The Dark Side of the Moon is the eighth studio album by the English rock band Pink Floyd, released on 1 March 1973 by Harvest Records in the UK and Capitol Records in the US. Developed during live performances before recording began, it was conceived as a concept album that would focus on the pressures faced by the band during their arduous lifestyle, and also deal with the mental health problems of former band member Syd Barrett, who departed the group in 1968. New material was recorded in two sessions in 1972 and 1973 at EMI Studios (now Abbey Road Studios) in London.

The record builds on ideas explored in Pink Floyd's earlier recordings and performances, while omitting the extended instrumentals that characterised the band's earlier work. The group employed multitrack recording, tape loops, and analogue synthesisers, including experimentation with the EMS VCS 3 and a Synthi A. Engineer Alan Parsons was responsible for many of the sonic aspects of the recording, and for the recruitment of session singer Clare Torry, who appears on "The Great Gig in the Sky".

The Dark Side of the Moon centers on the idea of madness, exploring themes such as conflict, greed, time, death, and mental illness. Snippets from interviews with the band's road crew and others are featured alongside philosophical quotations. The sleeve, which depicts a prismatic  spectrum, was designed by Storm Thorgerson in response to keyboardist Richard Wright's request for a "simple and bold" design which would represent the band's lighting and the album's themes. The album was promoted with two singles, "Money" and "Us and Them".

The Dark Side of the Moon is among the most critically acclaimed albums and often features in professional listings of the greatest of all time. It brought Pink Floyd international fame, wealth and plaudits to all four band members. A blockbuster release of the album era, it also propelled record sales throughout the music industry during the 1970s. The Dark Side of the Moon is certified 14 times platinum in the United Kingdom, and topped the US Billboard Top LPs & Tape chart, where it has charted for 983 weeks. , The Dark Side of the Moon had sold over 45 million copies worldwide, making it the best-selling album of the 1970s and the fourth-best-selling album in history. In 2012, the album was selected for preservation in the United States National Recording Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". It was inducted into the Grammy Hall of Fame in 1999.

Background
Following Meddle in 1971, Pink Floyd assembled for a tour of Britain, Japan and the United States in December of that year. In a band meeting at drummer Nick Mason's home in north London, bassist Roger Waters proposed that a new album could form part of the tour. Waters conceived an album that dealt with things that "make people mad", focusing on the pressures associated with the band's arduous lifestyle, and dealing with the mental health problems suffered by former band member Syd Barrett. The band had explored a similar idea with the 1969 concert suite The Man and The Journey. In an interview for Rolling Stone, guitarist David Gilmour said: "I think we all thought and Roger definitely thought that a lot of the lyrics that we had been using were a little too indirect. There was definitely a feeling that the words were going to be very clear and specific."

The band approved of Waters' concept for an album unified by a single theme, and Waters, Gilmour, Mason and keyboardist Richard Wright all participated in writing and producing new material. Waters created the early demo tracks in a small studio in a garden shed at his home in Islington. Parts of the album were taken from previously unused material; the opening line of "Breathe" came from an earlier work by Waters and Ron Geesin, written for the soundtrack of The Body, and the basic structure of "Us and Them" was borrowed from an original composition, "The Violent Sequence" by Wright for Zabriskie Point. The band rehearsed at a warehouse in London owned by the Rolling Stones and at the Rainbow Theatre in Finsbury Park, London. They also purchased extra equipment, which included new speakers, a PA system, a 28-track mixing desk with a four channel quadraphonic output, and a custom-built lighting rig. Nine tonnes of kit was transported in three lorries. This would be the first time the band had taken an entire album on tour. The album had been given the provisional title of Dark Side of the Moon (an allusion to lunacy, rather than astronomy). After discovering that title had already been used by another band, Medicine Head, it was temporarily changed to Eclipse. The new material was premiered at The Dome in Brighton, on 20 January 1972, and after the commercial failure of Medicine Head's album the title was changed back to the band's original preference.

Dark Side of the Moon: A Piece for Assorted Lunatics, as it was then known, was performed for an assembled press on 17 February 1972 at the Rainbow Theatre, more than a year before its release, and was critically acclaimed. Michael Wale of The Times described the piece as "bringing tears to the eyes. It was so completely understanding and musically questioning." Derek Jewell of The Sunday Times wrote "The ambition of the Floyd's artistic intention is now vast." Melody Maker was less enthusiastic: "Musically, there were some great ideas, but the sound effects often left me wondering if I was in a bird-cage at London Zoo." The following tour was praised by the public. The new material was performed in the same order in which it was eventually sequenced on the album. Differences included the lack of synthesisers in tracks such as "On the Run", and Clare Torry's vocals on "The Great Gig in the Sky" replaced by readings from the Bible.

Pink Floyd's lengthy tour through Europe and North America gave them the opportunity to make improvements to the scale and quality of their performances. Work on the album was interrupted in late February when the band travelled to France and recorded music for French director Barbet Schroeder's film La Vallée. They performed in Japan, returned to France in March to complete work on the film, played more shows in North America, then flew to London and resumed recording in May and June. After more concerts in Europe and North America, the band returned to London on 9 January 1973 to complete the album.

Concept
The Dark Side of the Moon was built upon experiments Pink Floyd had attempted in their previous live shows and recordings, although it lacked the extended instrumental excursions which, according to critic David Fricke, had become characteristic of the band following the departure of founding member Syd Barrett in 1968. Gilmour, Barrett's replacement, later referred to those instrumentals as "that psychedelic noodling stuff". He and Waters cited 1971's Meddle as a turning point towards what would later be realised on the album. The Dark Side of the Moons lyrical themes include conflict, greed, the passage of time, death and insanity, the last inspired in part by Barrett's deteriorating mental state. The album contains musique concrète on several tracks.

Each side of the vinyl album is a continuous piece of music. The five tracks on each side reflect various stages of human life, beginning and ending with a heartbeat, exploring the nature of the human experience and, according to Waters, "empathy". "Speak to Me" and "Breathe" together highlight the mundane and futile elements of life that accompany the ever-present threat of madness, and the importance of living one's own life "Don't be afraid to care". By shifting the scene to an airport, the synthesiser-driven instrumental "On the Run" evokes the stress and anxiety of modern travel, in particular Wright's fear of flying. "Time" examines the manner in which its passage can control one's life and offers a stark warning to those who remain focused on mundane pursuits; it is followed by a retreat into solitude and withdrawal in "Breathe (Reprise)". The first side of the album ends with Wright and vocalist Clare Torry's soulful metaphor for death, "The Great Gig in the Sky".

"Money", the first track on side two, opens with the sound of cash registers and rhymically jingling coins. The song mocks greed and consumerism with sarcastic lyrics and cash-related sound effects. "Money" became the band's most commercially successful track and was covered by other artists. "Us and Them" addresses the isolation of the depressed with the symbolism of conflict and the use of simple dichotomies to describe personal relationships. "Any Colour You Like" tackles the illusion of choice one has in society. "Brain Damage" looks at mental illness resulting from the elevation of fame and success above the needs of the self; in particular, the line "and if the band you're in starts playing different tunes" reflects the mental breakdown of former bandmate Syd Barrett. The album ends with "Eclipse", which espouses the concepts of otherness and unity, while encouraging the listener to recognise the common traits shared by humanity.

Recording

The Dark Side of the Moon was recorded at EMI Studios (now Abbey Road Studios) in approximately 60 days between 31 May 1972 and 9 February 1973.  Pink Floyd were assigned staff engineer Alan Parsons, who had worked as assistant tape operator on their fifth album, Atom Heart Mother (1970), and had gained experience as a recording engineer on the Beatles' Abbey Road and Let It Be albums. The Dark Side of the Moon sessions made use of advanced studio techniques, as the studio was capable of 16-track mixes which offered greater flexibility than the eight- or four-track mixes Pink Floyd had previously worked with, although the band often used so many tracks that second-generation copies were still needed to make more space available on the tape. Mix supervisor Chris Thomas recalled later, "There were only two or three tracks of drums when we came to mixing it. Depending on the song, there would be one or two tracks of guitar, and these would include the solo and the rhythm guitar parts. One track for keyboard, one track for bass, and one or two sound effects tracks. They had been very, very efficient in the way they'd worked."

The first track recorded was "Us and Them" on 31 May, followed seven days later by "Money". For "Money", Waters had created effects loops in an unusual  time signature from recordings of money-related objects, including coins thrown into a mixing bowl in his wife's pottery studio. These were re-recorded to take advantage of the band's decision to create a quadraphonic mix of the album, although Parsons later expressed dissatisfaction with the result of this mix, which he attributed to a lack of time and a shortage of multitrack tape recorders.

"Time" and "The Great Gig in the Sky" were recorded next, followed by a two-month break, during which the band spent time with their families and prepared for a tour of the United States. The recording sessions were frequently interrupted: Waters, a supporter of Arsenal F.C., would break to see his team compete, and the band would occasionally stop to watch Monty Python's Flying Circus on television while Parsons worked on the tracks. Gilmour recalled, "...but when we were on a roll, we would get on."

After returning from the US in January 1973, they recorded "Brain Damage", "Eclipse", "Any Colour You Like" and "On the Run", and fine-tuned work from previous sessions. Four female vocalists were assembled to sing on "Brain Damage", "Eclipse" and "Time", and saxophonist Dick Parry was booked to play on "Us and Them" and "Money". With director Adrian Maben, the band also filmed studio footage for Pink Floyd: Live at Pompeii. The album was completed and signed off at Abbey Road on 9 February 1973.

Instrumentation
The album features metronomic sound effects during "Speak to Me" and tape loops for the opening of "Money". Mason created a rough version of "Speak to Me" at his home before completing it in the studio. The track serves as an overture and contains cross-fades of elements from other pieces on the album. A piano chord, replayed backwards, serves to augment the build-up of effects, which are immediately followed by the opening of "Breathe". Mason received a rare solo composing credit for "Speak to Me".

The sound effects on "Money" were created by splicing together Waters' recordings of clinking coins, tearing paper, a ringing cash register, and a clicking adding machine, which were used to create a 7-beat effects loop. This was later adapted to four tracks to create a "walk around the room" effect in quadraphonic presentations of the album. At times, the degree of sonic experimentation on the album required the studio engineers and all four band members to operate the mixing console's faders simultaneously, in order to mix down the intricately assembled multitrack recordings of several of the songs, particularly "On the Run".

