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wiki20220301en020_102527	Mashup (music)	For example, on her 2006 Confessions Tour, Madonna incorporated elements of The Trammps's "Disco Inferno" in the performance of her 2000 hit "Music", to assist the song in blending in with the tour's disco theme. On her 2008 Sticky & Sweet Tour, she performed a mash-up of her 1990 hit "Vogue" with the instrumental of her recent single "4 Minutes", to update it with the more urban sound of her Hard Candy album.	Mashup (music). For example, on her 2006 Confessions Tour, Madonna incorporated elements of The Trammps's "Disco Inferno" in the performance of her 2000 hit "Music", to assist the song in blending in with the tour's disco theme. On her 2008 Sticky & Sweet Tour, she performed a mash-up of her 1990 hit "Vogue" with the instrumental of her recent single "4 Minutes", to update it with the more urban sound of her Hard Candy album.	523804
wiki20220301en020_102528	Mashup (music)	In August 2003, Madonna's single "Hollywood" was remixed with "Into the Groove" and performed with Missy Elliott under the title "Into the Hollywood Groove" as part of a promotional campaign for clothing retailer, GAP, prompting criticism for exploiting the underground culture of the mash-up for commercial gain.	Mashup (music). In August 2003, Madonna's single "Hollywood" was remixed with "Into the Groove" and performed with Missy Elliott under the title "Into the Hollywood Groove" as part of a promotional campaign for clothing retailer, GAP, prompting criticism for exploiting the underground culture of the mash-up for commercial gain.	523804
wiki20220301en020_102529	Mashup (music)	The mid-2000s saw a massive surge in popularity for the mashup, including single releases that climbed high into the dance charts and even the mainstream top-40 charts. Such hits include Linkin Park and Jay Z's “Numb/Encore”, Party Ben's “Boulevard of Broken Songs”, Alex Gaudino's “Destination Calabria”, Mousse T. vs The Dandy Warhols' "Horny As A Dandy" (originally mixed by produced by Loo & Placido) and Mylo vs Miami Sound Machine's “Doctor Pressure”. In 2001, Henry Mancini produced a mashup version of Every Breath You Take by The Police for the 27th Episode of The Sopranos 'Mr. Ruggerio's Neighborhood'. The Grey Album, which mashed up recordings by Jay Z and The Beatles, also became notoriously popular.	Mashup (music). The mid-2000s saw a massive surge in popularity for the mashup, including single releases that climbed high into the dance charts and even the mainstream top-40 charts. Such hits include Linkin Park and Jay Z's “Numb/Encore”, Party Ben's “Boulevard of Broken Songs”, Alex Gaudino's “Destination Calabria”, Mousse T. vs The Dandy Warhols' "Horny As A Dandy" (originally mixed by produced by Loo & Placido) and Mylo vs Miami Sound Machine's “Doctor Pressure”. In 2001, Henry Mancini produced a mashup version of Every Breath You Take by The Police for the 27th Episode of The Sopranos 'Mr. Ruggerio's Neighborhood'. The Grey Album, which mashed up recordings by Jay Z and The Beatles, also became notoriously popular.	523804
wiki20220301en020_102530	Mashup (music)	With the release of Rock Band in 2007 and its sequels later on, numerous mashup artists discovered that every song in the games had each instrument stored on separate tracks to each other, meaning that song instrumentals, acapellas and even individual instruments could easily be sampled and kept uncompressed and clear. American comedian Neil Cicierega used this method to produce his four mashup albums, Mouth Sounds, Mouth Silence, Mouth Moods and Mouth Dreams. DJ Earworm's annual “United States of Pop” mashups became season events, with his 2009 edition alone garnering critical acclaim as well as racking up more than 52 million views on YouTube. Mashups also helped launch the careers of acts such as Girl Talk and Madeon, with the latter's “Pop Culture” accruing more than 55 million views. Acts such as DJs from Mars and Mashd N Kutcher would go on to make mashups a huge part of their creative output.	Mashup (music). With the release of Rock Band in 2007 and its sequels later on, numerous mashup artists discovered that every song in the games had each instrument stored on separate tracks to each other, meaning that song instrumentals, acapellas and even individual instruments could easily be sampled and kept uncompressed and clear. American comedian Neil Cicierega used this method to produce his four mashup albums, Mouth Sounds, Mouth Silence, Mouth Moods and Mouth Dreams. DJ Earworm's annual “United States of Pop” mashups became season events, with his 2009 edition alone garnering critical acclaim as well as racking up more than 52 million views on YouTube. Mashups also helped launch the careers of acts such as Girl Talk and Madeon, with the latter's “Pop Culture” accruing more than 55 million views. Acts such as DJs from Mars and Mashd N Kutcher would go on to make mashups a huge part of their creative output.	523804
