Grand Sport, Chevrolet also introduced a Grand Sport Collector Edition, which was meant to be limited to 1,000 vehicles, with 850 allocated to the US market. 784 coupes and 151 convertibles were built; 935 total.  The Collectors Edition was a cosmetic package that contained some unique features, including Tension Blue fender hash-marks, two-tone Tension Blue leather seating surfaces with an embossed Grand Sport logo on the headrest, blue leather stitching, and a numbered dash plaque.

The registry for the Grand Sport Collector Edition has collected specific production configurations and details of the vehicles in the series.

2018 model year

Production
Production for the 2018 model year officially began on June 5, 2017. Production was suspended on July 28, when the plant shut down for new paint facility upgrades as well as the addition of a new assembly line for the 2019 ZR1 model. Plant tours were suspended for 18 months as a result of this shut down. The plant resumed production on November 6, 2017. The 2018 model year ended on January 26, 2018.

Models and special editions
The Stingray, Grand Sport and Z06 models continued into the 2018 model year.

Carbon 65 Edition (Z30)
Commemorating the 65th anniversary of the Corvette, Chevrolet offered the Carbon 65 Limited Edition for the 2018 model year. This edition was limited to 650 units globally, painted exclusively in Ceramic Matrix Gray. It was available on Grand Sport 3LT and Z06 3LZ trims in both convertible (blue top only) and coupe bodies. The Carbon 65 Edition option package included unique fender stripes and door graphics, black wheels with machined grooves on summer-only tires, blue brake calipers, a Jet Black suede-wrapped interior with blue stitching, and various unique badges.  Carbon fiber applications included visible ground effects, hood section and roof (coupe) or tonneau inserts (convertible), spoiler, steering wheel rim, and gloss interior trim.

2019 model year
2019 was the final model year for the seventh generation of the Corvette. Chevrolet auctioned off the final C7 Corvette, a black Z06 coupe, at a Barrett-Jackson charity auction held in Connecticut on June 28, 2019. The actual car was assembled in November 2019.

Drivers Series
In January 2019, Chevrolet introduced a special edition of the Corvette Grand Sport called the Drivers Series. This edition features four paint schemes each selected by Corvette Racing team's drivers Tommy Milner, Oliver Gavin, Jan Magnussen, and Antonio Garcia. The livery selected by Tommy Milner includes an Elkhart Lake Blue exterior with silver stripes and red hash marks, body-color mirrors, black wheels with red stripe and red brake calipers, and a Jet Black Suede interior with red seat belts. The livery selected by Oliver Gavin includes a Shadow Gray exterior with Torch Red center stripe and Torch Red hash marks, Carbon Flash mirrors, black wheels with red stripe, red brake calipers, and an Adrenaline Red interior with red seat belts. The livery selected by Jan Magnussen includes an Arctic White exterior with Crystal Red stripes and gray hash marks, body-color mirrors, black wheels with red stripe and red brake calipers and a Jet Black interior with red seat belts. The livery selected by Antonio Garcia includes a Racing Yellow exterior with "Jake" stinger stripe, red hash marks, Carbon Flash mirrors, black wheels with red stripe and red brake calipers, and a Jet Black interior.

All four of the special liveries were available on the Grand Sport. The cars also came fitted with an interior plaque commemorating each driver and other unique trim details. The Drivers Series Corvettes went on sale in Spring 2019.

A total of 95 2019 Corvettes were equipped with the Drivers Series Package. Of those, 14 had the Antonio Garcia livery, 21 had the Tommy Milner livery, 25 had the Jan Magnussen livery, and 35 had the Oliver Gavin livery.

ZR1

The Corvette C7 ZR1 was unveiled at the 2017 Dubai Motor Show for the 2019 model year. The ZR1 is heavily based on the Z06 platform with many noticeable changes, including the all-new  pushrod LT5 V8 engine equipped with a  Eaton supercharger that is 52% larger than that of the Z06 along with a new fuel injection system. The new engine is rated at  at 6,300 rpm and  of torque at 4,400 rpm. The ZR1 also includes an improved engine cooling system with large vents in the front bumpers and on the hood, a larger intercooler, and four more radiators, bringing the total count to thirteen.

The ZR1's aero package was developed in collaboration with Pratt & Miller's Corvette racing team in wind tunnels. It includes a large rear wing bolted directly on the chassis, a front splitter, and a new front underbody spoiler in order to balance out the excess drag. Other changes include an active exhaust system and an upgraded crankshaft, all of which help propel the car to a top speed of  with the low rear wing.