Along with conventional rock band instrumentation, Pink Floyd introduced prominent synthesisers to their sound. The band experimented with an EMS VCS 3 on "Brain Damage" and "Any Colour You Like", and a Synthi A on "Time" and "On the Run". They also devised and recorded unconventional sounds, such as assistant engineer Peter James running around the studio's echo chamber during "On the Run", and a specially treated bass drum made to simulate a human heartbeat during "Speak to Me", "On the Run", "Time" and "Eclipse". This heartbeat is most prominent in the intro and the outro to the album, but it can also be heard sporadically on "Time" and "On the Run". "Time" features assorted clocks ticking, then chiming simultaneously at the start of the song, accompanied by a series of Rototoms. The recordings were initially created as a quadraphonic test by Parsons, who recorded each timepiece at an antique clock shop. Although these recordings had not been created specifically for the album, elements of this material were eventually used in the track.

Voices
Several tracks, including "Us and Them" and "Time", demonstrated Wright's and Gilmour's ability to harmonise their similar-sounding voices, and engineer Alan Parsons used techniques such as double tracking vocals and guitars, which allowed Gilmour to harmonise with himself. Prominent use was also made of flanging and phase-shifting on vocals and instruments, odd trickery with reverb, and the panning of sounds between channels, most notably in the quadraphonic mix of "On the Run", where the sound of the Hammond B3 organ played through a Leslie speaker swirls around the listener.

Wright's "The Great Gig in the Sky" features Clare Torry, a session singer and songwriter and a regular at Abbey Road. Parsons liked her voice, and when the band decided to use a female vocalist he suggested that she could sing on the track. The band explained the album concept to her, but they were unable to tell her exactly what she should do, and Gilmour, who was in charge of the session, asked her to try to express emotions rather than sing words. In a few takes on a Sunday night, Torry improvised a wordless melody to accompany Wright's emotive piano solo. She was initially embarrassed by her exuberance in the recording booth and wanted to apologise to the band, who were impressed with her performance but did not tell her so. Her takes were edited to produce the version used on the track. She left the studio under the impression that her vocals would not make the final cut, and she only became aware that she had been included in the final mix when she picked up the album at a local record store and saw her name in the credits. For her contribution she was paid her standard session fee of £30, equivalent to about £ in .

In 2004, Torry sued EMI and Pink Floyd for 50% of the songwriting royalties, arguing that her contribution to "The Great Gig in the Sky" was substantial enough to be considered co-authorship. The case was settled out of court for an undisclosed sum, with all post-2005 pressings crediting Wright and Torry jointly.

In the final week of recording, Waters asked staff and others at Abbey Road to respond to questions printed on flashcards and some of their replies were edited into the final mix. The interviewees were placed in front of a microphone in a darkened Studio 3 and shown such questions as "What's your favourite colour?" and "What's your favourite food?", before moving on to themes central to the album, including those of madness, violence, and death. Questions such as "When was the last time you were violent?", followed immediately by "Were you in the right?", were answered in the order they were presented.

Roadie Roger "The Hat" Manifold was recorded in a conventional sit-down interview. Waters asked him about a violent encounter he had had with a motorist, and Manifold replied "... give 'em a quick, short, sharp shock ..." Asked about death, he responded, "Live for today, gone tomorrow, that's me ..." Another roadie, Chris Adamson, recorded the words that open the album: "I've been mad for fucking years. Absolutely years. Over the edge... It's working with bands that does it."

The band's road manager Peter Watts (father of actress Naomi Watts) contributed the repeated laughter during "Brain Damage" and "Speak to Me". His second wife, Patricia "Puddie" Watts (now Patricia Gleason), was responsible for the line about the "geezer" who was "cruisin' for a bruisin, used in the segue between "Money" and "Us and Them", and the words "I never said I was frightened of dying" halfway through "The Great Gig in the Sky".

Several of the responses – "I am not frightened of dying. Any time will do, I don't mind. Why should I be frightened of dying? There's no reason for it  ... you've got to go sometime"; "I know I've been mad, I've always been mad, like most of us have"; and the closing "There is no dark side in the moon really. Matter of fact, it's all dark" – came from the studios' Irish doorman, Gerry O'Driscoll. "The bit you don't hear," said Parsons, "is that, after that, he said, 'The only thing that makes it look alight is the sun.' The band were too overjoyed with his first line, and it would have been an anticlimax to continue."

Paul and Linda McCartney were interviewed, but their answers – judged to be "trying too hard to be funny" – were not used. The McCartneys' Wings bandmate Henry McCullough contributed the line, "I don't know, I was really drunk at the time."

Completion
When the flashcard sessions were finished, producer Chris Thomas was hired to provide "a fresh pair of ears" for the final mix. Thomas's background was in music rather than engineering; he had worked with Beatles producer George Martin and was an acquaintance of Pink Floyd's manager, Steve O'Rourke. The members of the band were said to have disagreed over the mix, with Waters and Mason preferring a "dry" and "clean" mix that made more use of the non-musical elements and Gilmour and Wright preferring a subtler and more "echoey" mix. Thomas said later, "There was no difference in opinion between them, I don't remember Roger once saying that he wanted less echo. In fact, there were never any hints that they were later going to fall out. It was a very creative atmosphere. A lot of fun."

Thomas's intervention resulted in a compromise between Waters and Gilmour, who were both satisfied with the result. Thomas was responsible for significant changes, including the perfect timing of the echo used on "Us and Them". He was also present for the recording of "The Great Gig in the Sky". Waters said in an interview in 2006, when asked if he felt his goals had been accomplished in the studio:

Packaging

The album was originally released in a gatefold LP sleeve designed by Hipgnosis and George Hardie. Hipgnosis had designed several of the band's previous albums, with controversial results; EMI had reacted with confusion when faced with the cover designs for Atom Heart Mother and Obscured by Clouds, as they had expected to see traditional designs which included lettering and words. Designers Storm Thorgerson and Aubrey Powell were able to ignore such criticism, as they were employed by the band. For The Dark Side of the Moon, Wright suggested something "smarter, neater more classy", and simple, "like the artwork of a Black Magic chocolate box".

The design was inspired by a photograph of a prism with a beam of white light projected through it and emerging in the colours of the visible spectrum that Thorgerson had found in a 1963 physics textbook, as well as by an illustration by Alex Steinweiss, the inventor of album cover art, for the New York Philharmonic's 1942 performance of Ludwig van Beethoven's Emperor Concerto. The artwork was created by an associate of Hipgnosis, George Hardie. Hipgnosis offered a choice of seven designs for the sleeve, but all four members of the band agreed that the prism was the best. "There were no arguments," said Roger Waters. "We all pointed to the prism and said 'That's the one'."

The design depicts a glass prism dispersing white light into colours and represents three elements: the band's stage lighting, the album lyrics, and Wright's request for a "simple and bold" design. At Waters' suggestion, the spectrum of light continues through to the gatefold. Added shortly afterwards, the gatefold design also includes a visual representation of the heartbeat sound used throughout the album, and the back of the album cover contains Thorgerson's suggestion of another prism recombining the spectrum of light, to make possible interesting layouts of the sleeve in record shops. The light band emanating from the prism on the album cover has six colours, missing indigo, compared with the usual division of the visible spectrum into red, orange, yellow, green, blue, indigo, and violet.  Inside the sleeve were two posters and two pyramid-themed stickers. One poster bore pictures of the band in concert, overlaid with scattered letters to form PINK FLOYD, and the other an infrared photograph of the Great Pyramids of Giza, created by Powell and Thorgerson.

The band were so confident of the quality of Waters' lyrics that, for the first time, they printed them on the album's sleeve.

Release

As the quadraphonic mix of the album was not then complete, the band (with the exception of Wright) boycotted the press reception held at the London Planetarium on 27 February. The guests were, instead, presented with a quartet of life-sized cardboard cut-outs of the band, and the stereo mix of the album was played over a poor-quality public address system. Generally, however, the press were enthusiastic; Melody Makers Roy Hollingworth described Side One as "so utterly confused with itself it was difficult to follow", but praised Side Two, writing: "The songs, the sounds, the rhythms were solid and sound, Saxophone hit the air, the band rocked and rolled, and then gushed and tripped away into the night." Steve Peacock of Sounds wrote: "I don't care if you've never heard a note of the Pink Floyd's music in your life, I'd unreservedly recommend everyone to The Dark Side of the Moon". In his 1973 review for Rolling Stone magazine, Loyd Grossman declared Dark Side "a fine album with a textural and conceptual richness that not only invites, but demands involvement". In Christgau's Record Guide: Rock Albums of the Seventies (1981), Robert Christgau found its lyrical ideas clichéd and its music pretentious, but called it a "kitsch masterpiece" that can be charming with highlights such as taped speech fragments, Parry's saxophone, and studio effects which enhance Gilmour's guitar solos.

The Dark Side of the Moon was released first in the US on 1 March 1973, and then in the UK on 16 March. It became an instant chart success in Britain and throughout Western Europe; by the following month, it had gained a gold certification in the US. Throughout March 1973 the band played the album as part of their US tour, including a midnight performance at Radio City Music Hall in New York City on 17 March before an audience of 6,000. The album reached the Billboard Top LPs & Tape chart's number one spot on 28 April 1973, and was so successful that the band returned two months later for another tour.

Label
Much of the album's early American success is attributed to the efforts of Pink Floyd's US record company, Capitol Records. Newly appointed chairman Bhaskar Menon set about trying to reverse the relatively poor sales of the band's 1971 studio album Meddle. Meanwhile, disenchanted with Capitol, the band and manager O'Rourke had been quietly negotiating a new contract with CBS president Clive Davis, on Columbia Records. The Dark Side of the Moon was the last album that Pink Floyd were obliged to release before formally signing a new contract. Menon's enthusiasm for the new album was such that he began a huge promotional advertising campaign, which included radio-friendly truncated versions of "Us and Them" and "Time".

In some countries notably the UK Pink Floyd had not released a single since 1968's "Point Me at the Sky", and unusually "Money" was released as a single on 7 May, with "Any Colour You Like" on the B-side. It reached number 13 on the Billboard Hot 100 in July 1973. A two-sided white label promotional version of the single, with mono and stereo mixes, was sent to radio stations. The mono side had the word "bullshit" removed from the song leaving "bull" in its place however, the stereo side retained the uncensored version. This was subsequently withdrawn; the replacement was sent to radio stations with a note advising disc jockeys to dispose of the first uncensored copy. On 4 February 1974, a double A-side single was released with "Time" on one side, and "Us and Them" on the opposite side. Menon's efforts to secure a contract renewal with Pink Floyd were in vain however; at the beginning of 1974, the band signed for Columbia with a reported advance fee of $1M (in Britain and Europe they continued to be represented by Harvest Records).

