Marshall is a British company that designs and manufactures music amplifiers, speaker cabinets, brands personal headphones and earphones, drums and bongos. The company also owns a record label called Marshall Records. It was founded in London by drum shop owner and drummer, Jim Marshall, and is now based in Bletchley, Milton Keynes, England.

Marshall's amplifiers were designed after Pete Townshend, visited Marshall's drum shop complaining that the guitar amplifiers then on the market did not have the right sound or enough volume. Many of the current and reissue Marshall guitar amplifiers continue to use valves, as is common in this market sector. Marshall also manufactures solid-state, hybrid (vacuum tube and solid state) and modelling amplifiers.

History

Origins

After a successful career as a drummer and teacher of drum technique, Jim Marshall first went into business in 1962 with a small shop in Hanwell, London, selling drums, cymbals and drum-related accessories; Marshall himself also gave drum lessons. According to Jim, Ritchie Blackmore, Big Jim Sullivan and Pete Townshend were the three main guitarists who often came into the shop and pushed Marshall to make guitar amplifiers and told him the sound and design they wanted. Marshall Limited then expanded, hired designers and started making guitar amplifiers to compete with existing amplifiers, the most notable of which at the time were the Fender amplifiers imported from the United States.

First amplifiers: birth of the JTM45

Jim Marshall wanted someone to produce a cheaper alternative to American-made guitar amplifiers, but as he had limited electrical-engineering experience he enlisted the help of his shop repairman, Ken Bran, a Pan American Airways technician and Dudley Craven, an EMI apprentice. They most liked the sound of the 4×10-inch Fender Bassman and made several prototypes using the Fender Bassman amplifier as a model. The sixth prototype produced, in Marshall's words, the "Marshall Sound", although at this time the only involvement Marshall had was to sell the amplifiers on a commission basis in his shop. As business increased, Marshall asked the three to work for him in his shop, as he had more space and capital to expand.

The original idea was talked about late one Friday night in early 1963 in a Wimpy bar in Ealing in West London by three amateur radio enthusiasts after they had been to their weekly Greenford radio club meeting, Dudley Craven's call sign was G3PUN, Ken Bran's was G3UDC, and Ken Underwood's was G3SDW. As of Dudley's death in 1998 and Bran's death in 2018, the only original individual is Ken Underwood. The first six production units were assembled in the garden sheds of Bran, Craven, and Underwood in the same year, in Heston, Hanwell and Hayes, all in West London. They were almost copies of the Bassman circuit, with American military-surplus 5881 power valves, a relative of the 6L6. Few speakers then were able to handle more than 15 watts, which meant that an amplifier approaching 50 watts had to use multiple speakers to handle the power. For their Bassman, Fender used four ten-inch Jensen speakers in the same cabinet as the amplifier, but Marshall chose to separate the amplifier from the speakers, and placed four 12-inch Celestion speakers in a separate closed-back cabinet instead of Fender's four 10-inch Jensens in an open-back combo. Other crucial differences included the use of higher-gain ECC83 valves throughout the preamplifier, and the introduction of a capacitor/resistor filter after the volume control. These circuit changes gave the amp more gain so that it broke into overdrive sooner on the volume control than the Bassman, and boosted the treble frequencies. This new amplifier, tentatively called the "Mark II", was eventually named the "JTM 45", after Jim and his son Terry Marshall and the maximum wattage of the amplifier. Jimi Hendrix, Eric Clapton, and other blues rock-based bands from the late 1960s such as Free used Marshall stacks both in the studio and live on stage making them among the most sought after and most popular amplifiers in the industry.

Distribution deal
Marshall entered into a 15-year distribution deal with British company Rose-Morris during 1965, which gave him the capital to expand his manufacturing operations, though it would prove to be costly. In retrospect, Marshall admitted the Rose-Morris deal was "the biggest mistake I ever made. Rose-Morris hadn't a clue, really. For export, they added 55% onto my price, which pretty much priced us out of the world market for a long time."

Park amplification
The new contract had disenfranchised several of Marshall's former distributors, among them his old friend Johnny Jones. Marshall's contract did not prevent him from building amplifiers outside the company, and so Marshall launched the Park brand name, inspired by the maiden name of Jones's wife. To comply  with his contract stipulations, these amplifiers had minor circuit changes compared to the regular Marshalls, and minor changes to the appearance. For instance, often the Parks had silver or black front panels instead of the Marshall's gold ones, some of the enclosures were taller or shaped differently, and controls were laid out and labelled differently.

Starting in early 1965, Park produced a number of amplifiers including a 45-watt head. Most of these had Marshall layout and components, though some unusual amplifiers were made, such as a 75 watt keyboard amplifier with KT88 tubes. A 2×12-inch combo had the option of sending the first channel into the second, probably inspired by Marshall users doing the same trick with a jumper cable. The 1972 Park 75 put out about 100 watts by way of two KT88s, whereas the comparable 50-watt Model 1987 of that time used 2 EL34 tubes.

In 1982, Park came to an end, though Marshall later revived the brand for some transistor amplifiers made in Asia. The Parks made from the mid-1960s to around 1974 (the "golden years"), with point-to-point wiring – rumoured to be "a little hotter" than regular Marshalls – fetch higher prices than comparable "real" Marshalls from the same period.

Other Marshall brand names

Other brand names Marshall Amplification had used for various business reasons included Big M (for the then-West German market), Kitchen/Marshall (for the Kitchen Music retail chain in North London), Narb (Ken Bran's surname spelled backwards) and CMI (Cleartone Musical Instruments). Amplifiers sold under these brand names are quite rare, and sell to collectors at high prices.

Blackstar
In 2007, a group of Marshall employees broke away to start Blackstar Amplification.

Early amplifier models

The Bluesbreaker

To reduce costs Marshall started sourcing parts from the UK. This led to the use of Dagnall and Drake-made transformers, and a switch to the KT66 valve instead of the 6L6 tube commonly used in the United States. The changes gave Marshall amplifiers a more aggressive voice, which quickly found favour with players such as Eric Clapton, who would sit in Jim's shop practising. Clapton asked Jim Marshall to produce a combo amplifier with tremolo, which would fit in the boot of his car, and one of the most famous Marshall amps was born, the "Bluesbreaker" amp. This is the amplifier, in tandem with his 1960 Gibson Les Paul Standard (the "Beano"), that gave Clapton that famous tone on the John Mayall & the Bluesbreakers' 1966 album, Bluesbreakers with Eric Clapton.

The Plexi and the Marshall stack

The amplifiers from this era are easily identifiable by their acrylic glass (a.k.a. Plexiglas) front panel, which earned them the nickname "Plexi". In 1967, Marshall released a 50-watt version of the 100-watt Superlead known as the 1987 Model. In 1969, the plexiglass panel was replaced by a brushed metal front panel.

Other early customers included Pete Townshend and John Entwistle of The Who, whose search for extra volume led Marshall to design the classic 100-watt valve amplifier. Ken Bran and Dudley Craven, Marshall's developers, doubled the number of output valves, added a larger power transformer and an extra output transformer. Four of these amplifiers were built and delivered to Townshend, and the Marshall Super Lead Model 1959, the original Plexi, was born in 1965. At the request of Townshend, Marshall produced an 8×12-inch cabinet (soon replaced by a pair of 4×12-inch cabinets) on top of which the 1959 amplifier head was placed, giving rise to the Marshall stack, an iconic image for rock and roll. The size of the wall of Marshall stacks "soon became an indicator of the band's status", even when rendered obsolete by improved PA systems; indeed, many of the "ridiculously huge arrays of heads and cabs" included dummies. Still, most modern 100-watt heads have roots in Marshall's design, even though they often contain many more features (or different valves, such as the more American-sounding 6L6 valves).

Another valve change

At this time, the KT66 valve was becoming more expensive, as the M-OV Company faced greater competition from Mullard. Hence, another valve change was made, with Marshall starting to use European-made Mullard EL34 power stage valves. These have a different overdrive character than the KT66s, which gave Marshalls a more aggressive voice still. In 1966 Jimi Hendrix was in Jim's shop, trying the amplifiers and guitars. Jim Marshall expected Hendrix to be "another American wanting something for nothing" but to his surprise, Hendrix offered to buy the amplifiers at retail price if Jim would provide him with support for them around the world. Jim Marshall agreed, and several of Hendrix's road crew were trained in the repair and maintenance of the Marshall amplifiers through the years.

Mid-1970s and 1980s models

The JMPs
After 1973, to streamline production, labour-intensive handwiring was discontinued and Marshall valve amplifiers were switched to printed-circuit-board (PCBs). Much of the debate about the difference in tone between the plexi- and aluminium-panel Marshall amplifiers originates from 1974 when a number of circuit changes were made to the 1959 and 1987 amplifiers; with the addition of 'mkII' added to the 'Super Lead' name on the back panel and 'JMP' ("Jim Marshall Products") added to the left of the power switch on the front panel. Marshall's US distributor Unicord also had them change all the amplifiers sold in the US and Japan to the much more rugged General Electric 6550 instead of the EL34 output tube. The combined effect of different valves and a modified circuit gave these mid-1970s Marshalls a very bright and aggressive sound that was punchier than the EL34 sound, but not as rich, compressed, and had less poweramp distortion.

In late 1975, Marshall introduced the "Master Volume" ("MV") series with the 100W 2203, followed in 1976 by the 50W 2204. This was an attempt to control the volume level of the amplifiers whilst maintaining the overdriven distortion tones that had become synonymous with the Marshall brand. To do this, Marshall designers connected the two input stages in series rather than parallel on the 2203, but not initially on the 2204, and modified the gain stage circuitry to preserve the tonal characteristics of the 'cranked Plexi' sound and converted the now obsolete second channel volume control to a Master Volume by wiring it between the preamplifier and EQ circuit. The 2204 followed suit in early 1977 and changed its preamplifier circuit to match the (then) more popular 2203.