wiki20220301en020_102531	Mashup (music)	Launched in San Francisco in 2003, Bootie was the first club night in the United States dedicated solely to the burgeoning art form of the bootleg mashup, and now hosts monthly parties in several cities around the globe, including Los Angeles, Paris, Boston, Munich, and New York City. The party's slogan, "Music for the A.D.D. Generation" also inspired the creation of "A.D.D", Israel's first mashup-dedicated party. The Best of Bootie mashup compilation series is compiled and produced each year by A Plus D, creators of the international mashup club Bootie. The compilations have been released in December every year since 2005, and are annual Internet sensations, with each album requiring 5,000 GB+ of download bandwidth.	Mashup (music). Launched in San Francisco in 2003, Bootie was the first club night in the United States dedicated solely to the burgeoning art form of the bootleg mashup, and now hosts monthly parties in several cities around the globe, including Los Angeles, Paris, Boston, Munich, and New York City. The party's slogan, "Music for the A.D.D. Generation" also inspired the creation of "A.D.D", Israel's first mashup-dedicated party. The Best of Bootie mashup compilation series is compiled and produced each year by A Plus D, creators of the international mashup club Bootie. The compilations have been released in December every year since 2005, and are annual Internet sensations, with each album requiring 5,000 GB+ of download bandwidth.	523804
wiki20220301en020_102532	Mashup (music)	Video games DJ Hero is a 2009 rhythm video game developed by Activision that includes over 90 pre-made mashups, where the player scores points by hitting notes on the turntable controller.Fuser is a 2020 video game developed by Harmonix that allows the player to create mashups of over 100 songs, using four instrument stems from the master recording. See also Mashup (culture) Mashup (video) Sound collage Plunderphonics WhoSampled Parody music Quodlibet Pastiche "One Song to the Tune of Another" References	Mashup (music). Video games DJ Hero is a 2009 rhythm video game developed by Activision that includes over 90 pre-made mashups, where the player scores points by hitting notes on the turntable controller.Fuser is a 2020 video game developed by Harmonix that allows the player to create mashups of over 100 songs, using four instrument stems from the master recording. See also Mashup (culture) Mashup (video) Sound collage Plunderphonics WhoSampled Parody music Quodlibet Pastiche "One Song to the Tune of Another" References	523804
wiki20220301en020_102533	Mashup (music)	References Further reading Paul Morley (2003). Words and Music: A History of Pop in the Shape of a City. Bloomsbury. . Jeremy J. Beadle (1993). Will Pop Eat Itself? Faber & Faber. . Brøvig-Hanssen, Ragnhild, 2018. "Musical Recycling: Mashup Aesthetics and Authorship." Selected Paper of Internet Research, SPIR, 2016: The 17th Annual Conference of the Association of Internet Researchers. Berlin, Germany. http://spir.aoir.org. Roseman, Jordan (2006). Audio Mashup Construction Kit. . Hughes, J. & Lang, K. (2006). Transmutability: Digital Decontextualization, Manipulation, and Recontextualization as a New Source of Value in the Production and Consumption of Culture Products. In Proceedings of the 39th Annual Hawaii International Conference on System Sciences – Volume 08. Sinnreich, Aram (2010). Mashed Up: Music, Technology & the Rise of Configurable Culture'' . . Musical techniques Repurposing 1990s in music 2000s in music 2010s in music Intellectual property activism	Mashup (music). References Further reading Paul Morley (2003). Words and Music: A History of Pop in the Shape of a City. Bloomsbury. . Jeremy J. Beadle (1993). Will Pop Eat