Sales
The Dark Side of the Moon became one of the best-selling albums of all time and is in the top 25 of a list of best-selling albums in the United States. Although it held the number one spot in the US for only a week, it remained in the Billboard 200 albums chart for 736 nonconsecutive weeks (from 17 March 1973 to 16 July 1988). Of those first 736 charted weeks, the album had two notable consecutive runs in the Billboard 200 chart: 84 weeks (from 17 March 1973 to 19 October 1974) and 593 weeks (from 18 December 1976 to 23 April 1988).. It made its final appearance in the Billboard 200 albums chart during its initial run on the week ending 8 October 1988, in its 741st charted week. It re-appeared on the Billboard charts with the introduction of the Top Pop Catalog Albums chart in the issue dated 25 May 1991, and was still a perennial feature ten years later. It reached number one on the Pop Catalog chart when the 2003 hybrid CD/SACD edition was released and sold 800,000 copies in the US. On the week of 5 May 2006 The Dark Side of the Moon achieved a combined total of 1,716 weeks on the Billboard 200 and Pop Catalog charts.

After a change in chart methodology in 2009 which allowed catalogue titles to be included in the Billboard 200, The Dark Side of the Moon returned to the chart at number 189 on 12 December of that year for its 742nd charting week. It has continued to sporadically appear on the Billboard 200 since then, with the total at 983 weeks on the chart as of November 2023. "On a slow week" between 8,000 and 9,000 copies are sold. As of April 2013, the album had sold 9,502,000 copies in the US since 1991 when Nielsen SoundScan began tracking sales for Billboard. One in every fourteen people in the US under the age of 50 is estimated to own, or to have owned, a copy.

The Dark Side of the Moon was released before the introduction of platinum certification in 1976 by Recording Industry Association of America (RIAA), and therefore held only a gold certification until 16 February 1990, when it was certified 11 times platinum. On 4 June 1998, the RIAA certified the album 15× platinum, denoting sales of fifteen million in the United States. This makes it Pink Floyd's biggest-selling work there; The Wall is 23 times platinum, but as a double album this signifies sales of 11.5 million. "Money" has sold well as a single, and as with "Time", remains a radio favourite; in the US, for the year ending 20 April 2005, "Time" was played on 13,723 occasions, and "Money" on 13,731 occasions. In 2017, The Dark Side of the Moon was the seventh-bestselling album of all time in the UK and the highest-selling album never to reach number one. As one of the blockbuster LPs of the album era (1960s–2000s), The Dark Side of the Moon also led to an increase in record sales overall into the late 1970s. In 2013, industry sources suggested that worldwide sales of The Dark Side of the Moon totalled about 45 million.In 1993, Gilmour attributed the album's success to the combination of music, lyrics and cover art: "All the music before had not had any great lyrical point to it. And this one was clear and concise." Mason said that, when they finished the album, Pink Floyd felt confident it was their best work to date, but were surprised by its commercial success. He said it was "not only about being a good album but also about being in the right place at the right time".

Reissues and remasters

In 1979, The Dark Side of the Moon was released as a remastered LP by Mobile Fidelity Sound Lab, and in April 1988 on their "Ultradisc" gold CD format. It was released by EMI and Harvest on CD in Japan in June 1983 and in the US and Europe in August 1984. In 1992, it was rereleased as a remastered CD in the box set Shine On. This version was re-released as a 20th-anniversary box set edition with postcards the following year, with a cover design by Thorgerson. On some pressings, an orchestral version of the Beatles' "Ticket to Ride" is faintly audible after "Eclipse" over the closing heartbeats.

30th-anniversary 5.1 surround sound mix

A quadraphonic mix, created by Alan Parsons, was commissioned by EMI but never endorsed by Pink Floyd, as Parsons was disappointed with his mix. For the album's 30th anniversary, an updated surround version was released in 2003. The band elected not to use Parsons' quadraphonic mix, and instead had the engineer James Guthrie create a new 5.1 channel surround sound mix on the SACD format. Guthrie had worked with Pink Floyd since their eleventh album, The Wall, and had previously worked on surround versions of The Wall for DVD-Video and Waters' In the Flesh for SACD. In 2003, Parsons expressed disappointment with Guthrie's SACD mix, suggesting he was "possibly a little too true to the original mix", but was generally complimentary. The 30th-anniversary edition won four Surround Music Awards in 2003, and sold more than 800,000 copies.

The cover image of the 30th-anniversary edition was created by a team of designers including Thorgerson. The image is a photograph of a custom-made stained glass window, built to match the dimensions and proportions of the original prism design. Transparent glass, held in place by strips of lead, was used in place of the opaque colours of the original. The idea is derived from the "sense of purity in the sound quality, being 5.1 surround sound ..." The image was created out of a desire to be "the same but different, such that the design was clearly DSotM, still the recognisable prism design, but was different and hence new".

Later reissues
The Dark Side of the Moon was rereleased in 2003 on 180-gram virgin vinyl and mastered by Kevin Gray at AcousTech Mastering. It included slightly different versions of the posters and stickers that came with the original vinyl release, along with a new 30th-anniversary poster.

In 2007, the album was included in Oh, by the Way, a box set celebrating the 40th anniversary of Pink Floyd, and a DRM-free version was released on the iTunes Store. In 2011, it was reissued featuring a remastered version with various other material.

In 2023, Pink Floyd announced The Dark Side of the Moon 50th Anniversary box set, including a newly remastered edition of the album, surround sound mixes (including a new Dolby Atmos mix), a photo book, and The Dark Side of the Moon Live at Wembley 1974, on vinyl.

Legacy

The success of the album brought wealth to all four members of the band; Richard Wright and Roger Waters bought large country houses, and Nick Mason became a collector of upmarket cars. Some of the profits were invested in the production of Monty Python and the Holy Grail. Engineer Alan Parsons received a Grammy Award nomination for Best Engineered Recording, Non-Classical for The Dark Side of the Moon, and he went on to have a successful career as a recording artist with the Alan Parsons Project. Although Waters and Gilmour have on occasion downplayed his contribution to the success of the album, Mason has praised his role. In 2003, Parsons reflected: "I think they all felt that I managed to hang the rest of my career on Dark Side of the Moon, which has an element of truth to it. But I still wake up occasionally, frustrated about the fact that they made untold millions and a lot of the people involved in the record didn't."

Part of the legacy of The Dark Side of the Moon is its influence on modern music and on the musicians who have performed cover versions of its songs. It is often seen as a pivotal point in the history of rock music, and comparisons are sometimes made with Radiohead's 1997 album OK Computer, including a premise explored by Ben Schleifer in Speak to Me': The Legacy of Pink Floyd's The Dark Side of the Moon (2006) that the two albums share a theme that "the creative individual loses the ability to function in the [modern] world".

In a 2018 book about classic rock, Steven Hyden recalls concluding, in his teens, that The Dark Side of the Moon and Led Zeppelin IV were the two greatest albums of the genre, vision quests "encompass[ing] the twin poles of teenage desire". They had similarities, in that both albums' cover and internal artwork eschew pictures of the bands in favour of "inscrutable iconography without any tangible meaning (which always seemed to give the music packaged inside more meaning)". But whereas Led Zeppelin had looked outward, toward "conquering the world" and were known at the time for their outrageous sexual antics on tour, Pink Floyd looked inward, toward "overcoming your own hang-ups". In 2013, The Dark Side of the Moon was selected for preservation in the United States National Recording Registry by the Library of Congress as "culturally, historically, or aesthetically significant".

 Rankings The Dark Side of the Moon frequently appears on professional rankings of the greatest albums. In 1987, Rolling Stone ranked it the 35th best album of the preceding 20 years. Rolling Stone ranked it number 43 on its 2003 and 2012 lists of the "500 Greatest Albums of All Time" and number 55 in its 2020 list, Pink Floyd's highest placement. Both Rolling Stone and Q have listed The Dark Side of the Moon as the best progressive rock album.

In 2006, Australian Broadcasting Corporation viewers voted The Dark Side of the Moon their favourite album. NME readers voted it the eighth-best album in a 2006 poll, and in 2009, Planet Rock listeners voted it the greatest of all time. The album is also number two on the "Definitive 200" list of albums, made by the National Association of Recording Merchandisers "in celebration of the art form of the record album". It ranked 29th in The Observers 2006 list of "The 50 Albums That Changed Music", and 37th in The Guardians 1997 list of the "100 Best Albums Ever", as voted for by a panel of artists and music critics. In 2014, readers of Rhythm voted it the seventh most influential progressive drumming album. It was voted number 9 in Colin Larkin's All Time Top 1000 Albums 3rd Edition (2000).

The album's cover has also been praised by critics and listeners, with VH1 proclaiming it to be the fourth greatest in history.

 Covers, tributes and samples Return to the Dark Side of the Moon: A Tribute to Pink Floyd, released in 2006, is a cover album of The Dark Side of the Moon featuring artists such as Adrian Belew, Tommy Shaw, Dweezil Zappa, and Rick Wakeman. In 2000, The Squirrels released The Not So Bright Side of the Moon, which features a cover of the entire album. The New York dub collective Easy Star All-Stars released Dub Side of the Moon in 2003 and Dubber Side of the Moon in 2010. The group Voices on the Dark Side released the album Dark Side of the Moon a Cappella, a complete a cappella version of the album. The bluegrass band Poor Man's Whiskey frequently play the album in bluegrass style, calling the suite Dark Side of the Moonshine. A string quartet version of the album was released in 2003. In 2009, the Flaming Lips released a track-by-track remake of the album in collaboration with Stardeath and White Dwarfs, and featuring Henry Rollins and Peaches as guest musicians.

Several notable acts have covered the album live in its entirety, and a range of performers have used samples from The Dark Side of the Moon in their own material. Jam-rock band Phish performed a semi-improvised version of the entire album as part of their show on 2 November 1998 in West Valley City, Utah. Progressive metal band Dream Theater have twice covered the album in their live shows, and in May 2011 Mary Fahl released From the Dark Side of the Moon, a song-by-song "re-imagining" of the album. Milli Vanilli used the tape loops from Pink Floyd's "Money" to open their track "Money", followed by Marky Mark and the Funky Bunch on Music for the People.