Per Rick Reinckens, who was a short-term Unicord employee electronic technician who tested the first units when they arrived from England, Tony Frank, Unicord's chief design engineer, came up with this idea for a dual-volume-control (a preamplifier gain and a master volume).  The circuitry modifications were optimised to replicate the sound of the earlier non-MV Marshalls with the Master Volume control set 'low'; however, players quickly realised that 'cranking' the MV of these new Marshall amplifiers would yield even more overdrive distortion, the tone of which was more cutting and edgy, and later found favour with players such as Randy Rhoads, Zakk Wylde and Slash. The 1959 and 1987 non-master volume models also continued under the JMP line until 1982.

JCM800

Soon after the Rose-Morris deal had ended in late 1980, Marshall repackaged two MV models, the 2203 and the 2204 (at 100 and 50 watts, respectively), along with the 1959 and 1987 non-master volume Super Lead in a new box with a new panel, and called it the "JCM800" series (named after his initials and the registration plate of his car). Marshall made several amplifiers under the JCM800 name.

The Jubilee
A landmark year for Jim Marshall was 1987. It marked 25 years in the amplifier business and 50 years in music. This was celebrated with the release of the Silver Jubilee series of amplifiers. The Silver Jubilee series consisted of the 2555 (100 watt head), 2550 (50 watt head) along with other 255x model numbers denominating various combos and even a "short head". The Jubilee amplifiers were heavily based on the JCM800s of the time, featuring a very similar output section along with a new preamplifier. Their most publicised feature was the half-power switching, which is activated by a third rocker switch next to the standard "power" and "standby" switches. On the 50-watt model this was reflected in the numbering – 2550 is switchable from 25 to 50 watts – and also reflected Marshall amplifiers' 25th anniversary and Jim Marshall's 50 years in music. The amplifiers were trimmed in silver covering, and had a bright silver-coloured faceplate, along with a commemorative plaque.

The Jubilee also featured a "semi-split channel" design, in which two different input gain levels could be set, running through the same tone stack and master volume control. This allowed for a "classic Marshall" level of gain to be footswitched up to a modern, medium to high gain sound, slightly darker and higher in gain than the brasher JCM800 sound that typified 1980s rock music. "The sound of these amps is particularly thick and dark, even on the Marshall scale of things. The gain by today's standards is medium." The distortion sound of the Jubilee range is typified by Slash's live work with Guns N' Roses. He rarely used anything else live, but oddly the Jubilee did not appear on any Guns N' Roses studio albums – instead these feature a modified 1977 JMP mkII (non-MV) on Appetite for Destruction (1987) and a modded JCM800 on the subsequent albums. It can be heard on some of the Velvet Revolver material though. The Jubilee amplifiers also featured a "pull out" knob that activated a diode clipping circuit (similar to boosting the amp's input with an overdrive pedal). Other notable Jubilee users include the Black Crowes, John Frusciante (Red Hot Chili Peppers) and Alex Lifeson (Rush), who used it extensively in the recording of Rush's Clockwork Angels (2012) album.

After the Jubilee year, production of the 255x series amplifiers continued until around 1990 in extremely limited numbers, likely due to left over components. These amps have identical circuitry to the 1987 models but reverted to a standard Marshall livery of black and gold. These follow the same model number structure as the 1987 amps but do not have the limited edition badge and lose the "silver jubilee" name.

Mid-1980s and 1990s models

Competition from American amplifier companies
Marshall began to see more competition from American amplifier companies such as Mesa Boogie and Soldano. Marshall then updated the JCM800 range with additional models and new features such as "channel switching", which meant that players could switch between clean and distorted tones with the push of a foot-operated switch. This feature debuted in the 2205 (50 watt) and 2210 (100 watt) series and these amplifiers contained more preamplifier gain than ever thanks to a new innovation; diode clipping. This meant a solid-state diode added additional distortion to the signal path, akin to adding a distortion pedal. As such the split channel JCM800s were the highest gain Marshalls yet built – "When they were first released, many players were shocked (some were even put off) by its bright, intense distortion – far more than any other amp of the day." While hotly criticised today among valve purists, these amps were more popular than ever, finding mass acceptance within the hard rock community and still in use today by many. The split-channel JCM800s are still used by Tom Morello (Rage Against the Machine, Audioslave) and were played exclusively by Michael Schenker (UFO) for many years.

Marshall around this time began further experiments with solid-state amplifiers, which were increasingly improving in quality due to technological innovations but were still considered beginner level equipment. Regardless, solid-state product lines with the Marshall name on them were and still are a wild (if critically discounted) success for the company, allowing entry level guitarists to play the same brand of amplifier as their heroes. One particularly successful entry-level solid-state Marshall was the Lead 12/Reverb 12 combo series, which featured a preamplifier section very similar to a JCM800, and a particularly sweet-sounding output section. These amps were actually used on record by Billy Gibbons of ZZ Top, and are now in some demand.

The 1990s

JCM900
In the 1990s, Marshall updated its product line again with the JCM900 series. Reviewed by Guitarist magazine in the UK and given the line, "Shredders, here is an amp you won't need to have modified", this move by Marshall was again an outgrowth of musicians' desires, featuring more distortion than ever and retaining popular aspects of the late JCM800 models. However, despite such marketing claims they were not as hi-gain as advertised, and used solid-state components for much of the distortion in some models - something which many guitarists did not like. Still, if not with shredders, the JCM900 line was well received by younger players associated with pop, rock, punk and grunge which was widespread by the early 1990s.

There are three different variants of the JCM900. The most common models are the 4100 (100 watt) and 4500 (50 watt) "Dual Reverb" models, which are a descendant of the JCM800 2210/2205 design. These models feature two channels, a largely solid-state preamplifier, and diode distortion. The 2100/2500 Mark IIIs are essentially JCM800 2203/2204s with added diode clipping controllable via a knob on the front panel and an effects loop. These are fairly uncommon and were not in production for long before being replaced by the 2100/2500 SL-X, which replaced the diode clipping from the Mk III with another 12AX7/ECC83 preamplifier valve. These are easily the highest distortion of the three variants. A number of these were shipped with Sovtek 5881 valves, a ruggedized variant of the 6L6 family of output valves, due to a lack of suitable quality EL34s. Most of the JCM900s and 6100s built between 1994–1998 left the factory with the 5881s.

Around this time, Marshall released a few "special edition" amplifiers in this range, including a "Slash Signature" model, a first for the company. This was actually a re-release of the earlier Silver Jubilee 2555 amplifier, with identical internals, a standard Marshall look, and a Slash logo. This amplifier retained EL34s and 3,000 units were produced from 1996 to 1997.

30th Anniversary 6100 series
1993 marked 30 years in the amplifier business. To commemorate this milestone, Marshall released the 30th Anniversary series of amplifiers, the EL34 powered 6100LE with commemorative blue covering and gold faceplate, which was followed by the 6100 (in blue tolex and still EL34 powered) and then in 1994 the 6100LM (in standard Marshall livery but now 5881 powered like the JCM900s of the time). All versions of the 6100 had three channels; clean, crunch and lead. The clean channel featured a mid shift, which gave the option of a more "Fender-like" voicing, and the crunch channel featured three modes recreating all the classic Marshall crunch tones of the past three decades. The lead channel featured a switchable gain boost and a mid-range contour switch, which gave it the tone and gain levels, which Marshall's engineers hoped would keep it competitive in the high-gain world in the early to mid-1990s. In fact some players felt the lead channel was perhaps the weaker link in the amplifier's arsenal, and it came in for revisions in the third year of production (the LM standing for "Lead Mod"). This revision featured even higher gain.

The Anniversary series found prominence with Joe Satriani in particular, who favoured the early EL34 powered versions and used only the clean channel live along with his signature Vox Satchurator distortion pedal which is based on his old modded Boss DS-1. Satriani used these older Boss pedals almost exclusively for live work and on a number of studio albums including The Extremist (1992) until the early 2000s. The Anniversary models were probably the most complicated Marshall ever (other than perhaps the later JVM), with MIDI channel selection, half power switching, pentode/triode switching, adjustable speaker excursion, and a low volume compensation switch. Despite all this complication the amps had a pure signal path that did not share preamplifier valves between channels (unlike later Marshall designs like the TSL and JVM). Other famous 6100 users included Alex Lifeson on Rush's album Test for Echo (1996) and Ocean Colour Scene (OCS) guitarist Steve Cradock.

Current models

Marshall currently produces a number of amplifiers, which are a mix of modern designs and vintage reissues. Most models attempt to include the "classic" Marshall "roar".

Modern series

Marshall continued with a wide range of amps with the look and sound of the Marshall valve amplifier. The longest running of such models is the JCM2000 range, which is split into the two- and three-channel series, known as the Dual and Triple Super Leads, as released in 1997. These amplifiers are a continuation of the JCM800 and 900 series, although the controversial diode clipping circuit used in the later 800 and 900 amplifiers has been removed in favour of additional valve gain stages. Although lumped together as JCM2000 models the DSL and the TSL have different circuits and are more distantly related than the model range suggests. The DSL is an extension of the JCM800 series with several changes including dual reverb controls and is generally considered to be an excellent workhorse although it lacks the direct foot switching of all four possible channel options – clean/crunch/OD1 and OD2 – instead it only offers 2-channel switching and both channels share the same tone knobs. The DSL line does have a 6 button footswitch that can be purchased that allows switching between channels and modes for each channel. The JCM 2000 was touted as the best Marshall ever, with a question mark in the ads in various publications. They followed the 100W and 50W heads with the DSL401(40W) and 201(20W) combos, also with channel switching. In 2012, Marshall released a revamped DSL line with production and assembly in Vietnam. It consisted of the DSL100 head, DSL40 combo with a 12 inch Celestion speaker, DSL15 head and combo, DSL5 combo with a 10 inch Celestion speaker.The series was revamped in 2018 with a DSL20 head and combo, both with EL34 valves, thus discontinuing the DSL15s and an addition of a DSL1 head and combo to satisfy the bedroom player.