The ZTK Performance Package is an optional aero package for the ZR1. It adds a higher fixed rear wing which generates 60% more downforce than the Z06 with the Z07 package, but also reduces top speed due to aerodynamic drag. The ZTK package also adds carbon fiber front splitter end caps. With the combination of the high rear wing and front underbody spoiler, the ZR1 produces  of downforce at top speed. The ZTK package also fits the ZR1 with Michelin Pilot Sport Cup 2 tires instead of the standard Michelin Super Sport tires, and specific chassis and magnetic ride control settings for better cornering.

Despite the extensive use of carbon fiber, the ZR1 is heavier than the Z06 at  due to added fluids for the cooling system. The ZR1 is available with a 7-speed  Tremec TR-6070 manual transmission with rev-matching technology or an 8-speed GM 8L90 automatic transmission with paddle shifters, which are the same as those found in the Z06. The ZR1 comes with carbon ceramic brakes, double wishbone suspension system and magnetic ride control system as standard with optional brake caliper colors and wheels. The interior includes Nappa leather upholstery, heated seats, carbon fiber rimmed steering wheel and Bose sound system as standard with a variety of performance and comfort options available. The ZR1 went on sale in Q2 2018.

A convertible version of the ZR1 was unveiled at the 2017 Los Angeles Auto Show. Performance figures remain the same as the coupe, but the convertible weighs  more than its coupe counterpart due to structural reinforcing components.

Racing

C7.R

The racing version of the 2015 Corvette Z06, called the C7.R, was unveiled at the 2014 North American International Auto Show. Modifications over the Z06 include increased cooling and aerodynamic downforce, including similar front splitters, rocker panels, and front- and rear-brake cooling ducts; a 5.5-litre LS7.R naturally aspirated V8 engine developed specifically for the C7.R having a power output of , modified suspension system to accommodate wider racing tires and larger brakes, air intake openings on each of the rear quarter panels above the brake ducts, a fixed motorsport rear wing, and larger radiator inlets.

C7 GT3-R

The C7 GT3-R (sometimes stylized as C7 GT3/R) was a GT3 adaptation of the C7 unveiled by Callaway Engineering on October 3, 2015, at the final round of the 2015 ADAC GT Masters at the Hockenheim circuit. This also marked the first time a factory-backed Corvette was built by a company other than Pratt & Miller. It uses a 6.2L Chevrolet-based V8 engine from Dutch firm APP Racing Engines, and produces  and  depending on air restrictors, mated to a X-Trac 6-speed gearbox.

Awards
 "Automobile of the Year 2014" - Automobile Magazine
 "Performance Car of the Year 2013" - Road & Track
 Finalist - Motor Trend Car of the Year
Car and Drivers 10Best list in 2014, 2015, 2017, 2018, and 2019.

Production totals

References

External links
Chevrolet Corvette Stingray official site

C6
Cars introduced in 2013
Flagship vehicles
2010s cars
Sports cars
Front mid-engine, rear-wheel-drive vehicles

Chevrolet Corvette (C7)


Dave Benz is an American broadcaster who formerly served as the television play-by-play announcer for the Minnesota Timberwolves of the National Basketball Association (NBA).

Broadcasting career

Comcast SportsNet
Benz hosted several programs for the San Francisco 49ers, such as 49ers Postgame Live, 49ers Central, and 49ers Press Conference. He hosted pregame/postgame shows for the Golden State Warriors, Oakland Athletics, and the San Jose Sharks and was an anchor for SportsNet Central. He also did play-by-play for college basketball, reported for Sportsnet Reporters, and was the voice of the San Jose SaberCats of the Arena Football League.

KNBR-AM
He has also worked for KNBR-AM as a fill-in host for The Gary Radnich Show, The Damon Bruce Show, and Sportsphone 680.

WTTG-TV
Benz was also employed by WTTG-TV as a sports anchor/reporter and hosted pregame/halftime/postgame shows for the Washington Redskins.

The Mountain
Benz also called college basketball games for the MountainWest Sports Network.

KLZ-560 AM
Dave also was a talk show host for KLZ-560 AM and was the host of a four-hour talk show host, Sportstown.

Fox Sports/Fox Sports Net/Bally Sports
While working for the Fox Sports family, hosted several shows for Fox Sports Rocky Mountain such as AFL Weekly, Broncos Preview, Rockies All Access, Rockies Roundup, Crush Weekly, Insider Edition, and The Buffalo Stampede. He did play-by-play for Colorado Rockies spring training, hosted pregame/postgame shows for various sports such as college football and basketball, play-by-play commentator for the Colorado Crush, Colorado State Tigers men's basketball, and Colorado Buffalos men's and women's basketball and Denver Pioneers men's basketball, sideline reporting for the Colorado Crush and the Colorado Buffalos; football and men's basketball. He also did some sideline reporting for the Fox NFL Sunday. He was the host of Mavericks Live, a pregame/postgame show host for the Dallas Mavericks and performed the same role for the San Antonio Spurs. He also hosted Florida Sports Report and Southwest Sports Report.