Itself? Faber & Faber. . Brøvig-Hanssen, Ragnhild, 2018. "Musical Recycling: Mashup Aesthetics and Authorship." Selected Paper of Internet Research, SPIR, 2016: The 17th Annual Conference of the Association of Internet Researchers. Berlin, Germany. http://spir.aoir.org. Roseman, Jordan (2006). Audio Mashup Construction Kit. . Hughes, J. & Lang, K. (2006). Transmutability: Digital Decontextualization, Manipulation, and Recontextualization as a New Source of Value in the Production and Consumption of Culture Products. In Proceedings of the 39th Annual Hawaii International Conference on System Sciences – Volume 08. Sinnreich, Aram (2010). Mashed Up: Music, Technology & the Rise of Configurable Culture'' . . Musical techniques Repurposing 1990s in music 2000s in music 2010s in music Intellectual property activism	523804
wiki20220301en020_102534	Gustave Charpentier	Gustave Charpentier (; 25 June 1860 – 18 February 1956) was a French composer, best known for his opera Louise. Life and career Charpentier was born in Dieuze, Moselle, the son of a baker, and with the assistance of a rich benefactor he studied violin at the conservatoire in Lille before entering the Paris Conservatoire in 1881. There he took lessons in composition under Jules Massenet (from 1885) and had a reputation of wanting to shock his professors. In 1887 he won the Prix de Rome for his cantata Didon. During the time in Rome that the prize gave him, he wrote the orchestral suite Impressions d'Italie and began work on the libretto and music for what would become his best-known work, the opera Louise.	Gustave Charpentier. Gustave Charpentier (; 25 June 1860 – 18 February 1956) was a French composer, best known for his opera Louise. Life and career Charpentier was born in Dieuze, Moselle, the son of a baker, and with the assistance of a rich benefactor he studied violin at the conservatoire in Lille before entering the Paris Conservatoire in 1881. There he took lessons in composition under Jules Massenet (from 1885) and had a reputation of wanting to shock his professors. In 1887 he won the Prix de Rome for his cantata Didon. During the time in Rome that the prize gave him, he wrote the orchestral suite Impressions d'Italie and began work on the libretto and music for what would become his best-known work, the opera Louise.	523806
wiki20220301en020_102535	Gustave Charpentier	Charpentier returned to Paris, settling in Montmartre, and continued to compose, including songs on texts by Charles Baudelaire and Voltaire. He eventually completed Louise, and it was accepted for production by the Opéra-Comique. A realistic portrait of Parisian working-class life, it is sometimes considered a French example of verismo opera.	Gustave Charpentier. Charpentier returned to Paris, settling in Montmartre, and continued to compose, including songs on texts by Charles Baudelaire and Voltaire. He eventually completed Louise, and it was accepted for production by the Opéra-Comique. A realistic portrait of Parisian working-class life, it is sometimes considered a French example of verismo opera.	523806
wiki20220301en020_102536	Gustave Charpentier	The premiere of Louise on 2 February 1900 under the baton of André Messager was an immediate success. Soon this work was being performed all over Europe and America, and it brought Charpentier much acclaim. It also launched the career of the Scottish soprano Mary Garden, who took over the title role during an early performance. In late 1935 the composer supervised the abridged score used in a studio recording of around 70 minutes of the opera, conducted by Eugène Bigot. A film adaptation of the work followed in 1939 with Grace Moore in the title role. At the revival of Louise at the Opéra-Comique on 28 February 1950, celebrating the 50th anniversary of its creation and the 90th birthday of its composer, it was hoped that Charpentier himself might conduct the performance, but André Cluytens did so, with the composer conducting the "Chant de l'apothéose" after the third act. Louise is still occasionally performed today, with the soprano aria "Depuis le jour" a popular recital piece.	