Marshall looked towards a new flagship to nail all the compromising of the earlier models, the JVM, made in a variety of models and ranges. These amplifiers have up to four channels, each with three-foot-switchable modes, dual master volumes, reverb controls for each channel, and a foot-switchable effects loop. These features can be programmed into the standard foot-switch to be foot-switchable as "patches", so now the user can switch from, say, a clean channel with a chorus in the effects loop and reverb, to a medium-gain rhythm sound with no effects, to a high-gain lead sound with boosted output volume, with one click of the foot-switch per sound. The JVM range consists of the JVM410H, a 100-watt four-channel head; the JVM410C, a 100-watt four-channel 2x12" combo: the JVM210H and JVM210C, 100-watt two-channel head and 2x12" combo respectively; and 50-watt versions of these, JVM205H (head), JVM205C (2x12" combo) and JVM215 (1x12" combo). Joe Satriani uses a signature JVM amp called the JVM410HJS which features noise gates in place of reverb on the front panel.

Around the same time as the release of the JVM, Marshall also released an amplifier called the Vintage Modern, which is designed to be much simpler, with a single channel and designed to be controlled more by the player's style and guitar than by channel switching or multiple settings, reminiscent of the vintage "Plexi" and JCM800 range, but with modern conveniences such as foot-switchable dynamic ranges (distortion levels), effects loop and reverb. The Vintage Modern series consists of the 2466 100-watt head and 2266 50-watt head with matching combos and a matching cabinet loaded with G12C 25-watt Greenbacks. The Vintage Modern is the first Marshall since the late 1960s to be powered by KT66s, a European version of the 6L6 valve.

Vintage series

In 2001, Marshall reissued many of its earlier amplifiers, such as the Model 1959-SLP, which is designed to be a reissue of the late-1960s era "Plexi" amplifier, but which are in reality reissues of the post-1973 Super Lead models in that they use printed circuit boards internally to reduce manufacturing cost. The original design utilised hand-wired circuits on turret boards, which is now available for a premium in the "hand-wired" series. Other reissues are similarly PCB designed, even where the originals were hand-wired, except where explicitly noted (i.e., the "hand-wired" range currently offered).

Solid-state amplifiers

Marshall's "Valvestate" amplifiers contained a hybrid of valve and solid-state technology. Currently named the "AVT series" (although these are now out of production, being replaced with the "AVT tribute" for a short time), there are a number of different models, all of which are less expensive than their all-valve counterparts. It is Marshall's current line of "hybrid" amplifier, featuring a 12AX7 preamplifier valve employed in the preamplifier (to "warm up" the signal) as well as solid-state components, with a solid-state power amplifier. These are considered and marketed as intermediate-level equipment to bridge the gap between the higher valve range and lower range MG series.

In January 2009, Marshall released their latest variant of the MG line of practice amplifiers. Replacing the MG3 line, the MG4 has been designed to offer the guitarist a whole host of features whilst keeping the control of the amplifier simple.

Bass series

Marshall currently manufactures a professional, all-valve bass rig called the VBA400. It houses eight 6550 power valves plus three ECC83 and one ECC82 preamplifier valves. The input accommodates both active and passive bass pick-ups; there is also an XLR DI output for recording complete with Earth (grounding) lift and Pre/Post EQ switches.

In 2008, Marshall honoured Lemmy Kilmister of Motörhead with their first-ever signature bass amplifier head, based on his 100 watt super bass unit "Murder One".

There are also solid-state models called MB series ranging from 15 watts to 450 watts and extension cabinets.

CODE series
In 2016, Marshall introduced the CODE series of modelling amplifiers, ranging from the 25-watt Code 25 (single 10-inch speaker), 50-watt (single 12-inch speaker) to the 100-watt Code 100 (available as either a 2×12-inch combo or as a head unit). Developed in conjunction with Softube, the amplifiers contain 14 MST preamps, 4 MST power amps and 8 MST speaker cabinets, along with 24 effects. The amplifiers can be controlled via Bluetooth from iOS and Android devices and can also be used to stream audio from a PC.

Origin series
A series of low-wattage, all valve heads and combos assembled in Vietnam hearkening back to the "Plexi"-era of the company. The Origin series was introduced to address a demand for lower volume amplifiers that many guitarists were calling for. To address this, Marshall announced the Origin5, a 5-watt amplifier that can run on either high (5-watt) or low (0.5-watt) with the help of Marshall's Powerstem technology.

With the introduction of the Powerstem technology, the Origin amplifiers are able to provide reduced output power while retaining the same tonal characteristics of a full-powered amplifier. This is accomplished through the new attenuation system, Powerstem, by dynamically reducing the rail voltages throughout the amplifier.

The Origin line consists of the Origin5 combo (5-watt, 1 x 8" Celestion Eight-15 speaker), Origin20 combo (20-watt, 1 x 10" Celestion V Type), Origin20 head, Origin50 combo (50-watt, 1 x 12" Celestion G12N-60 Midnight 60 speaker), and Origin50 head.

MS series
The MS-2 is a 1W micro amp, containing 2 channels and a 2" speaker, ideal for practice. The MS-4 has a 2x2" speaker configuration, and is designed to look like a full stack.

Model number confusion
Occasionally confusion has arisen due to Marshall's method of naming each amplifier model, especially during its first few decades, when it was distributed under Rose-Morris. Early amplifier models were simply named after their catalogue number, so for example the 1962 Bluesbreaker was item one thousand, nine hundred and sixty-two in the Rose-Morris catalogue. Later amplifiers were given range designations as well as model numbers, which often indicated information about the amplifier itself, for example the JCM2000 range of amplifiers had models such as the TSL100 (Triple Super Lead 100 W) and combo amplifiers like the TSL122 (Triple Super Lead with 2×12-inch Celestion speakers) other product ranges use similar descriptive model numbers. Often, speaker cabinets designed to suit a particular range will give a prefix before the speaker description such as JVMC212 (JVM cabinet 2×12-inch Celestion speakers) or a suffix C to denote a combo variant of an amplifier such as the Vintage Modern 2266C (Vintage Modern 2 channel 2× KT66 valves Combo).

Headphones and bluetooth speakers
In 2010 Marshall started a partnership with Zound Industries to make headphones and bluetooth speakers, Zound Industries is most known for its Urbanears headphones and have a similar partnership with Adidas to make audio products for them.

In August 2018, Marshall announced two smart speakers which run Amazon Alexa.

The Marshall Legacy

The classic Marshall Stack consists of one head containing the actual amplifier, on top of two stacked 4×12s, which are loudspeaker cabinets each containing four  loudspeakers arranged in a square layout. The top cabinet has the top two loudspeakers angled slightly upwards, giving the Marshall stack a distinctive appearance. When a single cabinet is used, the complete unit is called a half stack.

In the early-to-mid-1960s, Pete Townshend and John Entwistle of The Who were responsible for the creation and widespread use of stacked Marshall cabinets. Townshend later remarked that Entwistle started using Marshall Stacks to hear himself over Keith Moon's drums and Townshend himself also had to use them just to be heard over Entwistle. In fact, the very first 100-watt Marshall amplifiers were created specifically for Entwistle and Townshend when they were looking to replace some equipment that had been stolen from them. They approached Jim Marshall asking, if it would be possible for him to make their new rigs more powerful than those they had lost, to which they were told that the cabinets would have to double in size. They agreed and six rigs of this prototype were manufactured, of which two each were given to Townshend and Entwistle and one each to Ronnie Lane and Steve Marriott of The Small Faces. These new "double" cabinets (each containing 8 speakers) proved too heavy and awkward to be transported practically, so The Who returned to Marshall asking if they could be cut in half and stacked, and although the double cabinets were left intact, the existing single cabinet models (each containing four speakers) were modified for stacking, which has become the norm for years to follow.

Entwistle and Townshend both continued expanding and experimenting with their rigs, until (at a time when most bands still used 50–100 W amplifiers with single cabinets) they were both using twin stacks, with each stack powered by new experimental prototype 200 W amplifiers, each connected to the guitar via a Y-splitter. This, in turn, also had a strong influence on the band's contemporaries at the time, with Cream, The Jimi Hendrix Experience and Led Zeppelin following suit. However, due to the cost of transport, The Who could not afford to take their full rigs with them for their earliest overseas tours, thus Cream and Hendrix were the first to be seen to use this setup on a wide scale, particularly in the United States. Ironically, although The Who pioneered and directly contributed to the development of the "classic" Marshall sound and setup with their equipment being built and tweaked to their personal specifications, they would only use Marshalls for a couple of years before moving on to using Hiwatt equipment. Cream, and particularly Hendrix, would be widely credited with the invention of Marshall Stacks.

The search for volume was taken on its next logical step with the advent of "daisy chaining" two or more amplifiers together. As most amplifier channels have two inputs, the guitar signal being present on both sockets, the cunning musician hooked the spare input of one channel to an input on another amplifier. By 1969, Hendrix was daisy-chaining four stacks, incorporating both Marshall and Sound City amplifiers, as recommended to him by Townshend.

This competition for greater volume and greater extremes was taken even further in the early 1970s by the band Blue Öyster Cult, which used an entire wall of full-stack Marshall amplifiers as their backdrop. (BÖC also referred to Marshalls in the songs "Cities on Flame with Rock and Roll" and "The Marshall Plan"). Artists such as Slayer and Yngwie Malmsteen also use walls of Marshalls; both Kerry King and Jeff Hanneman of Slayer would often be seen playing in front of a total of 24 cabinets. Malmsteen toured with 30 heads and 28 cabinets, and in 2011 said he would use 60 full stacks on his next tour. Many of those cabinets used by rock bands, however, are dummies, and many artists who do not even use Marshall amplifiers have the dummy stacks on stage.

Sport sponsorships
Marshall is an important sponsor of sport in the local area. Marshall were one of the earliest shirt sponsors for Milton Keynes Dons, they also sponsored Milton Keynes Athletic Club as well as Milton Keynes Lions basketball club, before the latter relocated to London.

Marshall Records

In early 2017, Marshall Amplification announced it has started a record label.  and opened up an office at Londons Tileyard Studios and signed a distribution deal with Alternative Distribution Alliance, a distribution company owned by Warner Music Group that represent independent record labels. Marshall Records signed a North and South American Distribution deal with Better Noise Music (previously known at Eleven Seven Label Group in 2018.  In 2020, Marshall Records announced a sub-publishing deal with Sentric Music.