Other work
He worked as sports anchor and sports reporter at WTTV-TV and WXIN-TV as well as a sports director for WUTR-TV. He was the pregame/postgame host for the Colorado Rockies Radio Network and hosted shows Softball 360, SledHead 24/7, and Autoweek. He was also the pregame/halftime/postgame host for the Green Bay Packers Radio Network. His other play-by-play experiences came from the Green Bay Bombers and the Wisconsin Blast. The Minnesota Timberwolves hired Benz to replace Tom Hanneman as the voice of the Timberwolves. He was let go by the Timberwolves in May 2022.

References

Television anchors from Washington, D.C.
Television anchors from Indianapolis
Colorado Rockies announcers
Golden State Warriors announcers
San Jose Sharks announcers
Oakland Athletics announcers
Green Bay Packers announcers
Living people
American television sports announcers
American television sports anchors
American radio sports announcers
American talk radio hosts
National Basketball Association broadcasters
Major League Baseball broadcasters
Arena football announcers
Women's college basketball announcers in the United States
National Hockey League broadcasters
National Football League announcers
College basketball announcers in the United States
Minnesota Timberwolves announcers
College football announcers
Olympic Games broadcasters
Year of birth missing (living people)

Dave Benz


Feroz is a Spanish fantasy movie. It was directed by Manuel Gutiérrez Aragón. It was screened in the Un Certain Regard section at the 1984 Cannes Film Festival.

Plot
Pablo (Julio César Sanz) is a strange man who is lost in the forest. One day he is saved by Luis (Fernando Fernán Gómez) from being attacked by several wild dogs. However, that "man" has the ability to become into a bear, which is why dogs are aggressive toward him.

Luis, as a psychologist, takes him to Madrid so he can learn to live into the society.

Cast
Fernando Fernán Gómez ias Luis
Frédéric de Pasquale as Andrés
Elene Lizarralde as Ana
Julio César Sanz as Pablo
Javier García as Pablo/Bear
Marta Suárez as Girl
Margarita Calahorra as Pablo's mother
José Rodríguez as Pablo's father

References

Other websites

Spanish drama movies
Spanish fantasy movies
1984 drama movies
1984 fantasy movies

Feroz


John Dillwyn Llewelyn FRS FRAS (12 January 1810 – 24 August 1882) was a Welsh botanist and pioneer photographer.

Early life
He was born in the parish of Llangyfelach, Swansea, Wales, the eldest son of Lewis Weston Dillwyn and Mary Dillwyn, née Adams, the natural daughter of Col. John Llewelyn of Penllergaer and Ynysygerwn. His sister, Mary Dillwyn (1816–1906), is remembered as the earliest female photographer in Wales. Upon coming of age he inherited his maternal grandfather John Llewelyn's estates of Penllergaer and Ynysygerwn, near Swansea, and assumed the additional surname of Llewelyn. Educated privately, he met through his father (a Fellow of the Royal Society and the Linnean Society, and at one time a member of Parliament) many of the eminent men of his time. These included Sir David Brewster, Michael Faraday and Charles Wheatstone. His father Lewis Weston Dillwyn had been sent to Swansea in 1803 by Lewis' father William to take over the management of the Cambrian Pottery.

In 1833 he married Emma Thomasina Talbot, daughter of Thomas Mansel Talbot and Lady Mary Lucy, née Fox Strangways, the younger daughter of the Earl & Countess of Ilchester. Thomas was related to William Davenport Talbot and Mary was the sister of Elisabeth Talbot, the parents of William Henry Fox Talbot. Henry Talbot, through his botanic interests was a friend of Lewis Weston Dillwyn and spent some of his teenage years at Penrice, the home of the Welsh Talbots, also visiting Penllergaer.

In 1835 he served as High Sheriff of Glamorgan.

Photographic interests
In January 1839, following the announcements of photographic processes by both William Henry Fox Talbot and Louis Jacques Mandé Daguerre, Llewelyn, with the encouragement of Henry Talbot, began to experiment himself. He tried all the processes available. His earliest daguerreotype is dated 1840. A few of his early photogenic drawings have survived, including some cliché verre, dated 1839. Some thousand calotype and wet collodion negatives still exist together with albums in private and public collections and retained by the family.

When the Royal Photographic Society was founded in 1853, Llewelyn was one of those who attended the foundation meeting at the Society of Arts in London, and was, for some years, a founder Council member. It was suggested at one time that he become country vice-president, but nothing seems to have come of that idea. He exhibited regularly in the early exhibitions of the Society as well as in Dundee, the Manchester Art Treasures exhibition and Paris exhibition in 1855. At this latter exhibition he was amongst those awarded a silver medal for his 'Motion' series.