 The Wizard of Oz

In the 1990s, it was discovered that playing The Dark Side of the Moon alongside the 1939 film The Wizard of Oz produced moments of apparent synchronicity, and it was suggested that this was intentional. Such moments include Dorothy beginning to jog at the lyric "no one told you when to run" during "Time", balancing on a fence, tightrope-style, during the line "balanced on the biggest wave" in "Breathe", and putting her ear to the Tin Man's chest as the album's closing heartbeats are heard. Parsons and members of Pink Floyd denied any connection, with Parsons calling it "a complete load of eyewash ... If you play any record with the sound turned down on the TV, you will find things that work."

 The Dark Side of the Moon Redux

For the 50th anniversary of The Dark Side of the Moon, Waters recorded a new version, The Dark Side of the Moon Redux'', set for release on 6 October 2023. It was recorded with no other members of Pink Floyd, and features spoken word sections and more downbeat arrangements, with no guitar solos. Waters said he wanted to "bring out the heart and soul of the album musically and spiritually". He also said it is intended to be taken from the perspective of an older man, as "not enough people recognised what it's about, what it was I was saying then".

 Track listing
All lyrics are written by Roger Waters.NoteSince the 2011 remasters, and the Discovery box set, "Speak to Me" and "Breathe (In the Air)" are indexed as individual tracks.

 Personnel Pink Floyd David Gilmour – vocals, guitars, Synthi AKS
 Nick Mason – drums, percussion, tape effects
 Roger Waters – bass guitar, vocals, VCS 3, tape effects
 Richard Wright – organ (Hammond and Farfisa), piano, electric piano (Wurlitzer, Rhodes), EMS VCS 3, Synthi AKS, vocalsAdditional musicians Dick Parry – saxophone on "Us and Them" and "Money"
 Clare Torry – vocals on "The Great Gig in the Sky"
 Doris Troy – backing vocals
 Lesley Duncan – backing vocals
 Liza Strike – backing vocals
 Barry St. John – backing vocalsProduction Alan Parsons – engineering
 Peter James – assistant (incorrectly identified as "Peter Jones" on first US pressings of the LP)
 Chris Thomas – mix supervisor
 Doug Sax, James Guthrie – 1992 remastering at The Mastering Lab
 James Guthrie, Joel Plante – 2011 remastering at das boot recordingDesign'''
 Hipgnosis – sleeve design, photography
 George Hardie – sleeve art, stickers art

Charts

Weekly charts

Year-end charts

Certifications and sales

Release history

See also
 List of best-selling albums
 List of best-selling albums in Australia
 List of best-selling albums in Canada
 List of best-selling albums in France
 List of best-selling albums in Germany
 List of best-selling albums in Italy
 List of best-selling albums in New Zealand
 List of best-selling albums in the United Kingdom
 List of best-selling albums in the United States
 List of diamond-certified albums in Canada

References

Informational notes

Citations

Bibliography

Further reading

External links

1973 albums
Albums produced by David Gilmour
Albums produced by Nick Mason
Albums produced by Richard Wright (musician)
Albums produced by Roger Waters
Albums with cover art by Hipgnosis
Albums with cover art by Storm Thorgerson
Capitol Records albums
EMI Records albums
Grammy Hall of Fame Award recipients
Harvest Records albums
Pink Floyd albums
Concept albums
United States National Recording Registry albums
United States National Recording Registry recordings

The Dark Side of the Moon


Stuart Laird (born July 8, 1960) is a former professional Canadian football defensive tackle who played thirteen seasons for the Calgary Stampeders of the Canadian Football League (CFL). He is a graduate of the University of Calgary where he was a five-year starter with the Calgary Dinosaurs from 1978 to 1982, and earned a bachelor of arts degree in Economics.

Laird's playing achievements include 1985 Stampeder special teams player of the year, 1988 and 1991 CFLPA outstanding defensive line, 1992 Grey Cup Champion, 1995 CFL West All-Star and retired with the most QB sacks by a Canadian born player in CFL history (now 3rd). His number 75 jersey was retired in 1996.

Laird ranks 3rd on the Stamps all-time sack list and was inducted onto the Stampeders Wall of Fame in September 2014. Laird was also recognized by the Stampeders in 1988, 1992 and again in 1995 when Stu became the recipient of their prestigious President's Ring, one of only two players to win the Ring three times.

In 2001, five years after he retired from the CFL, Laird was elected the eighth President of the Canadian Football League Players' Association, serving until 2012.

In 2005, Laird was a recipient of the Alberta Centennial Medal. The medal celebrates Alberta's first 100 years by paying tribute to Albertans whose achievements have benefited their fellow citizens, their community and their province.

On July 3, 2020 Laird was selected to the TSN CFL2020 Calgary Stampeder All-Time team.

In 2022 Laird was selected by 3rd Down Nation as the "Greatest CFL player" ever from the University of Calgary.

Laird worked as a full-time firefighter, promoted to the position of Battalion Chief with the Calgary Fire Department before retiring in 2020.

References

External links

1960 births
Living people
Canadian football defensive linemen
Calgary Dinos football players
Calgary Stampeders players
People from Assiniboia, Saskatchewan
Players of Canadian football from Saskatchewan

Stu Laird


The Canton Indian Insane Asylum, aka Hiawatha Insane Asylum, was a federal facility for Native Americans located in Canton, South Dakota, between 1898 and 1934.

History
In 1898, Congress passed a bill creating the only 'Institution for Insane Indians' in the United States. The Canton Indian Insane Asylum (sometimes called Hiawatha Insane Asylum) opened for the reception of patients in January 1903. The first administrator was Oscar S. Gifford. Many of the inmates were not mentally ill. Native Americans risked being confined in the asylum for alcoholism, opposing government or business interests, or for being culturally misunderstood. A 1927 investigation conducted by the Bureau of Indian Affairs determined that a large number of patients showed no signs of mental illness. While open, more than 350 patients were detained there, in terrible conditions. At least 121 died. The asylum was closed in 1934.

Canton Indian Insane Asylum Cemetery
Land was set aside for a cemetery, but the Indian Office decided that stone markers for graves would be an unwarranted expense. Today, the cemetery, with at least 121 burials, is located north of the junction of U.S. Route 18 and the former Chicago, Milwaukee, St. Paul and Pacific railroad tracks

The National Park Service added the cemetery to the National Register of Historic Places in 1998.

In Literature

Kent Nerburn's The Girl Who Sang to the Buffalo includes accounts of conditions and resident's lives within the facility.

References

External links
Indian Country Today report June 14, 2016
Hiawatha Indian ASylum cemetery listing at FInd a grave
Hiawatha Insane Asylum
"If you knew the conditions..."
Hiawatha Foundation
"Wild Indians", Native Perspectives, Pemina Yellow Bird

1893 establishments in South Dakota
Anti-Indigenous racism in South Dakota
Hospitals established in 1893
Hospital buildings completed in 1903
1934 disestablishments in South Dakota
Psychiatric hospitals in South Dakota
Native American segregation in the United States
Government buildings in South Dakota
Buildings and structures in Lincoln County, South Dakota
Cemeteries on the National Register of Historic Places in South Dakota
National Register of Historic Places in Lincoln County, South Dakota
Native American health
Native American history of South Dakota

Canton Indian Insane Asylum


The Maidenhead Locator System (a.k.a. QTH Locator and IARU Locator) is a geocode system used by amateur radio operators to succinctly describe their geographic coordinates, which replaced the deprecated QRA locator, which was limited to European contacts. Its purpose is to be concise, accurate, and robust in the face of interference and other adverse transmission conditions. The Maidenhead Locator System can describe locations anywhere in the world.

Maidenhead locators are also commonly referred to as QTH locators, grid locators or grid squares, although the "squares" are distorted on any non-equirectangular cartographic projection. Use of the terms QTH locator and QRA locator was initially discouraged, as it caused confusion with the older QRA locator system. The only abbreviation recommended to indicate a Maidenhead reference in Morse code and radio teleprinter transmission was LOC, as in LOC KN28LH.

John Morris G4ANB originally devised the system and it was adopted at a meeting of the IARU VHF Working Group in Maidenhead, England in 1980.

History
Amateur radio contests on VHF and UHF are often scored based on the distance of contacts, typically 1 point per kilometre, so there is a need for amateurs to exchange their locations over the air. To facilitate this, following the growth of the sport in the 1950s, the German QRA locator system was adopted in 1959. The QRA locator system was limited to describing European coordinates, and by the mid-1970s there was growing need for a global locator system.

By the time of their April 1980 meeting, in Maidenhead, England, the VHF Working Group had received twenty different proposals to replace the QRA locator grid. That devised by John Morris (G4ANB) was deemed to be the best.

At the 1999 IARU Conference in Lillehammer it was decided that the latitude and longitude to be used as a reference for the determining of locators should be based on the World Geodetic System 1984 (WGS-84).

Description of the system

A Maidenhead locator compresses latitude and longitude into a short string of characters, which is similar in concept to the World Geographic Reference System or GEOREF.  This position information is presented in a limited level of precision to limit the number of characters needed for its transmission using voice, Morse code, or any other operating mode.

The chosen coding uses alternating pairs of letters and digits, like so:

 BL11BH16

In each pair, the first character encodes longitude and the second character encodes latitude. These character pairs also have traditional names, and in the case of letters, the range of characters (or "encoding base number") used in each pair does vary.

To avoid negative numbers in the input data, the system specifies that latitude is measured from the South Pole to the North Pole, and longitude measured eastward from the antimeridian of Greenwich, giving the Prime Meridian a false easting of 180° and the equator a false northing of 90°.

To simplify manual encoding, the base for the first pair of letters—traditionally called a field—was chosen to be 18, thus dividing the globe into 18 zones of longitude of 20° each, and 18 zones of latitude 10° each. These zones are encoded with the letters "A" through "R".

The second pair of numbers, called a square and placed after the first pair of letters, uses a base number of 10, and is encoded using the digits "0" to "9".  This is where the alternative name "grid squares" comes from. Each of these squares represents 1° of latitude by 2° of longitude.
For additional precision, each square can optionally be sub-divided further, into subsquares.  These are encoded into a second pair of letters, which should be presented in uppercase, but are sometimes (incorrectly) presented in lowercase as a legacy from the old QRA and the error has, unfortunately, been incorporated into various software packages. Again, to make manual calculations from degrees and minutes easier, 24 was chosen as the base number, giving these subsquares dimensions of 2.5' of latitude by 5' of longitude.  The letters used are "A" through "X".