Gustave Charpentier. The premiere of Louise on 2 February 1900 under the baton of André Messager was an immediate success. Soon this work was being performed all over Europe and America, and it brought Charpentier much acclaim. It also launched the career of the Scottish soprano Mary Garden, who took over the title role during an early performance. In late 1935 the composer supervised the abridged score used in a studio recording of around 70 minutes of the opera, conducted by Eugène Bigot. A film adaptation of the work followed in 1939 with Grace Moore in the title role. At the revival of Louise at the Opéra-Comique on 28 February 1950, celebrating the 50th anniversary of its creation and the 90th birthday of its composer, it was hoped that Charpentier himself might conduct the performance, but André Cluytens did so, with the composer conducting the "Chant de l'apothéose" after the third act. Louise is still occasionally performed today, with the soprano aria "Depuis le jour" a popular recital piece.	523806
wiki20220301en020_102537	Gustave Charpentier	Louise is still occasionally performed today, with the soprano aria "Depuis le jour" a popular recital piece. In 1902, Charpentier founded the Conservatoire Populaire Mimi Pinson, intended to provide a free artistic education to Paris's working girls. However, he became unproductive as a composer. He worked on a sequel to Louise, Julien, ou la vie d'un poète, but it was quickly forgotten after its tepidly received 1913 premiere. Thereafter, Charpentier wrote very little. He was, nevertheless, no recluse. During World War I, he started the Œuvre de Mimi Pinson and Cocarde de Mimi Pinson to aid wounded soldiers. He was awarded the Légion d'honneur in 1900, became a Commandeur in 1930, and a Grand Officier in 1950. In 1934, he conducted a recording of his Impressions d'Italie with a Paris symphony orchestra. He died, aged 95, in Paris.	Gustave Charpentier. Louise is still occasionally performed today, with the soprano aria "Depuis le jour" a popular recital piece. In 1902, Charpentier founded the Conservatoire Populaire Mimi Pinson, intended to provide a free artistic education to Paris's working girls. However, he became unproductive as a composer. He worked on a sequel to Louise, Julien, ou la vie d'un poète, but it was quickly forgotten after its tepidly received 1913 premiere. Thereafter, Charpentier wrote very little. He was, nevertheless, no recluse. During World War I, he started the Œuvre de Mimi Pinson and Cocarde de Mimi Pinson to aid wounded soldiers. He was awarded the Légion d'honneur in 1900, became a Commandeur in 1930, and a Grand Officier in 1950. In 1934, he conducted a recording of his Impressions d'Italie with a Paris symphony orchestra. He died, aged 95, in Paris.	523806
wiki20220301en020_102538	Gustave Charpentier	Charpentier's brother Victor (also born Dieuze, on 23 July 1867) was a cellist in the orchestra of the Paris Opera and later a conductor of popular symphony concerts in Paris. In 1931 Marc Delmas published a biography of Charpentier entitled Gustave Charpentier et le Lyrisme Francais. Compositions Didon, Scène dramatique – 1887 Impressions d'Italie – 1892 La vie du poète – symphonie-drame – 1892 Sérénade à Watteau (words by Verlaine) – 1896 La couronnement de la muse – spectacle – 1897 Louise – 1900 Munich – symphonic poem – 1911 Julien, ou La vie du poète – 1913 L'amour au faubourg – 1913 (unperformed) Orphée – 1931 (unfinished) Songs References External links	Gustave Charpentier. Charpentier's brother Victor (also born Dieuze, on 23 July 1867) was a cellist in the orchestra of the Paris Opera and later a conductor of popular symphony concerts in Paris. In 1931 Marc Delmas published a biography of Charpentier entitled Gustave Charpentier et le Lyrisme Francais. Compositions Didon, Scène dramatique – 1887 Impressions d'Italie – 1892 La vie du poète – symphonie-drame – 1892 Sérénade à Watteau (words by Verlaine) – 1896 La couronnement de la muse – spectacle – 1897 Louise – 1900 Munich – symphonic poem – 1911 Julien, ou La vie du poète – 1913 L'amour au faubourg – 1913 (unperformed) Orphée – 1931 (unfinished) Songs References External links	523806