In 1856 he announced his own oxymel process which allowed collodion negatives to be preserved over many days. This was hailed as a boon by the Illustrated London News of July 1856. They wrote "We have heard of a new method of preserving collodion plates for a week or a fortnight discovered by Mr Llewelyn of Penllergare a gentleman to whom all photographers owe a world of thanks. The plates may be prepared at home and a boxful taken out and think of this ye tourists, as you travel along and a fine prospect meets your eye you have nothing to do but to stop your carriage, get out your camera, and in a few minutes you may secure a picture, drawn by Nature herself, that would have taken you hours to sketch..."

He also took a number of stereo images using a camera he bought for his daughter Thereza's birthday in 1856.

His last images would appear to date from the end of the 1850s after which it is possible that his health prevented any further photographic activity. He never took his camera outside Britain, though the family frequently visited mainland Europe. The majority of his images were taken around his estate of Penllergare, near Swansea, and around the Welsh coast. There are also a number taken in Cornwall over several years, many in Bristol including some pioneer animal and bird images in Clifton Zoo, Yorkshire, Derbyshire and a few in Scotland. His circle of photographic friends included Philip Henry Delamotte, Robert Hunt, Hugh Welch Diamond and especially his distant relative Calvert Richard Jones. Anecdotal diary references tell us that, in the 1840s, he was with his friend Antoine Claudet, conducting experiments on the daguerreotype process. It has been suggested that they were probably relating to the speed of exposure of the plate.

Though he never published any photographic books, he did contribute to The Sunbeam edited by his friend Philip Henry Delamotte and other books. One book by Llewelyn that was scheduled for publication was "Pictures of Welsh Scenery" to be published by Joseph Cundall of Bond Street, in 1854. In "The Practice of Photography" published in 1853 written by Philip Delamotte (or Philip H De la Motte as the publication states) an advertisement in the back announced: "Now ready, price 16s .... "Series of Photographic Pictures of Welsh Scenery" by J D Llewelyn. Published in parts 10s 6d each." The book appears not to have been published for some unknown reason and there are no references to it in surviving letters either.

Other scientific interests

Llewelyn had many scientific and technological interests beyond photography. He built a botanical collection. He assisted Charles Wheatstone with the first ever experiments in sub-marine telegraphy, off the Mumbles, South Wales. He demonstrated a model boat powered with an electrical motor on the ornamental lake on his estate. He created the first private orchid house to replicate the original conditions of the plants in the South American jungles, heated with steam, complete with a heated waterfall.

Llewelyn had an interest in astronomy. He built a stone observatory on the estate for the use of his daughter Thereza, starting construction in 1851. The observatory housed a 4¾-inch aperture refracting telescope on an equatorial mount.

Later life
Llewelyn moved to London in 1879 and died on 24 August 1882 at his home, Atherton Grange, in Wimbledon. Emma had died the previous year and both are buried at Penllergaer Church, originally built by Llewelyn for his family and estate workers. Their eldest son John Talbot Dillwyn Llewellyn became High Sheriff of Glamorgan in 1878, mayor of Swansea in 1891, and M.P. for Swansea, 1895–1900 and was created a baronet in 1890 .

Llewelyn's ancestors were both Welsh and American. His great-great-grandfather, William Dillwyn, had emigrated to North America in the 17th century as a persecuted Quaker, and was granted land by William Penn and some descendants of William still live in the United States; the Parrish Art Gallery and Museum, on Long Island being founded by one of them. Another descendant was the American painter Maxfield Parrish.

A brief explanation of the different spellings of Penllergare/gaer is of interest. At the time of John Dillwyn Llewelyn's ownership of the estate, it was, and still is on the estate office seal, spelled Penllergare. The former village of Cors Einon later changed its name to Penllergaer, and the modern village of Gorseinon is now located a few miles away.

Penllergaer Today
A restoration project is currently taking place at Penllergaer today by the Penllergare Trust. Guided by the unique archive of John Dillwyn Llewelyn's mid-nineteenth century photography, the upper lake will be de-silted, and steps, terraces, waterfalls and cascades will be repaired and restored to reinstate the picturesque and romantic design.  The stone arched Llewelyn Bridge has now been completed; perhaps the only bridge of its type to be built in Britain in decades.

Collections
Llewelyn's work is held in the following public collection:
Swansea Museum, Swansea.