The resulting Maidenhead subsquare locator string is hence composed of two letters, two digits, and two more letters.  To give an example, W1AW, the American Radio Relay League's Hiram Percy Maxim Memorial Station in Newington, Connecticut, is found in grid locator . Two points within the same Maidenhead subsquare are always less than  apart, which means a Maidenhead locator can give adequate precision from only six easily transmissible characters.

For even more precise location mapping, two additional digits were proposed and ratified as an extended locator, making it altogether eight characters long, and dividing subsquares into even smaller ones with dimensions 15" of latitude by 30" of longitude.  Such precision has uses in very short communication spans.  Beyond this, no common definition exists to extend the system further into even smaller squares.  Most often the extending is done by repeating alternating subsquare and square rules (base numbers 24 and 10 respectively).  However, other bases for letter encodings have also been observed, and therefore such extended extended locators might not be compatible.

To summarise:
 Character pairs encode longitude first, and then latitude.
 The first pair (a field) encodes with base 18 and the letters "A" to "R".
 The second pair (square) encodes with base 10 and the digits "0" to "9".
 The third pair (subsquare) encodes with base 24 and the letters "A" to "X".
 The fourth pair (extended square) encodes with base 10 and the digits "0" to "9".

(The fifth and subsequent pairs are not formally defined, but recursing to the third and fourth pair algorithms is a possibility, e.g.: BL11BH16OO66)

On shortwave frequencies, positions are reported at square precision, and on VHF and UHF, subsquare precision is used.  At high microwave frequencies extended square and extended subsquare precision is often used.

Adoption and use
Like the QRA system before it, Maidenhead locators were enthusiastically adopted by radio amateurs beyond contesting, and it is now in widespread use.

Maidenhead locators are still used as part of the formulas for scoring in many VHF amateur radio contests and as the basis of earning awards like the American Radio Relay League's VHF/UHF Century Club, URE TTLOC, etc. operating contests.

Under IARU Region 1 rules, VHF distance calculations are carried out between Maidenhead subsquare centres, assuming a spherical Earth. This results in a small error in distance, but makes calculations simpler and, given the inherent imprecision in the input data used, it is not the biggest error source.
Until the adoption of WGS 84 as the official geodetic datum of the Maidenhead locator system in 1999, operators had usually specified their location based on their local national datum. Consequently, stations very near the edges of squares (at denoted precision) may have changed their locators when changing over to the use of WGS 84.

The relatively new FT8 narrowband digital mode transmits Maidenhead locator square as part of standard messages, with the 4 character locator square being efficiently represented within 15 bits of the transmitted string.

In 2019 the IARU clarified the latest position on use of the IARU locator at various levels of precision.

Hardware and software support
In 1985, the Radio Society of Great Britain published a small set of BASIC language routines to convert from locator references to geographical coordinates (latitude and longitude) for further processing. A complete program in BASIC called Universal Gridlocator was made available the following year by ARRL for a nominal cost of US$3. Many other utilities exist to convert latitude and longitude to locators, as this is a favourite hack for programmers who are also radio amateurs. Perl supports conversion between geographical coordinates and Maidenhead locators in module Ham::Locator by Andy Smith, available on CPAN.

Many commercially available general purpose (civil) Global Positioning System (GPS) receivers (e.g. Garmin GPS-12) have the option to display positions in Maidenhead Locator format.

See also
 Military Grid Reference System
 Ordnance Survey National Grid
 QRA locator
 United States National Grid
 World Geographic Reference System (GEOREF)
 Open Location Code

References

Maps with Maidenhead Locator grid

External links

  "Click on the [QTH Locator] checkbox in upper right corner menu to activate."

Amateur radio
Geographic coordinate systems
Maidenhead
Science and technology in Berkshire
1980 in radio
Geocodes

Maidenhead Locator System


Asangaon is a railway station on the Central line of the Mumbai Suburban Railway network. It is also now a green station. It is the only railway station which serves Shahapur city. It is a busy station; around 75 thousand commuters use this station on daily basis. It is the terminal station for Asangaon local train.

Asangaon is situated at the bank of River Bharangi and is in Shahapur Taluka of District Thane. This railway station services the villages of Asangaon, Taluka Headquarters Shahapur and many surrounding villages. People travelling to Mahuli Fort and Manas Mandir, Shahapur, use the Asangaon Railway Station. Besides the Mumbai Suburban (Mumbai CST–Thane–Kalyan–Titwala–Asanagon–Kasara) suburban railway, Asangaon is also serviced by the dual-carriageway National Highway No. 3.

Asangaon used to be a sleepy village along the Mumbai Nashik Highway and the Mumbai–Kasara–Igatpuri–Nashik railway line. It has recently gained a lot of attention because of the 400-odd Non Polluting industries in the Asangaon Industrial Area and Oswal Industrial Estate nearby, many new residential developments, colleges, retail outlets, banks and eateries are opening up.

References

External links

 Affordable Residences Near Mumbai, Times of India, Magicbricks
 Manas Mandir, Shahapur
 Asangaon Industrial Area WikiMapia
 Oswal Industrial Estate Google Maps

Railway stations in Thane district
Mumbai Suburban Railway stations
Mumbai CR railway division
Kalyan-Igatpuri rail line

Asangaon railway station


Lieutenant-Colonel David W. Baine (August 29, 1829 – June 30, 1862) was an American lawyer and Confederate veteran. He was a lawyer in Hayneville, Alabama, and an advocate of secession. He was the namesake of Baine County, Alabama, now known as Etowah County, Alabama.

Early life
David W. Baine was born on August 29, 1829, in Connecticut. His father, John McBain, was a Scottish immigrant from Dunfermline and a Methodist preacher. His mother, Maria Adkins, descended from an old Puritan family.

Baine graduated from Allegheny College at the age of 17.

Career
Baine began his career as a schoolteacher in Centre, Alabama, in 1848. By 1855, he became a lawyer thanks to the influence of Thomas B. Cooper. A year later, he moved to Hayneville, Alabama. He quickly became the commanding officer ("general") of a local band of militia, the Hayneville Guards. He also shared an office with William L. Yancey in Montgomery, Alabama. He was a delegate from Lowndes County, Alabama, at the 1860 Democration National Convention, where he supported the secession of Alabama from the Union.

During the American Civil War of 1861-1865, Baine joined the Confederate States Army by enlisting in the 1st Regiment Alabama. On August 1, 1861, he became a Lieutenant Colonel in the 14th Regiment Alabama. He was first stationed in Camp Jones, Huntsville, Alabama, and he was transferred to Richmond, Virginia, on November 4, 1861. He took part in the Seven Days Battles of June–July 1862, where he commanded the 14th Regiment Alabama alongside General James Longstreet's 5th brigade. His last military action was at the Battle of Frazier's Farm.

Personal life and death
Baine married Mary Powell Hogue, a Southern belle. They had two daughters, Mary (born 1850) and Mildred (born 1855), and a son, Thomas Cooper (born 1860). They resided on Washington Street in Hayneville, Alabama.

Baine was killed in battle on June 30, 1862. In 1866-1867, Etowah County, Alabama, was called Baine County in his honor.

References

1829 births
1862 deaths
American people of Scottish descent
People from Connecticut
People from Lowndes County, Alabama
Allegheny College alumni
Alabama lawyers
Confederate States Army officers
Northern-born Confederates
19th-century American lawyers
Confederate States of America military personnel killed in the American Civil War

David W. Baine


The Last Yankee is a play by Arthur Miller, which premiered on January 5, 1993 at the Manhattan Theatre Club in New York City. The cast included Tom Aldredge as John Frick, Frances Conroy as Patricia Hamilton, Rose Gregorio as Karen Frick, John Heard as Leroy Hamilton, and Charlotte Maier as the Patient. It was transferred to the Young Vic Theatre in London later that month, opening on January 26th with David Healy as John Frick, Peter Davison as Leroy Hamilton, Zoë Wanamaker as Patricia Hamilton and Helen Burns as Karen Frick.

The play had been performed previously in a much shorter version two years earlier.

Synopsis
The Last Yankee takes place in a present-day state mental hospital, located somewhere in New England. Patricia Hamilton is recovering from depression, and this may be the day she feels strong enough to go home. But a visit from her husband Leroy, a descendant of one of America's founding fathers (but referred to as a "Swamp Yankee"), coincides with that of a successful businessman, John Frick, who has come to see his newly admitted wife, Karen. A clash of values and emotions upsets them all.

It is a play in two parts which focuses on the relationships of two couples – Leroy and Patricia Hamilton, married many years with seven children, and John and Karen Frick, a childless couple. Both women are patients at a mental institution, and act one sees the two men meet for the first time in the waiting room on visitors' day. Karen has not long been institutionalised, and Frick is having a difficult time coping with her mental illness, while Patricia has been in and out of institutions for many years. The two men struggle to communicate under the circumstances, though even this breaks down in the face of their respective situations. Patricia and Karen have become friendly during their time together in the ward, and act two sees the four characters brought together inside, where a picture emerges of a society whose members feel obscurely cheated and where success is equated with failure.

See also
Yankee

References

1993 plays
Plays by Arthur Miller
Plays set in the United States

The Last Yankee


Red Leicester (also known simply as Leicester or Leicestershire cheese) is an English cheese similar to Cheddar cheese, but crumbly in texture. It is typically aged 6 to 12 months. The rind is reddish-orange with a powdery mould on it. Since the 18th century, it has been coloured orange by the addition of annatto extract during manufacture. It is a cow's milk cheese, and is named after the city of Leicester, or the ceremonial county it is located in, Leicestershire.

Traditionally made wheels are fairly firm and dry, with a friable texture and a slightly sweet, mellow flavour that becomes stronger as the cheese matures. Block-made cheeses are moister, and they have a slightly sweet aftertaste and a creamy texture. The cheese has a slightly nutty taste. Versions sold in supermarkets are typically coloured with annatto, although it is possible to obtain Red Leicester without it.

Red Leicester is aged anywhere from four to nine months. "Young" Leicesters, at the beginning of that range, will be very mild; it is usually after six months that a Leicester begins to develop enough of a tang to be classified as "old".
The modern industrial method for ageing is with vacuum packing. Smaller "farmhouse" makers usually still use the traditional way of maturing it in cloth, for a better flavour development.