Artist that have had their music release by Marshall Records include: Bad Touch, D_Drive, Grand Slam, Inklings (the solo project of ex  FVK member Kier Kemp), Keywest, King Creature, Press to MECO, Rews, Reigning Days, The Bottom Line, Therapy?, The Dirty Youth, Thousand Thoughts.

Marshall Arena
In September 2018, Marshall Amplification announced a naming agreement with Arena MK (at Stadium MK in Milton Keynes) to use the space for music events. The opening act is to be the Black Eyed Peas.

The Marshall Studio
In 2021, Marshall Amplification opened the doors to a state-of-the-art recording facility at its global HQ in Bletchley, Milton Keynes. Featuring a Neve 8048 mixing console previously installed in Pathé Marconi in Paris and used by The Rolling Stones on Some Girls.

See also
 List of guitar amplifier manufacturers
 Up to eleven
 Natal Drums, now part of Marshall Ltd.

References

External links

 Play it Loud: The Story of the Marshall Amp at bbc.co.uk
Jim Marshall Interview at NAMM Oral History Collection (2002)

Audio amplifier manufacturers
Guitar amplifier manufacturers
Musical instrument manufacturing companies of the United Kingdom
Companies based in Milton Keynes
British brands
British companies established in 1962
Electronics companies established in 1962
Mobile phone manufacturers
JAM Industries
Audio equipment manufacturers of the United Kingdom

Marshall Amplification


Samuel Gruber aka Mieczyslaw Gruber (January 3, 1913 – June 17, 2006) was born in Podhajce, Poland (now Pidhaitsi, Ukraine). As a youth, Gruber belonged to the Zionist organizations Hashomer Hatzair and HeHalutz. When he was 14, Gruber went to Lwów, Poland (now Lviv, Ukraine) to attend high school. After graduation, Gruber remained in Lwów for about two years. He then returned to Podhajce where he worked as a bookkeeper for a company that manufactured farm equipment and bicycles.

Gruber was drafted to the Polish Army when he was 18 or 19. He served for a year and a half in Tarnopol, Ukraine. Two or three weeks before the war broke out in 1939, Samuel was called into the reserves. While training in Nowy Sącz, Poland, Gruber's unit was unaware that the German forces had penetrated deep into Poland. The Germans surrounded Samuel's unit and fighting broke out. Samuel was shot in the arm and taken as a prisoner of war.

After a month in the hospital, Gruber and the other prisoners were transported to Stalag 13, a camp in Langwasser, Germany, near Nuremberg. On the second day, Jews were ordered to present themselves. Gruber hesitated, but two of his Polish "friends" shoved him forwards saying, "Here is a Jew." The prisoners were transported from Nuremberg to Ludwigsburg and then to Münsingen, Germany. Because of his injured arm, Gruber was assigned to work in the kitchen. Gruber spoke fluent German, so he also helped out in the German offices.

In 1941, Gruber and the other prisoners were transported to Gleiwitz (Gliwice), Poland and then to Lipowa 7 camp, Lublin, Poland. There, Gruber was forced to help build the Majdanek camp. Later that year, Soviet prisoners of war became the first inmates. Gruber recalled that the Soviets were treated horribly. A typhus epidemic broke out and Gruber, along with 400 others, was quarantined in a synagogue. A doctor with whom Gruber was acquainted gave him a shot that saved his life. Three hundred people died during the typhus outbreak.

Gruber was assigned to work in an office of a hospital that distributed uniforms, rifles and pistols to German soldiers coming from the front. He was able to steal weapons, which were eventually sold to partisans. A Polish man advised Gruber to escape, saying that eventually everyone in the camps would be killed. On October 28, 1942, Gruber walked through Lublin to the forest, on the outskirts of town. Two partisans met Gruber and 22 other people, whom he had convinced to leave with him. Gruber was the leader of his partisan group. He changed his first name to Mietek, a typical Polish name, so that the Polish farmers would not know that he was Jewish.

His group eventually joined the Parczew partisans and fought the Germans while attempting to save as many Jewish lives as possible. Gruber was liberated when the Soviets captured Lublin in 1944. He married in 1945. In 1946, Gruber left Poland. He was made head of a displaced persons camp for children at Prien am Chiemsee, Germany in 1947. Gruber immigrated to the United States in 1949.

References

Notes
This article incorporates text from the United States Holocaust Memorial Museum, and has been released under the GFDL.

External links
 United States Holocaust Memorial Museum: Samuel Gruber
 Mieczyslaw Gruber's Obituary
 Parczew Partisans

1913 births
2006 deaths
Majdanek concentration camp survivors
Jewish resistance members during the Holocaust
20th-century Polish Jews
Polish resistance members of World War II
World War II prisoners of war held by Germany
Zionists
Polish emigrants to the United States

Mieczyslaw Gruber


Juan de Torrezar Díaz Pimienta (sometimes Juan de Torrezal Díaz Pimienta) (died 11 June 1782 in Bogotá) was a Spanish military officer and colonial official. He was twice governor of Cartagena de Indias, after which he was promoted to viceroy of New Granada.

Background
He was a brigadier in the royal army and a knight of the Order of Carlos III. In 1779 he was promoted to field marshal. He was governor of the province of Cartagena two times. The first time was from 12 May 1774 to 14 September 1780, the second was from 1 May 1781 to 21 April 1782.

During his government, Lieutenant Antonio de Latorre founded 43 pueblos, in which 41,000 persons were settled. One of these was Montería.

As viceroy of New Granada
He took possession of his new office on 1 April 1782, still in Cartagena. Before leaving that city, he announced a generous amnesty for those charged in the Revolt of the Comuneros. On 21 April he left Cartagena to take up his new position in Santafé de Bogotá, the capital of the viceroyalty. He was already old and infirm, although he had recently married a 17-year-old Cartagena native, María de Salas. His predecessor, Manuel Antonio Flórez, a popular viceroy who had served more than 11 years in the office, had apparently been forced to resign by José de Gálvez, Minister of the Indies in Spain, and Antonio Caballero y Góngora, Archbishop of Bogotá.

Torrezal Díaz was received along the way at Honda by Archbishop Caballero y Góngora. A great banquet was held in his honor. It was said that the archbishop, who was present at the banquet, did not eat. Torrezal Díaz did, however. He arrived at the capital one week later (7 June). He was very sick and died in agony four days after his arrival. Some believed that he had been poisoned by the archbishop. The official report of his death said he died of infection. A sealed royal document intended to beopened only in the event of his death identified Archbishop Caballero y Góngora as his replacement.

References
 Restrepo Sáenz, José María. Biografías de los mandatarios y ministros de la Real Audiencia, 1671-1819. Bogotá, Academia Colombiana de Historia, 1952.

External links
 Encarta (Archived 2009-10-31)
 Some biographical information
 The supposed plot of the archbishop

Viceroys of New Granada
Spanish generals
Year of birth missing
1782 deaths
1780s in the Viceroyalty of New Granada

Juan de Torrezar Díaz Pimienta


Fast & Furious Presents: Hobbs & Shaw (also known simply as Hobbs & Shaw) is a 2019 buddy action comedy film directed by David Leitch from a screenplay by Chris Morgan and Drew Pearce, based on a story by Morgan. It is the first spin-off film in the Fast & Furious franchise, set after the events of The Fate of the Furious (2017). It stars Dwayne Johnson, Jason Statham, Idris Elba, Vanessa Kirby, Eiza González, Cliff Curtis, and Helen Mirren. In the film, the unlikely pairing of Luke Hobbs (Johnson) and Deckard Shaw (Statham) join Deckard's sister Hattie Shaw (Kirby) to take down Brixton Lore (Elba), a cybernetically enhanced terrorist threatening the world with a deadly virus.

Series star and producer Vin Diesel first said in 2015 that possible spin-offs were in early development, and Hobbs & Shaw was officially announced in October 2017. Leitch signed on to direct in April 2018, and Kirby and Elba both joined the cast that July. Principal photography began that September and lasted through January 2019, with filming locations including London, Glasgow, and Kaua'i. The film was subject to controversy after longterm Fast & Furious producer Neal H. Moritz filed a lawsuit against Universal Pictures for breach of oral contract and committing promissory fraud related to his role on Hobbs & Shaw, which was eventually settled in September 2020.

Hobbs & Shaw premiered at the Dolby Theatre in Hollywood on July 13, 2019, was theatrically released in the United States on August 2, 2019, by Universal Pictures. The film received positive reviews from critics, who praised the chemistry between Johnson and Statham but found it underwhelming when compared to other Fast & Furious films. Hobbs & Shaw grossed $760 million worldwide.

Plot
In London, MI6 agent Hattie Shaw and her team attempt to retrieve a programmable supervirus dubbed "Snowflake" from techno-terrorist organization Eteon. The team secures Snowflake, but is attacked by Brixton Lore, an ex-MI6 Agent turned Eteon operative with cybernetic implants that allow him to perform superhuman feats; Brixton kills all the agents except Hattie, who injects herself with the only dose of Snowflake before escaping. Brixton frames Hattie for killing her team and stealing Snowflake, forcing her to go on the run.

Ex-DSS Agent Luke Hobbs and ex-MI6 Agent Deckard Shaw are informed of the missing virus and reluctantly work together to track it down. After a brief meeting at a CIA black site at the Leadenhall Building, Deckard goes to Hattie's apartment for information, only to get attacked by Eteon operatives.

Meanwhile, Luke manages to find Hattie; after a brief scuffle, he brings her to the CIA offices. As Deckard arrives and informs Luke that Hattie is his sister, the office is attacked by Eteon forces. Hattie is taken by Brixton, whom Deckard recognizes as an old colleague-turned-enemy he believes killed by him. Luke and Deckard pursue and rescue Hattie, and evade Brixton during an ensuing car chase. However, Brixton frames all three as criminals via Eteon's control of global news media.