References

 Anglo-American Name Authority File, s.v. "Llewelyn, John Dillwyn", LC Control Number n81138072, cited 23 November 2005
 Union List of Artists Names, s.v. "Llewelyn, John Dillwyn"

Further reading

External links

The Restoration Project at Penllergare Valley Woods (Official Site)
Works by John Dillwyn Llewelyn at the Swansea Museum

Welsh botanists
19th-century Welsh photographers
1810 births
1882 deaths
Pioneers of photography
Fellows of the Royal Society
People from Swansea
Welsh people of American descent
High Sheriffs of Glamorgan
19th-century British botanists
Dillwyn family

John Dillwyn Llewelyn


The Ryazansky suburban railway line () is one of eleven railway lines used for suburban railway connections between Moscow, Russia, and surrounding areas, mostly in Moscow Oblast. The Ryazansky suburban railway line connects Moscow with the stations in the south-east, in particular, with the towns of Lyubertsy, Kurovskoye, and Shatura. The stations the line serves are located in Moscow, in Lyubertsy, Ramenskoye, Voskresensk, Kolomna, and Lukhovitsy in Moscow Oblast, as well as Rybnovsky and Ryazansky Districts and the city of Ryazan in Ryazan Oblast. The suburban trains have their northwestern terminus at Moscow Kazansky railway station in Moscow. In the southeastern direction, the suburban trains terminate at Ippodrom, Faustovo, Vinogradovo, 88km, Shifernaya, Golutvin, Ryazan I, and Ryazan II. The line is operated by Moscow Railway. The tracks between Moscow Kazansky railway station and Lyubertsy I are also used by Kazansky suburban railway line.

The suburban railway line follows the railway which connects Moscow with Ryazan and continues further to Samara and Saratov. It is electrified and has at least two tracks everywhere between Moscow and Ryazan. The distance between Kazansky railway station and Ryazan I is .

History
The railway between Moscow and Kolomna was constructed between 1860 and 1862 and was officially open for passenger and cargo traffic on 20 July 1862.

The section between Moscow and Lyubertsy has been electrified in 1933. In 1934, the electrification was extended to Bykovo, and in 1935 to Ramenskoye. It was extended to Ryazan in 1958.

Stations
Following the standard notations in Russia, a railway stop below is called a station if it is a terminus or if it has a cargo terminal, and it is called a platform otherwise.
 Moscow Kazansky railway station (station), transfer to Kurskaya metro station of Sokolnicheskaya line and Komsomolskaya metro station of Koltsevaya line;
 Elektrozavodskaya (platform), transfer to Elektrozavodskaya metro station;
 Sortirovochnaya (platform);
 Aviamotornaya (platform), transfer to Aviamotornaya metro station of Kalininsko–Solntsevskaya and Aviamotornaya metro station of Bolshaya Koltsevaya line;
 Andronovka (platform), transfer to Andronovka Moscow Central Circle station;
 Perovo (station);
 Plyushchevo (platform);
 Veshnyaki (platform);
 Vykhino (platform), transfer to Vykhino metro station;
 Kosino (platform), transfer to Lermontovsky Prospekt and Kosino metro stations;
 Ukhtomskaya (platform);
 Lyubertsy I (station), the last station jointly used with Kazansky suburban railway line;
 Panki (platform);
 Tomilino (platform);
 Kraskovo (platform);
 Malakhovka (platform);
 Udelnaya (platform);
 Bykovo (station);
 Ilyinskaya (platform);
 Otdykh (platform);
 Kratovo (platform);
 Yeseninskaya (platform);
 Fabrichnaya (platform);
 Ramenskoye (station);
 Ippodrom (platform);
 Sovkhoz (platform);
 Zagornovo (platform);
 Bronnitsy (station);
 Raduga (platform);
 63 km (platform);
 Beloozyorsky (platform);
 Faustovo (station);
 Zolotovo (platform);
 Vinogradovo (station);
 Konobeyevo (platform);
 Trofimovo (platform);
 88 km (platform);
 Voskresensk (station), transfer to Greater Ring of the Moscow Railway;
 Shifernaya (station);
 Moskvoretskaya (platform);
 Tsemgigant (platform);
 Peski (station);
 Konev Bor (platform);
 Khoroshyovo (platform);
 113 km (platform);
 Kolomna (platform);
 Golutvin (station), connection to Ozyory;
 Shchurovo (station);
 Chyornaya (platform);
 Lukhovitsy (station);
 142 km (platform);
 Podlipki (station);
 Fruktovaya (station);
 Alpatyevo (station);
 Slyomy (platform);
 Divovo (station);
 Rybnoye (station), connection to Uzunovo;
 Ryazan-Sortirovochnaya (platform);
 187 km (platform);
 189 km (platform);
 Nedostoyevo (platform);
 Dyagilevo (station);
 Lagerny (platform), the last station before branching to Ryazan I and Ryazan II;
 Ryazan I (station), connection to Kustaryovka;
 Ryazan II (station), connection to Ryazhsk I.