History
The cheese was originally made on farms in Leicestershire, England, with surplus milk, once all the Stilton desired was made. It was originally coloured with carrot or beetroot juice.

It used to be called Leicestershire Cheese but came to be called Red Leicester. This was to distinguish it from "White Leicester," which was made to a national wartime recipe in the 1940s due to rationing.

When fresh, the fat content of Red Leicester cheese is generally 33 to 34%. Regulations require that minimum fat levels to be stated in terms of the "fat in dry matter" or FDM. This is because moisture levels decrease as cheese ages. FDM measures the amount of fat present in the solids, which includes protein, minerals, vitamins and salt. The minimum FDM listed for Red Leicester is generally 48%.

References

External links
 Red Leicester at Cheese.com

Cow's-milk cheeses
English cheeses

Red Leicester


Susanna B. Hecht is an American geographer, professor of Urban Planning at UCLA and professor of international history at the Graduate Institute of International and Development Studies in Geneva.

Life and work
Her early work on the deforestation of the Amazon led to the founding of the subfield of political ecology.  This subfield of geography embraces sociology, economics, history, literature, ecology, environmental studies and a wide variety of other fields in an effort to paint a more intricate picture of a particular geographic region and the influence it has on the world around it as well as how the world impacts the region.  The Amazon rain forest is her primary subject of inquiry and she is the co-author of the book, Fate of the Forest: Destroyers, Developers and Defenders of the Amazon with Alexander Cockburn, originally published in 1990, but which has been updated and reissued by the University of Chicago Press in 2010. In 2004, Fate of the Forest was named one of the most influential books in cultural geography by the American Association of Geography. The book has become a classic text in environmental studies, and has won numerous awards. She is widely considered a preeminent authority on forest transition and sustainable agriculture. In addition to her academic work, she has also written popular articles for the Nation, New Left Review and Fortune magazine.

Hecht received her A.B. from the University of Chicago and her Ph.D. in Geography from the University of California, Berkeley. She was awarded the prestigious John Simon Guggenheim fellowship in 2008 and has received fellowships and grants from NASA, the National Science Foundation, The Pew Charitable Trust, the MacArthur Foundation, The Ford Foundation, and many others. She has also been a resident fellow at the Institute for Advanced Study in Princeton and the Center for the Advanced Study of the Behavioral Sciences at Stanford University.

In 2018, she was awarded the David Livingstone Centenary Medal of the American Geographical Society.

Recent publications

Susanna Hecht, 2013, The Scramble for the Amazon and the "Lost Paradise" of Euclides da Cunha, Chicago: University of Chicago Press.
Susanna Hecht; Alexander Cockburn, 2010, The fate of the forest : developers, destroyers, and defenders of the Amazon, Updated Edition. Chicago: University of Chicago Press.
Susanna Hecht, 2008, Kayapo Savanna Management: Fire, Soils and Reforestation in a Threatened Biome. W. Woods (Ed). Amazon Soils: Essays in Honor of Wim Sombroek, Berlin. Springer Verlag
Susanna Hecht, 2007, Globalization and Forest Recovery in Inhabited Landscapes. Bioscience Vol 57(8) 663-672
Susanna Hecht, 2007, Forests, Fields and Family: Women and Children in the Extractive Economies of Acre, Brazil, Journal of Agrarian Change. Vol 7 (3) 316-347
Susanna Hecht, 2006, Forest Resurgence, Social Process and Environmental Politics in El Salvador. World Development Vol 34 (2) 308-323. (with S. Kandel, H. Rosa, I. Gomes, N. Cuellar)
Susanna Hecht, 2005, Soybean Production, Development and Conservation on an Amazon Frontier. Development and Change, V. 36 (2) 375-404
Susanna Hecht, 2004, The Last Unfinished Page of Genesis: Euclides da Cunha and the Amazon. Historical Geography Vol 2:43-69.
Susanna Hecht, 2004, Indigenous Soil Management and the Creation of Amazonian Dark Earths: Implications of Kayapo Practices in Johannes Lehman (Ed) Amazonian Dark Earths: Origins, Properties and Management of Fertile Soils in the Humid Tropics, Kluwer. Dorecht, pp. 355–373.

Interviews with Susanna Hecht

"A Scientist Extols the Value of Forests Shaped by Humans," Interview with Susanna Hecht in the newsletter of the Yale School of Forestry and Environmental Studies

Notes

External links
Susanna Hecht's faculty web page
UCLA Institute for the Environment page

American geographers
American expatriates in Switzerland
Political ecologists
UCLA Luskin School of Public Affairs faculty
Academic staff of the Graduate Institute of International and Development Studies
Living people
Year of birth missing (living people)
University of Chicago alumni
University of California, Berkeley alumni

Susanna Hecht


Naja annulata (formerly Boulengerina annulata), commonly known as the banded water cobra or the ringed water cobra, is a species of water cobra native to western and central Africa.

The species is one of the two species of water cobra in the world, the other one being the Congo water cobra (Naja christyi).

Description
It is a large, heavy-bodied snake with a short, broad and flat head with an indistinct canthus and distinct from the neck. It has medium-sized dark eyes with round pupils. The body is cylindrical; the tail is long. The scales are smooth and glossy, in 21–23 rows at midbody. Adults grow to an average of  in length, but they can grow to a maximum of . Scales are smooth, indicating the largely aquatic life of this species. It is capable of spreading a narrow, yet impressive hood. Body colors are mostly glossy brown, grayish-brown, or reddish-brown with black bands all along the body. The belly is pale yellow, while the tail is wholly black.

Distribution and habitat
This species is found in parts of central and western Africa, in Burundi, Cameroon, Central African Republic, Democratic Republic of Congo, Republic of Congo, Equatorial Guinea, Gabon, Rwanda, and the province of Cabinda in Angola, as well as along the Burundian, Tanzanian and Zambian shores of Lake Tanganyika. It is largely an aquatic species and rarely is found far away from water. It can be found along lakes and rivers in forested and well-wooded savanna terrain where cover is sufficient, most commonly along lowland forested, bushy or wooded banks of lakes, rivers, and streams.

Behavior and diet
It is a secretive species and is seldom encountered by humans. It is active by day and night, though it is usually more active by day. This largely aquatic snake spends most of its time in the water. It is an excellent swimmer and is capable of remaining underwater for up to 10 minutes and diving to depths of . It is a slow mover on land, and it tends to hide among rocks, in holes, or overhanging tree roots at the shoreline. It also makes use of any man-made structures, such as bridges and jetties, to hide. It is generally not aggressive, and if approached in water, it will swim away swiftly and on land will attempt to escape into water. If threatened on land, it will rear up and spread its narrow, yet prominent hood and it may hiss loudly, but it tends not to make any forward movements. It will only bite when provoked.

It preys almost exclusively on fish. It may also prey on frogs, toads, and other amphibians.

Venom
The venom of this species is not well studied, but it is believed that the venom is dangerously neurotoxic, like that of most elapids. A study listed the intraperitoneal (IP)  of this species at 0.143 mg/kg.

Venoms of the water cobras were assayed for lethality, proteolytic activity and protein content. Naja annulata annulata and Naja christyi venoms averaged 89% protein and lacked proteolytic activity. The murine intraperitoneal LD50 of N. a. annulata and N. christyi venoms were 0.143 and 0.120 mg/kg, respectively. Polyvalent antivenom produced by the South African Institute of Medical Research neutralized 575 and 200 LD50 of N. a. annulata and N. christyi venoms/ml antivenom, respectively. Cation exchange chromatography resolved four lethal peaks from N. a. annulata venom and six lethal peaks from N. christyi venom. The major lethal peaks (about 12% of total venom protein) were purified further with molecular sieve chromatography and were characterized as 61- (N. a. annulata toxin) and 62-residue (N. christyi toxin) polypeptides with four half-cystines. Elucidation of the complete amino-acid sequences indicated that these toxins belonged to the short-chain class of postsynaptic neurotoxins. Short-chain neurotoxins 1 from N. a. annulata and N. christyi had murine intraperitoneal LD50 values of 0.052 and 0.083 mg/kg, respectively, and showed over 80% homology with N. nigricollis alpha toxin. Reverse-phase analysis of another peak present in both venoms resolved a toxin that had an N-terminus identical to N. christyi short-chain neurotoxin 1. These fractions also contained toxins readily separable from the short-chain isotoxin by preparative reverse-phase chromatography. Amino-acid sequencing of the first 28 residues indicated that both toxins were long-chain neurotoxins with identical N-termini. The LD50 of long-chain neurotoxins 2 from N. a. annulata and N. christyi venoms were 0.086 and 0.090 mg/kg, respectively. The venoms of these little-known elapids have some of the lowest intraperitoneal LD50 values of any African Naja species studied thus far, and have high concentrations of potent postsynaptic neurotoxins.

Taxonomy

References

 Mark O'Shea, Tim Halliday, Reptiles and amphibians ()

annulata
Snakes of Africa
Reptiles of Angola
Vertebrates of Burundi
Reptiles of Cameroon
Reptiles of the Central African Republic
Reptiles of the Democratic Republic of the Congo
Reptiles of Gabon
Reptiles of Tanzania
Reptiles of Zambia
Reptiles described in 1876
Taxa named by Wilhelm Peters

Naja annulata


This is a list of compact disc player manufacturers. A CD player is an electronic device that plays audio compact discs. CD players are often a part of home stereo systems, car audio systems, and personal computers. They are also manufactured as portable devices. Modern units can play other formats in addition to PCM audio coding used in CDs, such as MP3, AAC and WMA. DJs often use players with an adjustable playback speed to alter the pitch and tempo of the music. CD playback functionality is also available on CD-ROM/DVD-ROM drive equipped computers as well as on DVD players and CD-ROM/DVD-ROM based game consoles.

Compact disc player manufacturers

  A&R Cambridge Ltd
  Abbingdon Music Research
  Accuphase
  Audiolab
  Bang & Olufsen
  Bose Corporation
  Boulder Amplifiers
  Cambridge Audio
  Classé
  Creek Audio
  Denon
  Densen Audio Technologies
  Harman Kardon
  Krell Industries
  Linn Products
  Luxman
  Mark Levinson Audio Systems
  Marantz
  McIntosh Laboratory
  Meridian Audio
  Mordaunt-Short
  Musical Fidelity
  NAD Electronics
  Naim Audio
  Pink Triangle (audio manufacturer)
  PS Audio
  Quad Electroacoustics
  Rega Research
  Roksan Audio
  Rotel
  Steinway Lyngdorf
  T-Series
  TEAC Corporation
  Yamaha Corporation
  Yamaha Pro Audio

See also
 Consumer electronics

References

CD
List

List of compact disc player manufacturers


The Pauline epistles are the fourteen New Testament books which most Christians think were written by the Apostle Paul. Some of them are the earliest Christian documents. They show many of the beliefs and controversies of Christianity. Many Christians think these letters are very important for theology and ethics.