wiki20220301en020_102539	Gustave Charpentier	References External links 1860 births 1956 deaths 19th-century classical composers 19th-century male conductors (music) 19th-century conductors (music) 19th-century French composers 20th-century classical composers 20th-century French conductors (music) 20th-century French composers 20th-century French male musicians Burials at Père Lachaise Cemetery Conservatoire de Paris alumni French male classical composers French male conductors (music) French opera composers French Romantic composers Grand Officiers of the Légion d'honneur Male opera composers People from Dieuze Prix de Rome for composition Pupils of Jules Massenet	Gustave Charpentier. References External links 1860 births 1956 deaths 19th-century classical composers 19th-century male conductors (music) 19th-century conductors (music) 19th-century French composers 20th-century classical composers 20th-century French conductors (music) 20th-century French composers 20th-century French male musicians Burials at Père Lachaise Cemetery Conservatoire de Paris alumni French male classical composers French male conductors (music) French opera composers French Romantic composers Grand Officiers of the Légion d'honneur Male opera composers People from Dieuze Prix de Rome for composition Pupils of Jules Massenet	523806
wiki20220301en020_102540	Kodachi	A , literally translating into "small or short tachi (sword)", is one of the traditionally made Japanese swords (nihontō) used by the samurai class of feudal Japan. Kodachi are from the early Kamakura period (1185–1333) and are in the shape of a tachi. Kodachi are mounted in tachi style, but with a length of less than 60 cm. They are often confused with wakizashi, due to their length and handling techniques. However, their construction is what sets the two apart, as kodachi are a set length while wakizashi are forged to complement the wielder's height or the length of their katana. As a result, the kodachi was too short to be called a sword properly but was also too long to be considered a dagger, thus it is widely considered a primary short sword, unlike the tantō or the wakizashi which would act as a secondary weapon that was used alongside a longer blade.	Kodachi. A , literally translating into "small or short tachi (sword)", is one of the traditionally made Japanese swords (nihontō) used by the samurai class of feudal Japan. Kodachi are from the early Kamakura period (1185–1333) and are in the shape of a tachi. Kodachi are mounted in tachi style, but with a length of less than 60 cm. They are often confused with wakizashi, due to their length and handling techniques. However, their construction is what sets the two apart, as kodachi are a set length while wakizashi are forged to complement the wielder's height or the length of their katana. As a result, the kodachi was too short to be called a sword properly but was also too long to be considered a dagger, thus it is widely considered a primary short sword, unlike the tantō or the wakizashi which would act as a secondary weapon that was used alongside a longer blade.	523808
wiki20220301en020_102541	Kodachi	The exact use of the kodachi is unknown; it may have been a companion sword to normal sized tachi or it may have been a sword for an adolescent. Kodachi appear to have been produced only in a certain time period by specific schools of swordmakers. See also List of daggers Types of swords References External weapons Japanese sword types	Kodachi. The exact use of the kodachi is unknown; it may have been a companion sword to normal sized tachi or it may have been a sword for an adolescent. Kodachi appear to have been produced only in a certain time period by specific schools of swordmakers. See also List of daggers Types of swords References External weapons Japanese sword types	523808
wiki20220301en020_102542	Get a Grip	Get a Grip is the eleventh studio album by American rock band Aerosmith, released in April 1993 by Geffen Records. Get a Grip was the band's last studio album to be released by Geffen before they returned to Columbia Records. Get a Grip featured guests including Don Henley, who sang backup on "Amazing", and Lenny Kravitz, who offered backup vocals and collaboration to "Line Up". As on Permanent Vacation and Pump, this album featured numerous song collaborators from outside the band including: Desmond Child, Jim Vallance, Mark Hudson, Richie Supa, Taylor Rhodes, Jack Blades, and Tommy Shaw.	Get a Grip. Get a Grip is the eleventh studio album by American rock band Aerosmith, released in April 1993 by Geffen Records. Get a Grip was the band's last studio album to be released by Geffen before they returned to Columbia Records. Get a Grip featured guests including Don Henley, who sang backup on "Amazing", and Lenny Kravitz, who offered backup vocals and collaboration to "Line Up". As on Permanent Vacation and Pump, this album featured numerous song collaborators from outside the band including: Desmond Child, Jim Vallance, Mark Hudson, Richie Supa, Taylor Rhodes, Jack Blades, and Tommy Shaw.	523810