References

Rail transport in Moscow
Rail transport in Moscow Oblast
Rail transport in Ryazan Oblast
Moscow Railway

Ryazansky suburban railway line


Red And Black Attack was the second release from the Hollywood-based rock band The Icarus Line. The EP was recorded and released very quickly after their debut 7-inch, Highlypuncturingnoisetestingyourabilitytohate on Hellcat Records. The EP was released on New American Dream. This was the band's first release to appear on CD, as well as New American Dream's debut release. The vinyl version was pressed by Slowgun Records on clear "wine" colored vinyl 7-inches.

New American Dream also released the band's split 7-inch picture disc with Ink & Dagger, and had actually originally signed Ink & Dagger to release their third, and final album on the label. However, after a car crash involving the label's owner and members of Ink & Dagger, who were on their way to visit The Icarus Line during a rehearsal, the label soon fell apart. The resulting fiasco was the prime reason The Icarus Line didn't record their debut album in 1999, as originally intended, and ended up signing instead with Crank! Records. Coincidentally, Ink & Dagger, who had also signed to the label for the release of their third and last album, ended up having Buddyhead release it instead. Other bands on the short-lived label included Discount (band) and Kind Of Like Spitting. The label's folding, resulted in this release being out of print for many years, and a highly sought after collectable.

The EP was named as a reference to the band's visual style, which involved dressing in black with red neckties. This look was abandoned years later, after a number of other bands had started dressing similarly. Some of these bands went on to much greater mainstream success. So, as not to look like the "copycats" themselves, this attire was then "retired" by The Icarus Line.

This release also coincided with yet another of the band's recurring problems of finding a suitable, and permanent drummer. This is why there is no drummer pictured on the cover of this release, something which confused people for quite some time. At the time of the EP's release, John Guerra (F-Minus, Black Fag) was filling the position. Soon after, the band recruited their fourth drummer, Mike Felix (Toys That Kill, Ex-Fork).

As an homage to their former band's drummer, Tim Childs, The Icarus Line included snippets he had recorded while playing drums at home, very briefly before his death. These were the last known recordings of Tim playing drums. The song "Separate The Sounds", was also quite obviously written about Tim, and his abrupt passing. These home recordings were spliced together during mastering by Blag Dahlia, the singer of The Dwarves.

Track listing
 "The Suicide Pact"
 "Separate The Sounds"
 "Last Night All My Teeth Fell Out"
 "And The Sad Thing Is..."

Personnel
 Joe Cardamone – Vocals
 Aaron North – Guitar
 Lance Arnao – Bass
 Alvin DeGuzman – Guitar
 Aaron Austin – Drums
 Tim Childs – Interlude Drums

Production
 Produced by The Icarus Line
 Recorded at Room 222 Studio in Hollywood, August - September 1998
 Recorded and Mixed by James Bennett
 Instrumental segues recorded at Tim Childs' home
 Photos by Travis Keller
 Layout by Jeff Caudill
 Mastered by Blag Dahlia

1998 EPs
The Icarus Line albums

Red and Black Attack


War Resisters' International (WRI), headquartered in London, is an international anti-war organisation with members and affiliates in over 30 countries.

History
War Resisters' International was founded in Bilthoven, Netherlands in 1921 under the name "Paco", which means "peace" in Esperanto. WRI adopted a founding declaration that has remained unchanged:

It adopted the broken rifle as its symbol in 1931.

Many of its founders had been involved in the resistance to the First World War: its first Secretary, Herbert Runham Brown, had spent two and a half years in a British prison as a conscientious objector. Two years later, in 1923, Tracy Dickinson Mygatt, Frances M. Witherspoon, Jessie Wallace Hughan, and John Haynes Holmes founded the War Resisters League in the United States.

Notable members include Dutch anarchist Bart de Ligt, Quaker Richard Gregg and Tolstoyan Valentin Bulgakov. WRI attracted some of the world's best pacifist thinkers and activists, amongst them George Lansbury, Mahatma Gandhi, Bertrand Russell, Bayard Rustin, Martin Niemoeller and Danilo Dolci. The group had a close working relationships with sections of the Gandhian movement. In January 1948, Mohandas Karamchand Gandhi attended a preparatory meeting for the World Pacifist Meeting he called, at the behest of WRI, and which eventually took place in December 1949. It took the form of 50 international pacifists meeting with 25 of Gandhi's close associates in an "unhurried conference" in Santiniketan, West Bengal.

In the 1930s and 1940s, WRI helped to rescue people from persecution under Francisco Franco and under the Nazis and found them safe homes with WRI members in other countries. One of the leaders of the Norwegian branch of WRI (FmK), Olaf Kullmann, was arrested by the German Occupiers for his pacifist agitation; he was sent to the Sachsenhausen concentration camp, where he died
in 1942.