The First Timothy, Second Timothy, and Titus are sometimes known as the pastoral epistles.

In the order they appear in the New Testament, the Pauline epistles are:
Romans
First Corinthians
Second Corinthians
Galatians
Epistle to the Ephesians
Epistle to the Philippians
Epistle to the Colossians
First Thessalonians
Second Thessalonians
First Timothy
Second Timothy
Titus
Philemon

Notes

Pauline epistles


Timothy James Herbert (born 11 July 1941) is an orthopaedic surgeon specializing in hand surgery. He was born in Sheffield (UK). He is known for his work with the scaphoid bone and related invention, the Herbert screw.

He received his medical training at St Bartholomew's Hospital Medical School in London (1959–1964) and his specialty training at St George's Hospital in London, under Alan Graham Apley. Since 1975 he was with the Hand Surgery Unit at St. Luke's Hospital in Sydney, New South Wales, Australia and became Director of that section. He retired in 1996 at the age of 55.

References

Australian orthopaedic surgeons
English surgeons
British orthopaedic surgeons
Living people
1941 births

Timothy Herbert


Charles de Cossé, Count of Brissac (1505 (O.S.)/06 – 1563), was a French courtier and soldier, named beau Brissac at court and remembered as the Maréchal Brissac. A member of the nobility of Anjou, he was appointed in 1540 to his father's prestigious former post of Grand Falconer of France, one of the Great Officers of the Maison du Roi. This was not purely honorary, as the king still hunted with falcons. Brissac was also Grand Panetier, and his position as colonel general of the cavalry (1548–49) was a court appointment. Raised to Marshal of France in 1550, he was Grand Master of the Artillery. He was eventually given the title of Count of Brissac. His son, Charles II de Cossé, became the first Duke of Brissac.

Early life and family
The son of René de Cossé, seigneur of Brissac and of Cossé in Anjou, grand fauconnier du Roi, and of his wife Charlotte Gouffier de Boisy, he was an enfant d'honneur in the household of the dauphin François, son of King François I. The young prince made him his premier écuyer.

He married Charlotte Le Sueur d'Esquetot and had four children. His younger son was Charles II de Cossé, Duke of Brissac, who was the first Duke of Brissac. This son headed forces loyal to the Catholic League during the French Wars of Religion.

Reign of François I
Not robust by nature, he made himself an agile swordsman and horseman. Sent to the siege of Naples in 1528, he made a name for himself when his forces were being attacked by the Spanish. Upon embarking from the galleys, he was forced back to the shore's edge. There, helmetless and without his cuirass, afoot, sword in hand, he made prisoner the armed knight on horseback who attacked him. Later, he commanded a hundred light cavalry at the taking of Avigliana and at the castle of Susa in 1537.

Grand fauconnier de France since 1540, he was named in 1542 as colonel général des gens de guerre français, à pied, de là les monts. At the siege of Perpignan, fighting under the new Dauphin (later King Henri II), he covered himself with glory when the besieged forces surprised the unwary young nobles engaged in gaming in the Dauphin's tent, defended the pieces of artillery until the infantry regrouped and relieved him.

As colonel general, he was in command of all the light cavalry in Piedmont in 1543 and that same year followed the king to Flanders, where he took 600 prisoners. In the following retreat of Habsburg forces and their allies, he took prisoner Francesco d'Este, brother of the Duke of Ferrara. In the return to France, he took the exposed position of rear guard at great personal danger.

In 1544, with his light cavalry, he was sent to harass Imperial forces at Vitry-en-Perthois, was twice taken prisoner and twice rescued by his troops. The following year, he fought at Oye in the Boulonnais. Following the peace that was agreed in 1546, he was made Grand Master of Artillery.

Reign of Henri II

In the Italian War of 1551–1559 and the War of Parma, as Maréchal de France (1550), Brissac was sent as governor to French-occupied Piedmont, where he distinguished himself by the strict discipline kept in the occupying army, maintained in fighting trim by regular military exercises and forbidden to harass peasants, merchants or bourgeois, which was considered remarkable at the time.

In 1551, Brissac established himself at Chieri and several other Piedmontese cities, obliging Gonzaga to raise the siege of Parma. In 1553, he took Vercelli and pillaged the treasury of Charles III, Duke of Savoy,  which had been transported there as an impregnable place of safety. Though he was unable to take the citadel for lack of cannon, the energetic presence of Brissac in Piedmont forced the Duke to reinforced his garrisons, weakening his forces in the field, as Brissac hoped. Perennially short of cash from the king of France, Brissac held his troops together through the force of their loyalty to him. In 1554, he occupied the hilly district of Langhe and finished his campaign with the conquest of Ivrea, which opened a route for the auxiliary Swiss forces. In 1555, by a daring move, he surprised and took Casale, where the nobles of the Imperial forces, gathered for a festive tourney, had barely time to fortify themselves in the citadel. Brissac, forbidding his troops to pillage the city, secured the capitulation of the fortress and all its armaments, and paid his soldiers through the ransom of their captives. Henri II made a present of his own sword to Brissac.

These and other episodes of his military role were recounted by François de Boivin. His portrait, attributed to Corneille de Lyon, is conserved in the Metropolitan Museum of Art.

Children
 Timoléon de Cossé, Count of Brissac  1543 - 28 april 1569)
 Charles de Cossé, 1st Duke of Brissac (1550-1621), Marshal of France, known as the "Maréchal de Cossé".
 Jeanne de Cossé (? - 1602) married François d'Espinayan, Lord of Saint-Luc.

Notes

1505 births
1563 deaths
Marshals of France
Military governors of Paris
French people of the French Wars of Religion
Counts of France
French hunters
Military leaders of the Italian Wars
Court of Henry II of France
House of Cossé

Charles de Cossé, Count of Brissac


Darrol Anthony Ray (born June 25, 1958) is a former American football player for the New York Jets of the National Football League (NFL).

Early years
Ray spent his early years in Belgium, Germany, and France while his father served in the United States Army. After his father was discharged, the family moved to Texas, where Ray played quarterback at Killeen High School. He has said that he preferred to play soccer but that the atmosphere in the American South, especially Texas, was primed for football and so he kept it to himself.

College career
After high school, Ray went to the University of Oklahoma, where he switched to defense and played safety. He was also the punter and handled kickoff duties. He ended his career as an Oklahoma Sooners football as a four-year letterman, two time 1st team All-Big Eight and 2nd team All-American. He played in the Hula, Senior, Orange, and Fiesta Bowls. He was also named to Oklahoma's All-Decade Team.

Professional career
In 1980, he was drafted by the New York Jets. He played 5 seasons with them, finishing his career with 21 interceptions, in which he returned for 581 yards and 3 touchdowns. He also recovered five fumbles, returning them for 131 yards and a score. In a 44-17 win over the Cincinnati Bengals in a playoff game after the 1982 season, Ray set an NFL playoff record by returning an interception 98 yards for a touchdown. Chances for appearing in the Super Bowl evaporated when the Jets lost to the Miami Dolphins two games later in the American Football Conference championship game.

Post-football life
Ray currently lives in Norman, Oklahoma, where he graduated from college. He owned a liquor store for 15 years, which he recently closed to open his restaurant, Ray's Smokehouse BBQ.

References

1958 births
Living people
Players of American football from San Francisco
Players of American football from Norman, Oklahoma
American football safeties
Oklahoma Sooners football players
New York Jets players

Darrol Ray


The Jerome H. Remick and Company Building  is an early 20th-century office building located at 1250 Library Street in Downtown Detroit, Michigan. It later became an annex of the J. L. Hudson Company, and was listed on the National Register of Historic Places in 1996.

History
The Jerome H. Remick & Company commissioned the three-story building in 1907. Remick was a leading publisher of ragtime music and housed his offices and printing facilities in the structure until 1915. Around this time, the upper three floors were added. Hudson's occupied the building in 1917, first to house its toy department and later as its music store. When the music merchandise was incorporated into Hudson's main store one-block west, the building was unused for several years until it became home of the Berry Rug Company for seven years beginning in 1935. In 1942, appliance retailer The Good Housekeeping Shop, opened and called the building home until the 1970s.

In 1992, Fieldstone Properties, owned by brothers Tom and David Carleton, purchased the building and immediately began construction of high-end residential lofts. To date, 6 residential lofts exist on the upper floors. Mindfield, a media company owned by the Carleton brothers and business partner Sean Emery, also occupies space in the building.

Description
The Jerome H. Remick and Company Building is a six-story building of wood post and beam construction, with red brick walls and limestone detail work. The facade has three bays of triplet windows on all six floors.

Current use
Vicente's Cuban Cuisine occupies the ground floor of the building, and the upper floors have been restored and are used as residential lofts.

On October 1, 2011, a resident of the lofts adorned the building's 3rd story windows with the message, GO TIGERS, in support of the Detroit Tigers, who were competing in Major League Baseball's postseason playoffs.

References

External links
Vicente's Cuban Cuisine

Office buildings in Detroit
Office buildings on the National Register of Historic Places in Michigan
Office buildings completed in 1907
National Register of Historic Places in Detroit

Jerome H. Remick and Company Building


András Botos (born March 6, 1952) is a retired boxer, who won a bronze medal in the men's featherweight division (– 57 kilograms) at the 1972 Summer Olympics.  He also competed at the 1976 Montreal Olympics as a lightweight boxer.

1972 Olympic results
Below is the record of András Botos, a Hungarian featherweight boxer who competed at the 1972 Munich Olympics:

Round of 64 - Defeated Nopparat Preecha of Thailand by decision, 5-0
Round of 32 - Defeated Michael Andrews of Nigeria by decision, 5-0
Round of 16 - Defeated Louis Self of United States by decision, 3-2
Quarterfinal - Defeated Royal Kobayashi of Japan by decision, 4-1
Semifinal - Lost to Boris Kuznetsov of Soviet Union by decision, 0-5 (was awarded a bronze medal)

1976 Olympic results
Below is the record of András Botos, a Hungarian lightweight boxer who competed at the 1976 Montreal Olympics:

 Round of 64: bye
 Round of 32: defeated David Ssensonjo (Uganda) by walkover
 Round of 16: defeated Georgios Agrimavakis (Greece) by decision, 4-1
 Quarterfinal: lost to Vassily Solomin (Soviet Union) by decision, 0-5

Life after boxing
He is currently the trainer of Hungarian boxer Vilmos Balog.