wiki20220301en020_102543	Get a Grip	Get a Grip became Aerosmith's best-selling studio album worldwide, achieving sales of over 20 million copies. The album became the band's first album to reach number one in the United States and tied with Pump for their second best-selling album in the U.S., selling over 7 million copies as of 1995 (Toys in the Attic leads with eight million). This also made it their third consecutive album with U.S. sales of at least five million. Two songs from the album won Grammy Awards for Best Rock Performance by a Duo or Group with Vocal, in 1993 and 1994. The album was voted Album of the Year by Metal Edge readers in the magazine's 1993 Readers' Choice Awards, while "Livin' on the Edge" was voted Best Video.	Get a Grip. Get a Grip became Aerosmith's best-selling studio album worldwide, achieving sales of over 20 million copies. The album became the band's first album to reach number one in the United States and tied with Pump for their second best-selling album in the U.S., selling over 7 million copies as of 1995 (Toys in the Attic leads with eight million). This also made it their third consecutive album with U.S. sales of at least five million. Two songs from the album won Grammy Awards for Best Rock Performance by a Duo or Group with Vocal, in 1993 and 1994. The album was voted Album of the Year by Metal Edge readers in the magazine's 1993 Readers' Choice Awards, while "Livin' on the Edge" was voted Best Video.	523810
wiki20220301en020_102544	Get a Grip	Production The album originally had 12 songs and was scheduled to be released in the third quarter of 1992, but Geffen A&R executive John Kalodner listened to what had been recorded and thought it lacked variety and a radio-friendly song. So the band went back to write more songs with collaborators such as Child. Regarding songs that reflect on the band's history with drug abuse such as "Get a Grip" and "Amazing", Steven Tyler declared: "We were saying you can point it back to some of those old beliefs about the crossroads and signing up with the devil, that you can look at the drugs as that: It can be fun in the beginning but then it comes time to pay your debt, and if you're not sharp enough to see that it's taking you down, then it really will get you."	Get a Grip. Production The album originally had 12 songs and was scheduled to be released in the third quarter of 1992, but Geffen A&R executive John Kalodner listened to what had been recorded and thought it lacked variety and a radio-friendly song. So the band went back to write more songs with collaborators such as Child. Regarding songs that reflect on the band's history with drug abuse such as "Get a Grip" and "Amazing", Steven Tyler declared: "We were saying you can point it back to some of those old beliefs about the crossroads and signing up with the devil, that you can look at the drugs as that: It can be fun in the beginning but then it comes time to pay your debt, and if you're not sharp enough to see that it's taking you down, then it really will get you."	523810
wiki20220301en020_102545	Get a Grip	Many songs were written and recorded for the album that were either used as B-sides or never released. "Don't Stop" and "Head First" were released as B-sides, as well as "Can't Stop Messin'", which also appears on several special editions of the album as an addition in the track list. Other songs were listed on the official Aerosmith website in the late 1990s. "Black Cherry", "Devil's Got A New Disguise", "Dime Store Lover", "Legendary Child", "Lizard Love", "Meltdown", "Rocket 88", "Wham Bam", and "Yo Momma" were listed on the lyrics page of the website.	Get a Grip. Many songs were written and recorded for the album that were either used as B-sides or never released. "Don't Stop" and "Head First" were released as B-sides, as well as "Can't Stop Messin'", which also appears on several special editions of the album as an addition in the track list. Other songs were listed on the official Aerosmith website in the late 1990s. "Black Cherry", "Devil's Got A New Disguise", "Dime Store Lover", "Legendary Child", "Lizard Love", "Meltdown", "Rocket 88", "Wham Bam", and "Yo Momma" were listed on the lyrics page of the website.	523810