During the Cold War, WRI consistently sought out war resisters in the Soviet bloc: first individuals, and later groups. After the 1968 invasion of Czechoslovakia, WRI organised protest demonstrations in four Warsaw Pact capitals.

Daniel Ellsberg's attendance at a talk by Randy Kehler (as Kehler was preparing to submit to his sentence for draft resistance) at the WRI's 13th Triennial Meeting, held at Haverford College in August 1969, was a pivotal event in Ellsberg's decision to copy and release the Pentagon Papers. (It was Ellsberg's release of the Pentagon Papers which led President Nixon to create a group of in-house spies, who undertook the ill-fated Watergate break-in, which led to Nixon's resignation).

In 1971, when Pakistani troops were blockading what was then East Pakistan, WRI launched Operation Omega to Bangladesh. More recently, the International Deserters Network associated with WRI has offered support for people resisting the Gulf War of 1991 and, on a much larger scale, the wars in the Balkans, where it was also engaged with several other peace organisations in an experiment in international nonviolent intervention, the Balkan Peace Team.

In 1988, a WRI advert was cited as one of the reasons for the seizure of an edition of the Weekly Mail in South Africa, after the banning of the local End Conscription Campaign.

The WRI office in London has supported three programmes: work on conscientious objection, supporting nonviolent movements against war and countering youth militarisation.

Organisation
War Resisters' International is a network of member groups. An international conference takes place at least once every four years.

The Chair has been elected at international conferences (Assembleys) or by postal vote in advance of the international conference. Since the office of chair was created in 1926, chairs have been:

Fenner Brockway (1926–1934)
Arthur, Lord Ponsonby (1934–1937)
George Lansbury (1937–1940)
Herbert Runham Brown (1946–1949)
Harold Bing (1949–1966)
Michael Randle (1966–1973)
Devi Prasad (1973–1975)
Myrtle Solomon (1975–1986)
David McReynolds (1986–1988)
Narayan Desai (1989–1991)
Jørgen Johansen (1991–1998)
Joanne Sheehan (1998–2006)
Howard Clark (2006–2013)
Christine Schweitzer (2014–2019)

The office of Chair has been abolished at the 2019 Assembly meeting in Bogotá, Colombia, and the former responsibilities of the Chair are now shared between the members of the executive committee.

See also
List of anti-war organizations
List of peace activists
Nonviolence
Pacifism
Antimilitarism
War resister
War Resisters League

References

Further reading
Clark, Howard: "War Resisters' International", in Encyclopaedia of Nonviolence, Garland Publishing 1997. See note on discussion page.
Prasad, Devi: War is a Crime against Humanity: The story of War Resisters' International, London: War Resisters' International 2005
Bennett, Scott. Radical Pacifism: The War Resisters League and Gandhian Nonviolence in America, 1915–1963.  Syracuse, NY: Syracuse University Press, 2003.
Beyer, Wolfram. 60 years of the War Resisters' International (WRI) – with special reference to the period 1921 – 1939.  Berlin, 1985, published by 'Schriftenreihe des Libertären Forums Berlin' (English translation from German by Hilda Morris, GB – theses for diploma at the Free University of Berlin). 2.Edition >>War Resisters' International (WRI) the political insight of the WRI with special reference to the period 1921 – 1939<<, Berlin 2018

External links

Peace organisations based in the United Kingdom
International organisations based in London
Conscientious objection organizations
Organisations based in the London Borough of Islington
Organizations established in 1921
Direct action

War Resisters' International


The Avery–MacLeod–McCarty experiment was reported in 1944 by Oswald Avery, Colin MacLeod, and Maclyn McCarty, that DNA is the substance that causes bacterial transformation.

This was the culmination of research in the 1930s and early 1940s at the Rockefeller Institute for Medical Research to purify and characterize the "transforming principle" responsible for the phenomenon first described in Griffith's experiment of 1928. In this early experiment dead Streptococcus pneumoniae of the virulent strain type III-S, when injected along with living but non-virulent type II-R pneumococci, resulted in a deadly infection of type III-S pneumococci.

At that time it was thought protein might be the hereditary material. In their paper in 1944, Avery and his colleagues suggest that DNA, rather than protein was the hereditary material of bacteria, and could be analogous to genes and/or viruses in higher organisms.

This was an epoch-making experiment, but the three men did not get the Nobel Prize. The Nobel laureate Arne Tiselius said that Avery was the most deserving scientist not to receive the Nobel Prize for his work.

References

Genetics experiments
Molecular biology
Bacteria
1944

Avery–MacLeod–McCarty experiment


Samuel Roger Horchow (July 3, 1928 – May 2, 2020) was an American retailer and Broadway producer.