References

1952 births
Living people
Sportspeople from Salgótarján
Olympic boxers for Hungary
Olympic bronze medalists for Hungary
Boxers at the 1972 Summer Olympics
Boxers at the 1976 Summer Olympics
Olympic medalists in boxing
Medalists at the 1972 Summer Olympics
Hungarian male boxers
Featherweight boxers

András Botos


Handicapping, in sport and games, is the practice of assigning advantage through scoring compensation or other advantage given to different contestants to equalize the chances of winning.  The word also applies to the various methods by which the advantage is calculated. In principle, a more experienced participant is disadvantaged, or a less experienced or capable participant is advantaged, in order to make it possible for the less experienced participant to win whilst maintaining fairness.  Handicapping is used in scoring many games and competitive sports, including go, shogi, chess, croquet, golf, bowling, polo, basketball, and track and field events.  Handicap races are common in clubs which encourage all levels of participants, such as swimming or in cycling clubs and sailing clubs, or which allow participants with a variety of standards of equipment.  Often races, contests or tournaments where this practice is competitively employed are known as Handicaps.

Handicapping also refers to the various methods by which spectators can predict and quantify the results of a sporting match.  The term is applied to the practice of predicting the result of a competition, such as for purposes of betting against the point spread. A favored team that wins by less than the point spread still wins the game, but bets on that team lose.

In either case the handicapper is the person who sets the handicaps for the activity.

Etymology
The term handicap derives from hand-in-cap, referring to a system wherein players placed bets or money into the cap of a neutral arbiter to reach an agreement as to the relative values of items sought to be traded.

Competition handicapping
In a 'result adjustment' style handicap event, the outcome may be adjusted by some factor determined by the handicap.  Some forms of car or yacht racing. In this case, the winner, on elapsed time, may differ from the fastest competitor when the times have been adjusted for the different competitors' handicaps.

In a 'pursuit' style handicap race, all participants are clocked in a time trial before the race. When this takes place at the same event as the main race, it is known as the handicap. In the race itself, the participants do not all start at the same "Go"; the starts are staggered, based on the handicaps. The slowest swimmer, or cyclist, for example, starts first and the fastest starts last, making the end of the race (hopefully) close. An ideal handicap race is one in which all participants finish at the same time. The winner is the person who beats his or her own time.

Similarly, physically staggered starting positions can be used, for example, in greyhound racing a handicap race is where greyhounds (based on their ability) start from different starting traps set at different measurements from the finish line, and in human foot racing, for example, the Stawell Gift.

Some motorsport events, especially in sports car racing, demand teams to stop the vehicle in the pitbox a fixed period of time depending on the drivers' classification, thus giving advantage to less skilled drivers. An example of a championship using this system is the International GT Open. The advantage of this system over ballast weight systems is that vehicles have the normal performance on track, so better drivers will be able to recover time and overtake slower drivers.

Contrarily, horse race handicapping is implemented using extra weight.

Horse racing

A handicap race in horse racing is a race in which horses carry different weights, allocated by the handicapper. A better horse will carry a heavier weight, to give him or her a disadvantage when racing against slower horses. The handicapper's goal in assigning handicap weights is to enable all the horses to finish together (in a dead heat).

The skill in betting on a handicap horse race is in determining which horse can overcome its handicap.

In addition to the Daily Racing Form, other data sources include Brisnet, Equibase, The Ragozin Sheets, and Thoro-Graph.

Rugby

In rugby, one of the teams will start with a points advantage, and one will start with a deficit to make up in the match. If a team starts with the advantage, as long as they finish above the points different covered in the handicap, then your selection will win. The points handicap will be greater due to higher point scoring nature of rugby.

Basketball

With a basketball handicap, you'll be backing a team to start with a points advantage or deficit to make up in the match. Basketball handicapping is often seen in matches that are predicted to be one-sided.

Golf

Handicapping in the sport of golf enables players and teams of varying abilities to compete against one another. A golf handicap is a numerical measure of a golfer's potential or "average best". Better players are those with the lowest handicaps.

Chess

Types of chess handicaps include:
 the stronger player surrenders a certain piece or pieces
 the weaker player has extra moves at the beginning of the game
 the weaker player has extra time on the chess clock
 the odds-giver to deliver checkmate with a specified piece

Go

Handicapping in go includes the weaker player being given an advantage by placing a number of stones before the stronger player commences, and by final points adjustment.

Shogi

Handicapping in shogi is achieved by removing one or more pieces from the stronger player's side.  Shogi (Japanese chess) and many of its variants have handicaps.

Gliding

Polo

The polo handicap is an estimation of the player's worth to his or her team. It is an overall rating of a player's horsemanship, team play, knowledge of the game, strategy and horses.  The difference between the total of the polo handicaps for the players on each team is then used to determine the minimum score difference for the better team to score to enable them to win.

In polo, every player is awarded an individual handicap depending on performance. Handicap commissions of the national associations meet several times a year to decide players' handicaps.
Argentina: 0 to 10
USA: C (-2), B (-1), B+ (-0.5), A (0), A+ (0.5), 1.0, 1.5, 2 to 10
England: -2 to 10

Sailing

Handicaps for sailing vessels in sailing races have varied throughout history, and they also vary by country, and by sailing organisation. Sailing handicap standards exist internationally, nationally, and within individual sailing clubs.

Sailing race handicaps may be based on vessel capability and-or crew experience, and today typically adjust the time a vessel takes to reach the finish point of the race.

Tennis

The ATP, WTA, Challenger, and ITF events have plenty of matches which can be one-sided, which results in short odds being offered with various betting sites.

Therefore, there isn't ever much value in backing a specific player to win, which is why handicap betting is often popular. Handicap betting in tennis often means that you're wagering funds on a player to start a certain amount of games ahead or behind in the match.

Motorcycle speedway

The calculated match average is a handicap calculated for every motorcycle speedway rider.

Cycling

Handicapping in competitive cycling is most commonly used in track cycling and road racing in Australia and New Zealand.  Handicap events are rare outside these two countries.

In track cycling, distance-based handicaps are typically used.  The highest-profile example of this racing format is the Melbourne Cup on Wheels.

In road cycling, pursuit-style handicaps are most common, and are mostly restricted to grassroots amateur events.  In the past, higher-profile national events such as the Melbourne to Warrnambool Classic were run as handicaps, but with larger entry numbers and a preference for scratch racing among elite-level national competitors, these are no longer run as handicaps.

Because of the importance of drafting in cycling events, riders are usually grouped into a limited number of "bunches" based on previous results, with the bunches containing the weakest riders leaving first.  Prizes are typically awarded to the first finishers, first female finisher (in mixed events), and fastest time recorded (who may not have crossed the line first due to the handicapping).

Outcome prediction

Middle and arbitrage bets
There are strategies that involve differences in the lines on the same event at different books. One bet is called a "middle", which when a player finds two books that offer different point spreads for the same event. They will bet the more favorable spread at both books, and if the final score falls between the two, the bettor will win both bets. On the other hand, if the total falls outside the range of the "middle" the bettor only loses a small percentage of a bet (the "juice" or "vig" taken by the house).

For example, Book 1 has Team A as a 3-point favorite, and Book 2 has team B as a 3-point favorite. If a player bets Team B at Book 1, and Team A at Book 2, he will win both bets if either side wins by 2 or less points, and will win one bet and lose the other (known as a "side") if either team wins by 3 points.

Another strategy, known as arbitrage, or an "arb" or "scalp", involves finding different moneylines for the same event. In this case, the bettor will bet the more favorable line at both books, and have a guaranteed profit. For example, if Book 1 considers Team A to be worth +200 (2-to-1 underdog), and Book 2 considers Team B to be worth +200, a bettor can bet Team A at Book 1, and Team B at Book 2, and guarantee a 100% profit. This is a no-risk bet, as the player is guaranteed a profit no matter the result of the game.

Famous US handicappers
The first very well known sports handicapper in American culture was Jimmy "The Greek" Snyder. During his career he worked for CBS on their Sunday morning show, The NFL Today. Because sports betting had a social taboo at the time, Snyder was not allowed to mention betting on games specifically. Instead, he would predict the score. Over the years the attitude towards sports betting, and handicapping in general, has changed. Billy Walters was profiled by 60 Minutes because of his handicapping abilities. Billy Walters, and other unknown members of the Computer Group, developed a system for handicapping games and beating Las Vegas sportsbooks. The Huffington Post covered Jon Price a reclusive sports bettor that hires Ph.D's and works off of algorithmic information for his predictions. ESPN wrote an article on Haralabos Voulgaris naming him as the one of the premier NBA handicappers in the world. He claims to have developed a system that uses advanced statistical analysis to predict the outcomes of games. In the past, very few people did any mathematical calculations when handicapping sporting events. Predictions were usually made from hunches or information not readily available to the public. However, with the advancement of technology computers powerful enough to run advanced simulation models now frequent homes and offices. Advanced statistics such as DVOA, Win Shares and Points per Possession are talked about in mainstream media. Brian Burke, author of The Fifth Down blog featured in The New York Times, wrote a formula using advanced statistical techniques that has shown consistency correctly predicting NFL winners. Handicapping, as a profession, is very similar to being a stock analyst. Like Wall Street did in the 1970s, the sports handicapping industry is undergoing a quantitative revolution. Many successful handicappers also use money management systems similar to financial investment professionals. The most popular, and mathematically superior, system is the Kelly criterion. It is a formula for maximizing profits and minimizing losses based on payout odds and win probability of the underlying asset. The Kelly criterion is often used to determine units in sports betting which some handicappers assign to weight each prediction.

See also
 Political handicapping
 Bookmaker
 Handicap race (disambiguation)
 Match fixing
 Point shaving
 Sports betting
 Tipster
 Handicap principle

References

External links
 An article describing handicap bicycle racing in Australia
 United States Golf Association Handicap Manual
 An Online Kelly Calculator

Sports terminology
Horse racing terminology
Gambling terminology
Sports betting

Handicapping