wiki20220301en020_102546	Get a Grip	In 2005, Kalodner confirmed the existence of several of the songs above, as well as "Trouble", "Strange", "13", and "Keep On Movin'". "Deuces Are Wild" was possibly recorded again during these sessions. Several songs are also listed on copyright repertoires, including "Ain't Gonna Break My Heart", "Good Thang", and "Jake". These songs can be traced to the year 1991. Reworked versions of "Devil's Got A New Disguise", "Deuces Are Wild", "Lizard Love", and "Legendary Child" have since been released on various albums and soundtracks.	Get a Grip. In 2005, Kalodner confirmed the existence of several of the songs above, as well as "Trouble", "Strange", "13", and "Keep On Movin'". "Deuces Are Wild" was possibly recorded again during these sessions. Several songs are also listed on copyright repertoires, including "Ain't Gonna Break My Heart", "Good Thang", and "Jake". These songs can be traced to the year 1991. Reworked versions of "Devil's Got A New Disguise", "Deuces Are Wild", "Lizard Love", and "Legendary Child" have since been released on various albums and soundtracks.	523810
wiki20220301en020_102547	Get a Grip	Cover art Get a Grip's cover art, depicting an image of a cow with a captive bead nipple ring through its udder and a brand of the Aerosmith logo, was designed by noted album-cover artist Hugh Syme. Music critic Steven Hyden has referred to the album's cover art as "the worst album cover ever", expressing surprise that Syme was responsible for it given his other work. An animal-rights group objected to the cover art, but the band confirmed the image had been digitally altered and did not depict an actual act of animal cruelty. A special edition of the album was released in a fabric-covered case made to resemble cowhide.	Get a Grip. Cover art Get a Grip's cover art, depicting an image of a cow with a captive bead nipple ring through its udder and a brand of the Aerosmith logo, was designed by noted album-cover artist Hugh Syme. Music critic Steven Hyden has referred to the album's cover art as "the worst album cover ever", expressing surprise that Syme was responsible for it given his other work. An animal-rights group objected to the cover art, but the band confirmed the image had been digitally altered and did not depict an actual act of animal cruelty. A special edition of the album was released in a fabric-covered case made to resemble cowhide.	523810
wiki20220301en020_102548	Get a Grip	A special edition of the album was released in a fabric-covered case made to resemble cowhide. First digital download On June 27, 1994, Aerosmith became the first major artist to release a song as an exclusive digital download, making the unreleased track "Head First" available as a 4-megabyte WAV file to Compuserve subscribers. Around 10,000 users downloaded the song in the first few days, even though at the time, most users accessed the service with a modem, meaning the download would have taken several hours. "Head First" was later used as the B-side for "Blind Man", released in November that year. Critical reception	Get a Grip. A special edition of the album was released in a fabric-covered case made to resemble cowhide. First digital download On June 27, 1994, Aerosmith became the first major artist to release a song as an exclusive digital download, making the unreleased track "Head First" available as a 4-megabyte WAV file to Compuserve subscribers. Around 10,000 users downloaded the song in the first few days, even though at the time, most users accessed the service with a modem, meaning the download would have taken several hours. "Head First" was later used as the B-side for "Blind Man", released in November that year. Critical reception	523810