The three locate Snowflake's creator, Professor Andreiko, where they learn he purposed it to efficiently deliver vaccines, and to prevent Eteon from using it to eradicate humanity, Hattie, while the virus is still dormant, must either be cremated or have the virus removed with a specialized extraction device, which is located in Eteon's special facility in Chernobyl, Ukraine.

Although Luke was briefly detained due to Deckard making his fake alias "Mike Oxmaul," the three manage to travel to Moscow. After rendezvousing with Deckard's former flame Margarita to rearm in Moscow, the three infiltrate the facility. They retrieve the device before escaping in a truck during the facility's destruction, though Andreiko is killed by Brixton and the device is damaged.

Luke takes Deckard and Hattie to his childhood home in Samoa to visit his estranged brother Jonah, a talented mechanic, to repair the device and lay low before confronting Brixton's forces again. Luke has a tense reunion with his family, who he has not communicated with since he turned his criminal father in to the authorities prior. Despite Jonah's objections, their mother convinces him to help repair the device and oppose Eteon's incoming forces.

The makeshift battalion prepares for Eteon's arrival, disabling the weapons used by Eteon's team by temporarily shutting down their authorization code, and setting up a variety of traps around the island. Jonah successfully repairs the device and starts the virus extraction just as Brixton and his army arrive.

In the ensuing battle, the Samoans engage and easily overpower Brixton's reinforcements while suffering minimal casualties. Brixton recaptures Hattie with a helicopter; however, Luke, Deckard, and the Samoans bring the aircraft down with several custom trucks.

Working together, Luke and Deckard alternate their attacks to defeat Brixton, who is remotely terminated afterward by Eteon's unseen director. The director sends a message claiming to know Luke and intending to persuade him and the Shaw siblings, while they promise to find the director; the group then celebrates their victory.

In post-credits scenes, Luke brings his daughter to meet their extended family in Samoa; Deckard and Hattie are implied to bust their mother out of prison; and Luke receives a call from his partner, Locke, who has broken into a laboratory and discovered a more threatening virus. Luke also secretly has the London police set on Deckard in retaliation for the "Mike Oxmaul" prank, having told the police that Deckard's name is "Hugh Janus".

Cast

In addition, Lori Pelenise Tuisano portrays Sefina Hobbs, the mother of Luke Hobbs and matriarch of the Hobbs family. Rob Delaney appears as CIA agent Loeb while the film's director David Leitch makes a cameo appearance as an Eteon helicopter pilot. Ryan Reynolds and Kevin Hart make uncredited cameo appearances as CIA agent Victor Locke and Air Marshal Dinkley, respectively. The Eteon Director, a role Keanu Reeves was in negotiations for, does not physically appear in the film, but is also voiced by Reynolds in a dual role, under the pseudonym "Champ Nightingale".

Production

Development
In November 2015, Vin Diesel announced in an interview with Variety that potential spin-offs for the Fast & Furious series were in the early stages of development. In October 2017, Universal Pictures announced a spin-off film centered around characters Luke Hobbs and Deckard Shaw, and set a release date of July 26, 2019, with Chris Morgan returning to write the script. Variety reported that Shane Black was being considered to direct the film. In February 2018, Deadpool 2 director David Leitch entered talks to direct the film. In April 2018, Leitch was confirmed as the director for the film and added David Scheunemann as a production designer.

Casting
In July 2018, Vanessa Kirby was cast in the film to play an MI6 agent and Shaw's sister, along with Idris Elba as the main villain in the film. In October 2018, Eddie Marsan joined the cast of the film, and in November 2018, Eiza González was added as well. In January 2019, Johnson revealed that his cousin and professional wrestler Roman Reigns would appear in the film as Hobbs's brother. Additionally, he announced that Cliff Curtis, Josh Mauga, and John Tui would portray other brothers of Hobbs. Helen Mirren was also confirmed to be reprising her role from The Fate of the Furious.

Filming
Principal photography began on September 10, 2018, in London, England. Dwayne Johnson joined the production two weeks later, on September 24, 2018, after he had wrapped filming Jungle Cruise. Most filming was done at Shepperton Studios and Leavesden Studios. In October, filming moved to Glasgow, Scotland, to recreate London. Filming also took place in late 2018 at Eggborough power station in North Yorkshire, and in Farnborough, Hampshire. The Hawaiian island of Kaua'i was used as a stand-in for Samoa for the film's third act. Cinematographer Jonathan Sela shot the film with Arri Alexa SXT and Alexa Mini digital cameras and Hawk Class-X anamorphic lenses. Production officially wrapped on January 27, 2019. Scroggins Aviation Mockup & Effects was hired to supply a UH-60 Black Hawk (s/n 79-23354) in the film. Scroggins made modification to the UH-60 and worked with the art department to supply it with a digital cockpit panel.

Post-production

The visual effects were provided by DNEG, Cantina Creative, The Third Floor, RISE FX and Framestore, supervised by Mike Brazelton and Kyle McCulloch, and produced by Dan Glass. DNEG is the main vendor for this project, with a total VFX shots of around 1,000. They worked on the big action sequences in London, Chernobyl and a part of the climatic Samoan chase. The London chase sequence consists of blue screen environments and car interiors, with CGI reflections on the McLaren exterior. There are few head replacements and full CGI character doubles. For the latter, they were created and animated from reference photography of the main actors. The same method was applied for the McLaren and the Brixton bikes. Idris Elba was enhanced to give him super-human abilities. Motion graphics were used to make a sort of heads up display of data and stats called the Brixton vision, to help him in the fights. For the Chernobyl action sequence, the environments were made from Lidar scanning, texture reference of a decommissioned coal power plant used for the production shootings. Then, they extended parts of the facility and modified weather conditions. Drones were fully created and animated. Explosions were created too. Finally, they handled the Samoa chopper destruction.

Framestore handled 264 VFX shots for the project, mostly the 3rd-act chase sequence. They photographed the Nā Pali Coast on the North Side of Kauai, Hawaii before and during the main shoot. Then, they used their photography to be photo scanned and transferred into a CGI version of the coastline. They had to fit the CGI environment to the shoot location. They also created CGI cliffs, CGI foliage and some scattered rocks on flatter areas or ledges. Finally for the creation of the environments, they used many reference plate shots for the blue screens. They also photographed, photo scanned, modeled and animated all the vehicles portrayed in that sequence, including the Peterbilt, the M37, the Ratrod and the Black Hawk. The latter was cyber scanned by ClearAngle. They adapted the CGI vehicles with the environment, including the lighting, tillable textures and painting scratches. Finally, they enhanced the explosions and car crashes with some debris, fire elements and craters.

Music

In May 2019, Film Music Reporter announced that Tyler Bates would compose the film's score. The first single of the soundtrack is "Getting Started" written by Kyle Williams aka producer Willyecho (created through the series Songland for Aloe Blacc), and performed by American singer-songwriter Aloe Blacc and rapper JID. Idris Elba himself has produced a track featuring Cypress Hill's B-Real titled "Even If I Die"; the Hybrid remix of the track appears both in the film and during the end credits. The film's soundtrack also features numerous artists including Logic, Yungblud, A$ton Wyld, Ohana Bam, and The Heavy.

Marketing

The first poster was released on January 31, 2019. The first trailer was released on February 1, 2019, and a TV spot was aired during Super Bowl LIII, on February 3, 2019. A second trailer was released on April 18, 2019. The final trailer was released on June 28, 2019.

Release

Theatrical
The film had its premiere at the Dolby Theatre in the Hollywood district of Los Angeles, California on July 13, 2019. The film was theatrically released in the United States on August 2, 2019, after being moved from its previous date of July 26, 2019. The film began international rollout on July 31, 2019, and was released in China on August 23, 2019. The release is in 2D, Dolby Cinema, and IMAX. A RealD 3D conversion for the film was originally planned to release but was later cancelled. However, the planned conversion was done by Stereo D.

Lawsuit
In October 2018, Fast & Furious producer Neal H. Moritz filed a lawsuit against Universal Pictures for breach of oral contract and committing promissory fraud, after the distributor removed him as lead producer on Hobbs & Shaw. In May 2019, it was revealed that Universal had dropped Moritz from all future Fast & Furious installments. His lawsuit was settled in September 2020, and Moritz would later return to the series with F9.

Home media
Fast & Furious Presents: Hobbs & Shaw was released on Digital HD on October 15, 2019, and on DVD, Blu-ray, and Ultra HD Blu-ray on November 5, 2019, by Universal Pictures Home Entertainment.

Reception

Box office
Hobbs & Shaw grossed $174 million in the United States and Canada, and $586 million in other territories, for a worldwide total of $760 million. Deadline Hollywood calculated the net profit of the film to be $84million, when factoring together all expenses and revenues.

In the United States and Canada, the film was projected to gross $60–65 million from 4,253 theaters in its opening weekend, while some insiders predicted it could exceed $70 million. The film made $23.7 million on its first day, including $5.8 million from Thursday night previews, the highest amount for both Johnson and Statham outside the main Fast & Furious series. It went on to debut to $60 million over the weekend, finishing first at the box office. Similar to the main Fast & Furious films, Hobbs & Shaw had a diverse audience, with audience demographics being 40% Caucasian, 27% Hispanic, 20% African American and 13% Asian. The film dropped 58% in its second weekend to $25.3 million, remaining in first, before another Universal film Good Boys replaced it in the third week.

In other territories, the film was projected to open to around $125 million from 54 countries, for a worldwide debut of $195 million. The film made $24.9 million from its first two days of international release. In its Chinese opening weekend the film made $102 million, grossing below projections but nevertheless being the second highest-grossing weekend of 2019 behind Avengers: Endgame.

Critical response
On Rotten Tomatoes, the film holds an approval rating of 68% based on 348 reviews and an average rating of . The website's critical consensus reads, "Hobbs & Shaw doesn't rev as high as the franchise's best installments, but gets decent mileage out of its well-matched stars and over-the-top action sequences." On Metacritic, the film has a weighted average score of 60 out of 100, based on 54 critics, indicating "mixed or average reviews". Audiences polled by CinemaScore gave the film an average grade of "A−" on an A+ to F scale, while those at PostTrak gave it an average four out of five stars.