Horchow was born in Cincinnati, Ohio, the son of Beatrice (Schwartz) and Reuben Horchow, an attorney. In 1971, he started The Horchow Collection, the first luxury mail-order catalog that was not preceded by a brick-and-mortar presence.  He sold the Horchow Collection to Neiman Marcus in 1988.

In 1992, he produced his first Broadway show, Crazy for You, a George Gershwin musical, for which he won the Tony Award for Best Musical.  The London version of Crazy for You won the Laurence Olivier Award for Best Musical.  Though Crazy for You was inspired by an earlier Gershwin musical, Girl Crazy, which opened in 1930, theater critics and the American Theater Wing ultimately considered it to be a "new musical."  Crazy for You was directed by Mike Ockrent and choreographed by Susan Stroman.

In 2000, Horchow and co-producer Roger Berlind staged a revival of Cole Porter's Kiss Me, Kate, for which he won his second Tony Award, for Best Musical Revival.

In 2007, Horchow along with other producers produced Curtains, a comedic murder mystery nominated for 8 Tony awards and 10 Drama Desk awards and in 2008 was a minor producer in the Broadway revival of Gypsy with Patti LuPone.

Horchow was a member of The Hill School Class of 1945. In 2002 he received the school's highest alumni honor, The Sixth Form Leadership Award.  Horchow was awarded an honorary doctorate by his alma mater, Yale University, in 1999, and is one of the subjects of The Tipping Point (Little, Brown, 2000) 2002 edition , an influential book by New Yorker writer Malcolm Gladwell.

Horchow was the author of three books, "The Art of Friendship: 70 Simple Rules for Making Meaningful Connections" (St. Martin's Press, 2006 and Neiman Marcus Exclusive, 2005) , Elephants in Your Mailbox: How I Learned the Secrets of Mail-Order Marketing Despite Having Made 25 Horrendous Mistakes (Times Books, 1980) , and Living in Style: In A Time When Taste Means More Than Money (Rawson Assoc, 1981) .

Horchow was on the Board of Selectors of Jefferson Awards for Public Service. Horchow served on the board of the Museum of Modern Art, New York, Whitney Museum, Dallas Museum of Art and Yale University Art Gallery.  He was Vice-Chairman of KERA Public Radio, Dallas, TX. Dallas Theater Center, Foundation for Arts and Preservation in Embassies, Direct Relief International (Advisory Board). His wife, Carolyn Pfeifer, died in 2009.

Horchow lived in Dallas and had three daughters and five granddaughters.

References

1928 births
2020 deaths
Writers from Cincinnati
The Hill School alumni
20th-century American businesspeople
Jewish American writers
21st-century American Jews

External Links
Roger Horchow Collection of George Gershwin at the Harry Ransom Center

Samuel Roger Horchow


The Uhrenmuseum Beyer (Beyer Watch and Clock Museum) is located in the heart of the city of Zürich, Switzerland and is one of the world's leading private museums dedicated to horology.

The museum is located on the lower level of Bahnhofstrasse 31, the main shopping boulevard. It is affiliated with Chronometrie Beyer, a high grade watch retailer run by the same family for generations.

The core of the museum was acquired during the life of Theodore 'Teddy' Beyer, a pioneer in collecting antique timekeepers.  The collection is made up of premechanical timekeepers (sundials, sandglasses, water and fire clocks) as well as clocks and watches from around the world and covering all eras.

The collection is particularly strong regarding early clocks and watches, including several pieces from the gothic and renaissance era, as well as complicated pieces with many complications.

Many of the displayed pieces are unique and/or significant in the history of watchmaking, and therefore are often loaned out to major museums around the world. The collection includes one of the early marine chronometers by Ferdinand Berthoud, a pendule sympathique by Breguet, a pocket watch with astronomical indications by Auch, several bespoke late 20th century watches by George Daniels, one of the few reproductions of the astrarium by De Dondi to name just a few highlights.  Furthermore, there are superb Geneva made enameled pocket watches, and a most instructive timeline illustrating the history of the Neuchâtel pendule.

Additionally there is a good small display of locally made clocks and watches including such Zurich makers as Bachoffner, Liechti and Ochsner.

See also
Horology
Similar museums:
Deutsches Uhrenmuseum
National Watch and Clock Museum
Mussee Internationale d'Horlogerie
Clockmakers' Museum
Royal Observatory, Greenwich

References
Beyer, Theodore (author): The Museum of Time Measurement Beyer Zurich, Verlag Calley, Munich, 1982,
Beyer, Rene (au & Meiss, Reinhard (authors): Uhrenmuseum Beyer Zurich, Antike Uhren, Neuerwerbungen, Verlag Calley, Munich, 1982,

External links
 Uhrenmusem Beyer, Zurich

Horological museums in Switzerland
Museums in Zürich

Uhrenmuseum Beyer