Writing for Variety, Peter Debruge wrote, "Fan favorites Dwayne Johnson and Jason Statham milk the friction between their characters while teaming up to save the world in this gratuitously over-the-top spinoff." Eric Kohn of IndieWire gave the film a "B−" and stated, "Strip away the meandering exposition and Hobbs & Shaw is an old-school screwball comedy that just happens to feature two major action stars." Conversely, the Chicago Sun-Timess Richard Roeper gave the film 1.5 out of 4 stars, writing, "In case of bad-movie emergency, break glass. Over the two-hour-plus running time of the painfully long, exceedingly tedious, consistently unimaginative and quite dopey Hobbs & Shaw, I counted some 13 instances in which humans and/or vehicles went crashing through panes of glass."

Accolades

Sequel
In November 2019, producer Hiram Garcia confirmed that all creatives involved have intentions in developing a sequel, with conversations regarding the project ongoing. By March 2020, Johnson confirmed that a sequel was officially in development, while the creative team was not yet decided. Garcia confirmed the project was in active development a month later, citing the box office performance of Hobbs & Shaw, and announced Morgan would return to write. Johnson expressed excitement for the sequel that same month, stating that it will introduce new characters.

In November 2021, Johnson revealed that he had developed an original idea for the sequel, which he described as "the antithesis of Fast & Furious" and that he presented the concept to Universal Pictures chairwoman Donna Langley, as well as Garcia and Morgan. He elaborated the sequel would take immediate precedence over the rest of his film-slate, and further teased its development will progress after he completes the holiday-action film Red One (2023). Later that month, Garcia confirmed that work on the screenplay is ongoing, calling the film "very ambitious". In December 2022, Universal Pictures producer Kelly McCormick stated the film's production has been stalled.

In June 2023, Johnson announced plans for a direct sequel were postponed, and that a standalone sequel serving as a direct continuation to Fast X (2023) that would bridge into the eleventh main film was in development. The film's title, Hobbs & Reyes, was then announced, with Johnson and Jason Momoa set to star. Morgan is set to return to write the film, with Garcia, Johnson, Dany Garcia, Vin Diesel, Samantha Vincent, Jeff Kirschenbaum, and Neal H. Moritz set to produce.

References

Further reading

External links

2019 films
2010s action adventure films
American action adventure films
American buddy action films
2010s English-language films
Fast & Furious mass media
Cyborg films
Drone films
Film spin-offs
Films about infectious diseases
Films about terrorism in Europe
Films about MI6
Films directed by David Leitch
Films produced by Chris Morgan
Films produced by Dwayne Johnson
Films produced by Jason Statham
Films scored by Tyler Bates
Films set in Chernobyl (city)
Films set in London
Films set in Los Angeles
Films set in Moscow
Films set in Samoa
Films set on airplanes
Films shot in England
Films shot in Glasgow
Films shot in Hawaii
Films shot in London
Seven Bucks Productions films
Techno-thriller films
Films with screenplays by Chris Morgan
Films with screenplays by Drew Pearce
IMAX films
Universal Pictures films
Fast & Furious films
2010s American films

Hobbs & Shaw


Tom Evslin is an American businessman and politician who was the founder and Chair of NG Advantage LLC, the first company in the United States to truck CNG to large users beyond the reach of natural gas pipelines.

Evslin previously served as Chief Technology Officer for the State of Vermont. Before that he was Chief Recovery Officer responsible for coordinating the State's use of federal stimulus money under the American Recovery and Reinvestment Act (ARRA). He agreed to work for minimum wage and return that money to the State.

Evslin was the co-founder (with his wife Mary), chairman, and CEO of ITXC Corp, a provider of VoIP. The company grew from a startup in 1997 to one of the world's largest carriers of any kind by 2004 when it was acquired. In 2002 Deloitte and Touche named ITXC as the fastest growing technology company in North America.

He was responsible for the conception, launch, and operation of AT&T's first ISP, AT&T WorldNet Service.

At Microsoft, he was responsible for the server products now in Microsoft BackOffice including Microsoft Exchange. Key assets of the Evslins' software company, Solutions, Inc., were sold to Microsoft.

In 1981 and 1982 Evslin was Secretary of Transportation for the State of Vermont.

Personal life
Evslin is the son of author and playwright Bernard Evslin and author and teacher Dorothy Evslin. A novel by Evslin, hackoff.com: an historic murder mystery set in the Internet bubble and rubble was the fiction runner-up for the 2006 Lulu Blooker Prize.

References

External links
Tom Evslin's blog
hackoff.com Tom Evslin's blook (Creative Commons)
freecheckip.com open source shareware by Tom Evslin
Evslin source on github: https://github.com/tevslin

Living people
American telecommunications industry businesspeople
State cabinet secretaries of Vermont
American chief technology officers
American technology company founders
American chairpersons of corporations
American technology chief executives
Businesspeople from New Rochelle, New York
Year of birth missing (living people)

Tom Evslin


Peter Jelavich (born 1954) is an author and Professor of History at the Johns Hopkins University. He is the son of historians Barbara and Charles Jelavich.  Previously, Jelavich was professor of history and chair of the Department of Germanic Studies at the University of Texas at Austin.  He was a Junior Fellow in the Harvard Society of Fellows (1979-1981) and he received his PhD from Princeton University in 1982.  Jelavich specializes in the cultural and intellectual history of Europe since the Enlightenment, with emphasis on Germany. His areas of interest include the interaction of elite and popular culture; the history of mass culture and the media; and the application of cultural and social theories to historical study.  Jelavich served previously as President of the Friends of the German Historical Institute until his term ended in 2019; as of 2020, Kenneth Ledford is the President of the Friends of the GHI. He is the author of Munich and Theatrical Modernism: Politics, Playwriting, and Performance, 1890-1914 (1985), Berlin Cabaret (1993), Berlin Alexanderplatz: Radio, Film, and the Death of Weimar Culture (2006).  He was the 1987 recipient of the Herbert Baxter Adams Prize and is a 2013 recipient of the Alexander von Humboldt Research Award.

Books
Berlin Alexanderplatz: Radio, Film, and the Death of Weimar Culture. Berkeley: University of California Press, 2006.
 Berlin Cabaret. Cambridge: Harvard University Press, 1993 (paperbound edition, 1996).
 Munich and Theatrical Modernism: Politics, Playwriting, and Performance, 1890-1914. Cambridge: Harvard University Press, 1985 (paperbound edition, 1996
 German Expressionism: The Graphic Impulse. (contributor) The Museum of Modern Art, New York, 2011.

References

 Humboldt Research Award
 Article on Peter Jelavich in Baltimore City Paper
 Review of Berlin Alexanderplatz
 Review of Jelavich's scholarly articles
 JHU Bio
 President, Friends of the German Historical Institute

Johns Hopkins University faculty
Princeton University alumni
Harvard Fellows
1954 births
Living people

Peter Jelavich


Galvanized iron means the iron is covered by a metal that does not rust, or which only rusts slowly. Iron is usually covered with zinc. The iron cannot rust because the zinc covering protects it.

The zinc resists corrosion even when scraped. After the paint is scratched, metal corrodes. When the zinc has completely corroded, the iron begins to do the same.

There are two ways of galvanising:

Hot dip galvanising: the item is put in a vat of liquid zinc. This gives a longer-lasting, thicker covering. Some people might not appreciate it as much, though, because it does not have a bright, clean surface.

Also possible is electro-galvanizing. This is the process of electroplating zinc onto a surface. Although it is thinner and more sparkly, it does not last as long.

Iron compounds

Galvanized iron


Wayne Boyd (born 25 October 1990) is a British racing driver from County Antrim, Northern Ireland.

Boyd won the British Formula Ford Championship in 2008 with Jamun Racing. He won 13 out of 25 championship races.  Sat on the pole for 15 races and was on the podium 20 times out of 25 races. In the same year he won the Formula Ford Festival Duratec class. His dominate performance earned him named as one of British Racing Driver Club Superstars and nominated for the BRDC McLaren Autosport Award. Boyd also won the Walter Hayes Trophy in 2014 and won the Formula Ford Festival for a second time in 2015.

In 2009 he raced full-time in the British Formula Three Championship for T-Sport and won a race at Donington Park. He started that race outside the Top 10 and in the rain raced his way to the win on slicks.  At the Macau GP, Boyd walked away from an incredible crash - surviving after landing upside down and will be remembered as a great escape. He finished 12th in points overall. He was again nominated as BRDC Superstars and British MSA Race Elite Driver.

In 2010, financial constraints only allowed him to make two one-off races Hockenheimring for Sino Vision Racing in British F3, the second was the F3 Masters event at Zandvoort in which he started 24th on the grid and finished 8th in poor weather conditions.

In 2011 Boyd signed to race for Belardi Auto Racing in the U.S. F2000 National Championship in America. The deal came together days before the start of the season. He captured two wins, including one on the oval at the Milwaukee Mile, six podiums in total and finished third in the Championship points behind Petri Suvanto and Spencer Pigot.

In 2012, Boyd raced two event weekends for Belardi Auto Racing at Baltimore and Virginia International Raceway posting a third- and second-place finish at VIR.

Early years: Boyd starting karting in September 2001 in the cadet class (Zip kart) finishing in the Top 10 in his first year in the Northern Irish Championship.  Contested the Five Nations Championship at Nutts Corner finishing 5th.  His first championships were in 2004 winning the Ulster Championship at Nutts Corner, the Five Nations Championship (NC Plate Winner). He raced for Maranello in 2005 placing 1st in the Ulster Cup and second in the Northern Ireland Karting Association.  In 2006, he stepped up to Intrepid Karts and continued placing 1st and 2nd in Ulster championships.

In 2007, Boyd raced Formula Ford 1600 and won the Northern Irish FF1600 Championship. He was named Novice of the Year.  He set new track records on his first visits to Knockhill; Mondello Park; Brands Hatch during the Formula Ford Festival and at Silverstone during the Walter Hayes Trophy.

Racing Record

U.S. F2000 National Championship

Complete 24 Hours of Le Mans results

Complete WeatherTech SportsCar Championship results
(key) (Races in bold indicate pole position; results in italics indicate fastest lap)

* Season still in progress.

References

External links

 Official Website

1990 births
Living people
Racing drivers from Northern Ireland
Formula Ford drivers
British Formula Renault 2.0 drivers
British Formula Three Championship drivers
U.S. F2000 National Championship drivers
24 Hours of Daytona drivers
European Le Mans Series drivers
Asian Le Mans Series drivers
WeatherTech SportsCar Championship drivers
FIA World Endurance Championship drivers
24 Hours of Le Mans drivers
T-Sport drivers
Belardi Auto Racing drivers
United Autosports drivers
Hitech Grand Prix drivers
Fortec Motorsport drivers
Le Mans Cup drivers
People educated at Antrim Grammar School
Motorsport people from County Antrim

Wayne Boyd


Trenton Doyle Hancock (born 1974) is an American artist working with prints, drawings, and collaged-felt paintings. Through his work, Hancock mainly aims to tell the story of the Mounds, mystical creatures that are part of the artist's world. In this sense, each new artwork is the artist's contribution to the development of Mounds.

Early life and education
Hancock was born in 1974 in Oklahoma City, Oklahoma, and grew up in Paris, Texas. He received a BFA from Texas A&M University–Commerce. As an undergrad, Doyle worked as a cartoonist for the school newspaper. At the time, he thought he would become a professional cartoonist following graduation. The influence of Hancock's early interest in cartoons is still visible in his current work. Following his studies at Texas A&M University-Commerce, Hancock earned an MFA from the Tyler School of Art at Temple University, Philadelphia. Hancock's art was also significantly influenced by his upbringing in Paris, Texas. Church was a fundamental focal point of his childhood, as his stepfather was a minister. Thus, religious tropes and themes are abundant in his works, such as recurring references to Redemption and the Eucharist.

Work

Hancock makes prints, videos, drawings, sculptures, individual performances, and collaged felt paintings. His influences include comics, graphic novels, cartoons, music, and film.

Hancock is known for his visual work that focuses on the Mounds and the Vegans, two forces that are constantly dueling with one another and serve as a representation of the eternal battle between good and evil. This extended series also serves to explore Hancock's mythology of the two forces, which gives him the opportunity to develop his concepts at length. He has structured this world to be one he can both occupy and continuously rework, depicting the life stages of a variety of characters, such as the Mounds: ancient half-human and half-plant creatures which were created thousands of years ago when a human male ejaculated into a field of flowers. The Vegans are malevolent beings who seek to destroy all Mounds, especially "The Legend": the original Mound, and the most despised among Vegans. The Vegans are meant to symbolize those who are determined to force their beliefs on others, whereas the Mounds symbolize the Earth, acceptance, love, and progressive behaviors. Other key characters in Hancock's works are Painter, a maternal spirit who governs color, Loid, a paternal energy focused on words, and Torpedo Boy, an unheroic super hero alter ego that Hancock created as a child. Torpedo Boy has superhuman strength, but his human emotions—especially his pride—prevent him from performing his heroic duties to their fullest extent. Additional characters that appear in the work alongside him include Junior Mound, Bringback, Baby Curt, and Shy Jerry.

Trenton Doyle Hancock is known for taking risks in his art, and has stated that he is typically the most interested in his art when he feels he has done something daring with it: whether it deals with social issues, universal dilemmas, or personal matters. Regarding whether Torpedo Boy and the Vegans are meant to symbolize good and evil in his works, Hancock states: "Hopefully there's a range of what the Vegans are, and what Torpedo Boy is. You can choose to identify with that range or not. I came from a household where there were very strict ideas about what good and evil are. When I left home, I realized that didn't really work for me, that life was a huge grey area. That became more interesting."

In 2013 his work was translated to Cult of Color: Call to Color, a ballet created in collaboration with Ballet Austin's Artistic Director Stephen Mills.

Awards and fellowships
Among the honors that Hancock has earned are an Artadia Award (2003), The Greenfield Prize at the Hermitage Artist Retreat (2013), a two-year residency and commission of original work, Art League Houston's Texas Artist of the Year (2017), and Texas Medal of Arts Awards in Visual Arts (2019). Hancock was also one of the youngest artists to be featured in the Whitney Biennial, being selected for two consecutive exhibitions in 2000 and 2002. He was a Core Artist in Residence at the Museum of Fine Arts, Houston in 2002.

Exhibitions and publications

 Fruitmarket Gallery, Edinburgh, Scotland "The Wayward Thinker" (2007)
 Museum Boijmans Van Beuningen, Rotterdam, The Netherlands "The Wayward Thinker" (2007)
 Arthouse at The Jones Center, Austin, USA "Sirens' Song" (2007)
 Clementine Gallery, New York, USA "The Lizard Cult" (2007)
 Museum of Modern Art, New York, USA "The Compulsive Line: Etching 1900 to Now" (2006)
 Zachęta National Gallery of Art, Warsaw, Poland "Black Alphabet" (2006)
 Villa Manin Centre for Contemporary Art, Infinite Painting: Contemporary Paintings and Global Realism "Passariano, Italy" (2006)
 Virginia Museum of Contemporary Art, Virginia, USA "Skin & Bones, 20 Years of Drawing" (2015)
 James Cohan Gallery, Stockholm, Sweden "Powerful Babies: Keith Haring's Impact on Artists Today" (2015)
 Contemporary Arts Museum Houston, Texas, USA "Skin and Bones, 20 Years of Drawing" (2014)
MoCA Cleveland, Cleveland, Ohio "DIRGE: Reflections on [Life and] Death" (2014)
John and Mable Ringling Museum of Art, Florida, USA, Trenton Doyle Hancock, "EMIT: What the Bringback Brought" (2015)
Contemporary Art Museum St. Louis, St. Louis, MO "The Re-Evolving Door to the Moundverse (2018)
Temple Contemporary, Philadelphia, PA "From a Black Son to a White Man to a Black Woman and Back Again" (2018)
Phillips New York, New York City, New York, AMERICAN AFRICAN AMERICAN (2019)
John Michael Kohler Arts Center, Sheboygan, WI, "Makeshift" (2018-2019)
The Menil Collection, Houston, Texas, USA "Contemporary Focus: Trenton Doyle Hancock" (2019)
Mass MoCA, North Adams, Massachusetts, USA "Mind Of The Mound: Critical Mass" (2019)

Hancock was included in the American Folk Art Museum's "Dargerism" exhibit, showing the influence of Henry Darger on contemporary artists.

References

External links
 Trenton Doyle Hancock, PBS series Art:21 – Season 2 (2003).
 About Trenton Doyle Hancock(archive), Cleveland Museum of Art

1974 births
Living people
20th-century American painters
American male painters
21st-century American painters
African-American contemporary artists
American contemporary painters
Artists from Texas
Artists from Oklahoma
Texas A&M University–Commerce alumni
20th-century African-American painters
21st-century African-American artists
20th-century American male artists

Trenton Doyle Hancock


CKND-DT (channel 9) is a television station in Winnipeg, Manitoba, Canada, part of the Global Television Network. The station is owned and operated by network parent Corus Entertainment, with studios on the 30th floor of 201 Portage in downtown Winnipeg, and transmitter atop the building.

History

Acquisition and licensing
CKND's predecessor, KCND-TV, began broadcasting from Pembina, North Dakota, in November 1960. Although a U.S. station, it depended almost entirely on advertising from the media market of Winnipeg, Manitoba, Canada. In February 1973, the Canadian Radio-television and Telecommunications Commission (CRTC) announced that it had received two applications for new television stations in Winnipeg. One had been submitted by Western Manitoba Broadcasters Ltd., the parent company of CKX-TV in Brandon, Manitoba. The other application had been received from Continental Communications Ltd. of Vancouver, British Columbia, represented by Ray Peters, the president of Vancouver CTV affiliate CHAN-TV.

The CRTC solicited competing applications for the new Winnipeg television licence, and Peter Liba, who was then the executive assistant to Manitoba Liberal Party leader Izzy Asper, suggested that they make a bid. Wanting to save money on buying the needed equipment, Asper negotiated with Gordon McLendon to acquire the assets of KCND, convincing him that a new Winnipeg station would cut into KCND's revenues and that Winnipeg advertisers would likely lose tax deductions for American advertising costs.

McLendon sold the station's facilities and equipment to Canwest Broadcasting, established by Asper and partners Paul Morton and Seymour Epstein, for $780,000, contingent on Canwest securing a broadcasting licence. At the CRTC's public hearings in Winnipeg in May 1974, Canwest noted that the acquisition of KCND would give their new Winnipeg station a $2 million advertising base and would save $1.5 million in capital and start-up costs compared to the alternative of launching a completely new station.

At the same hearing, competing applications were presented by Western Manitoba Broadcasters Ltd. and by Communications Winnipeg Co-Op, which proposed a member-supported non-commercial station. (Continental Communications had withdrawn its application prior to the hearings.) John Boler, the owner of Valley City–Fargo, North Dakota CBS affiliate KXJB-TV and future owner of KVRR/KNRR, also used the occasion to announce his intention to launch a new Pembina-based station on channel 12.

In September 1974, the CRTC awarded the Winnipeg channel 9 licence to Canwest, which formally took possession and assumed day-to-day management of KCND-TV on March 31, 1975 (due to foreign ownership restrictions, the McLendon Corporation remained the official licensee of KCND until it surrendered the station's broadcasting licence to the U.S. Federal Communications Commission [FCC] later that year). The same month, Canwest confirmed that the new station would operate from a former supermarket at 603 St. Mary's Road in Winnipeg and use an antenna mounted on the CBWT tower in Starbuck, Manitoba, to avoid having to dismantle KCND's tower during the transition. KCND-TV general manager G. O. Johnson was appointed executive vice-president and general manager of CanWest Broadcasting. In May 1975, Canwest announced that KCND's 17 Winnipeg-based employees had all accepted offers of employment at the new station, but that there was little interest among the station's 22 Pembina-based employees.

Broadcasting

During Labour Day weekend, on August 31, 1975, CKND signed on channel 9 (broadcast) and channel 12 (cable), both shown prominently in the station's logo. Both CKND and KCND simulcast the Jerry Lewis MDA Telethon until 5:30 p.m. on September 1, 1975, after which KCND permanently left the air.

The former KCND tower was later moved to Asper's birthplace of Minnedosa, Manitoba, a small town  north of Brandon, to serve western Manitoba. Together, the two transmitters reach 91% of Manitoba's population. Its first regularly scheduled program following the MDA telethon was The Hollywood Squares.

In 1981, KCND became the call letters for KCND-FM, the first Prairie Public Radio station in Bismarck, North Dakota. The same year, the U.S. FCC issued a construction permit for a new station to serve Pembina, North Dakota on channel 12. The station's launch, however, would remain delayed until 1986.

During a June 1981 hearing to extend CKND-TV's signal into the Westman area and to hear the application by Western Manitoba Broadcasters Ltd. (Craig) for a new television station at Portage la Prairie, Canwest said that the Westman transmitter on a VHF channel would reach up to 175,000 more viewers than with the CKND-TV Winnipeg signal. The signal would stretch from the US border to Dauphin, and from Central Manitoba to Saskatchewan.

At an April 1982 CRTC hearing regarding licensing a new television station for southern Manitoba, Canwest stated that while they were given VHF channel 2 to operate the CKND-TV2 rebroadcaster, they could have used VHF channel 13 instead. Canwest also stated that it would require a population of over 100,000 to serve the Interlake area with two or three UHF transmitters, rather than the 30,000 that existed at the time.

On-air signal testing on channel 2 with colour bars, test slides and test programming began in early August. CKND-TV-2 began broadcasting at 6 p.m. on September 1, 1982. Cable TV viewers in Dauphin were unable to watch the launch of CKND-TV-2 channel 2 because the cable company, Westman Media Co-op, did not have an antenna ready to receive the new signal.

In the mid-1980s, the station supported the development of a Manitoba film industry by funding television films, most notably The Prodigal and Tramp at the Door. Faced with the dilemma that the films would typically need to be sold to the national CBC or CTV networks to attain profitability, but the station would have to accept a reduced price if the films had already aired in prime time in a major Canadian television market, station manager Stan Thomas would air the films on CKND in an obscure overnight timeslot so that they would be eligible for ACTRA Award consideration, while still having been essentially unseen by an actual television audience so that he could secure the maximum price from a network.

On January 1, 1986, channel 12 returned in Pembina, North Dakota, as KNRR, a satellite of independent station KVRR (channel 15) in Fargo. Canadian cable providers were prohibited from distributing the signal, however, by an October 1986 CRTC decision in response to broadcaster concerns about the "potentially damaging effect of this station by providing Canadian advertisers with access to large amounts of commercial airtime at rates substantially lower than those they would be obliged to pay Canadian television licensees in order to reach the same potential audience." As the satellite station was never profitable due to its location, as well as its difficulties in being able to reach the Winnipeg audience, KNRR went off the air from June to October 2009 as the station did not upgrade to a digital signal.

Along with the other Canwest-owned stations, CKND was rebranded as Global in August 1997. CKND's studios also produced Fox Soccer Report, which aired throughout the world on Fox Sports World Canada, Fox Soccer Channel, and Fox Sports Middle East. On September 1, 2008, CKND moved its operations to downtown Winnipeg at Canwest Place (now called 201 Portage).

On April 1, 2016, Shaw Media (which was rebranded from Canwest in 2010) was sold to Corus Entertainment. The deal provided CKND three radio stations (CJOB, CFPG-FM and CJKR-FM) as sister properties.

News operation

CKND-DT presently broadcasts  hours of locally produced newscasts each week ( hours each weekday and one hour each on Saturdays and Sundays). On November 14, 2009, the station introduced a weekend evening 10 p.m. newscast. In December 2009, longtime anchor Eva Kovacs announced that she would be leaving CKND after nearly twelve years with the station, to work for the Winnipeg Regional Health Authority in 2010. Shannon Martin was named as her replacement. Her departure came only a few months after lead weather anchor Andrea Slobodian and reporter Meera Bahadoosingh left for Shaw TV Calgary and Winnipeg respectively, and nightwatch anchor Trina Maus left for CKVR-TV in Barrie, Ontario.

The spring and summer of 2011 brought a few high-profile departures to the station; first weekend anchor and reporter Nicole Dube left to become the Manitoba correspondent for Sun News Network. Dube's replacement, Lindsay Warner, left the station to become the late night anchor at CKY-DT, lead weather anchor Craig Larkins left for CFRN-DT Edmonton in July, and in late August it was announced that senior anchor Shannon Martin would also be leaving to pursue her career in Ontario. Her last broadcast was September 2, 2011. That same month, it was announced that Kate Gajdosik would be the new weather/community anchor, joining the station from CIVT-DT Vancouver in September 2011.

On September 7, 2011, it was announced that Shaw Media would be continuing its expansion of political programming and Global News would be launching provincial half-hour political programs in several markets. Similar in format to Global Toronto's Focus Ontario and Global Montreal's Focus Montreal, these new political programs launched in Saskatchewan on CFRE-DT and CFSK-DT, as well as CKND, on October 15, 2011. In late 2011, Global Winnipeg became the first television station in Manitoba to broadcast its local news in high definition.

On February 6, 2012, CKND launched a three-hour weekday morning newscast, airing 6–9 a.m.. Around the same time, CKND became the first Winnipeg station to acquire a news helicopter, Skyview 1. The vehicle was grounded in summer 2017. On August 20, 2012, CKND expanded its half-hour 10 p.m. newscast to one hour, which was re-titled from Prime News to News Hour Final, cancelling their 30-minute 11 p.m. newscast, News Final.

Global Winnipeg's supper-time newscast ranked third in the Winnipeg TV market. As of spring 2016, Global News at 6 averaged 31,800 viewers (a drop from 32,500 in fall 2015) to CTV Winnipeg's 103,900 and CBC Winnipeg's 39,800. As of fall 2015, Global's late-night News Hour Final, ranks first with 17,200 viewers to CTV Winnipeg's 15,200, a significant drop from Global Winnipeg's 27,400 viewers in fall 2014.

On April 1, 2016, CKND-DT was sold to Corus Entertainment, and earned three radio stations for sister networks.

Starting April 11, 2016, Global Winnipeg, along with all Global owned-and-operated stations, rebranded its news programs. All of their news programs received new names: Global News Morning, Global News at 6, and Global News at 10.

On July 27, 2018, longtime Global Winnipeg personality and anchor of Global News at 6 Lauren McNabb left the station to go to sister radio station Global News Radio 680 CJOB, to co-host their morning show. She was replaced by Heather Steele, who had been co-anchor of Global News at 6 before her maternity leave in 2017.

On April 13, 2019, Kovacs announced on Facebook that she would be departing the station for the second time. Before becoming the station's community producer, she anchored Global News Morning (then Morning News) from 2012 to 2015. Global News at 6 anchor Heather Steele announced on May 15, 2019, that she would be departing the station for a new role at sister station CJOB. Steele officially departed Global Winnipeg on July 12, 2019. On July 25, 2019, Global Winnipeg announced that Steele's replacement would be Lisa Dutton, former anchor of Global News Morning at Global Saskatoon. Dutton officially started on July 30, 2019.

Notable former on-air staff
 Dawna Friesen – news anchor (current anchor of Global National)
 Don Marks – news anchor
 Daren Millard – Sportsline anchor (currently Hockey Central host with Rogers Sportsnet)
 Gene Principe – Sportsline anchor (currently Reporter with Rogers Sportsnet)
 Jeremy St. Louis – weather
 Diana Swain – news anchor (currently Feature Reporter with CBC News: The National)
 Cory Woron – Sportsline anchor (currently Sportscentre anchor for TSN)

Technical information

Subchannels

Analogue-to-digital conversion
On December 16, 2010, CKND-TV commenced broadcasting of its digital signal on channel 40 from Canwest Place (now 201 Portage). CKND shut down its analogue signal on August 28, 2011, while CKND-TV's digital signal remained on UHF channel 40. Through the use of PSIP, digital television receivers will display CKND-TV's virtual channel as 9.1.

References

External links
Global Winnipeg

CKND Digital Channel Application Channel 40 Post Transitional

KND-DT
KND-DT
Television channels and stations established in 1975
Corus Entertainment
1975 establishments in Manitoba

CKND-DT


Naraghi Lake is an artificial lake within the central valley city of Modesto, in Stanislaus County, California.

History
Naraghi Lake was excavated in the 1980s as one of a planned series of water features for a large residential and commercial development complex straddling both sides of Oakdale Road. The lake is named after the Naraghi family, who were at one time large landowners in the area, and who planned the initial development. Shortly after excavating the lake, the Naraghi development was scrapped because of financial and market problems, leaving the lake as the only evidence of the plan that had been abandoned. The surrounding land was sold off and subsequently developed. The lake remains the property of the Naraghi family.

It was open to the public for fishing and recreational use until 2004, when liability issues and problems related to people dumping invasive species into the lake including a fish related to the piranha, finally prompted the Naraghi family to fence in the perimeter.

Over the years, numerous proposals for the land and the lake have been discussed, including converting it into a city park, building private residences around its perimeter, and building apartment or office complexes on the property. Most of these plans are hamstrung by the now-limited amount of land remaining around the lake, and have not been pursued beyond the discussion phase.

Geography
The surface area of the lake is .

Naraghi Lake is supplied from MID canals and pipelines. It was built by excavating a hole in the otherwise flat terrain and was lined with bentonite to eliminate percolation.

Fish
The commonly found fish in the lake are Largemouth Bass, Smallmouth Bass, Crappie, Catfish, Spotted Bass, White Bass, Striped Bass, and Trout. Other wildlife like ducks and geese can also be found in and near the lake.

See also
List of lakes in California

References

Lakes of Stanislaus County, California
Modesto, California
Lakes of Northern California
Lakes of California

Naraghi Lake