wiki20220301en020_102549	Get a Grip	Reviewing for Rolling Stone in 1993, Mark Coleman said he enjoyed the title song and compared the introductory track to the band's 1986 rendition of "Walk This Way" with Run–D.M.C. However, he found much of the rest unadventurous and too "somber", negatively comparing "Livin' on the Edge" to a Bon Jovi song, and lamenting the outside contributions from songwriters and collaborators. Ultimately, Coleman determined that, "for a spirited half-hour or so, Aerosmith pretty much gets over on sheer awe-inspiring technique". Robert Christgau was more positive in a contemporaneous review for Playboy, saying that while it "occasionally exploits their rap connection", remains faithful to Aerosmith's template of "fast ones and slow ones; lyrically it's fuck me and fuck you", but with such superpro crunch and commitment that no good-timing headbanger will give a shit." Christgau especially highlighted "Cryin'" as the "classic", while saying that "the closest thing to a duff cut [is] the	Get a Grip. Reviewing for Rolling Stone in 1993, Mark Coleman said he enjoyed the title song and compared the introductory track to the band's 1986 rendition of "Walk This Way" with Run–D.M.C. However, he found much of the rest unadventurous and too "somber", negatively comparing "Livin' on the Edge" to a Bon Jovi song, and lamenting the outside contributions from songwriters and collaborators. Ultimately, Coleman determined that, "for a spirited half-hour or so, Aerosmith pretty much gets over on sheer awe-inspiring technique". Robert Christgau was more positive in a contemporaneous review for Playboy, saying that while it "occasionally exploits their rap connection", remains faithful to Aerosmith's template of "fast ones and slow ones; lyrically it's fuck me and fuck you", but with such superpro crunch and commitment that no good-timing headbanger will give a shit." Christgau especially highlighted "Cryin'" as the "classic", while saying that "the closest thing to a duff cut [is] the	523810
wiki20220301en020_102550	Get a Grip	crunch and commitment that no good-timing headbanger will give a shit." Christgau especially highlighted "Cryin'" as the "classic", while saying that "the closest thing to a duff cut [is] the 'meaningful' Livin' on the Edge, which could be a hit anyway." He later ranked it 64th on his "Dean's List" accompanying The Village Voices annual Pazz & Jop critics poll of the year's best albums, and assigned it an A-minus in his 2000 book Christgau's Consumer Guide: Albums of the '90s.	Get a Grip. crunch and commitment that no good-timing headbanger will give a shit." Christgau especially highlighted "Cryin'" as the "classic", while saying that "the closest thing to a duff cut [is] the 'meaningful' Livin' on the Edge, which could be a hit anyway." He later ranked it 64th on his "Dean's List" accompanying The Village Voices annual Pazz & Jop critics poll of the year's best albums, and assigned it an A-minus in his 2000 book Christgau's Consumer Guide: Albums of the '90s.	523810
wiki20220301en020_102551	Get a Grip	Track listing Immediately after "Amazing," a snippet of "Who Threw the Whiskey in the Well," by Lucky Millinder, is heard as if being tuned in on an old radio. Tyler says, "So from all of us at Aerosmith to all of you out there, wherever you are, remember: the light at the end of the tunnel may be you. Good night." The music then fades out. Personnel Aerosmith Steven Tyler – lead vocals, keyboards, mandolin, harmonica, additional percussion Joe Perry – guitar, backing vocals, lead vocals on "Walk On Down" Brad Whitford – guitar, lead guitar on “Fever”, “Gotta Love It”, and “Flesh” Tom Hamilton – bass guitar, bass solo on “Gotta Love It” Joey Kramer – drums	Get a Grip. Track listing Immediately after "Amazing," a snippet of "Who Threw the Whiskey in the Well," by Lucky Millinder, is heard as if being tuned in on an old radio. Tyler says, "So from all of us at Aerosmith to all of you out there, wherever you are, remember: the light at the end of the tunnel may be you. Good night." The music then fades out. Personnel Aerosmith Steven Tyler – lead vocals, keyboards, mandolin, harmonica, additional percussion Joe Perry – guitar, backing vocals, lead vocals on "Walk On Down" Brad Whitford – guitar, lead guitar on “Fever”, “Gotta Love It”, and “Flesh” Tom Hamilton – bass guitar, bass solo on “Gotta Love It” Joey Kramer – drums	523810
wiki20220301en020_102552	Get a Grip	Additional personnel Paul Barontrumpet Desmond Child – keyboards on "Crazy" David Campbell – orchestra arrangements on "Crazy" and "Amazing" Bruce Fairbairn – trumpet Don Henley – background vocals on "Amazing" Sandy Kanaeholo – log drums on "Eat the Rich" Tom Keenlyside – saxophone Lenny Kravitz – background vocals on "Line Up" Melvin Liufau – log drums on "Eat the Rich" Wesey Mamea – log drums on "Eat the Rich" Ian Putzbaritone saxophone Bob Rogerstrombone Richard Supa – keyboards on "Amazing" Liainaiala Tagaloa – log drums on "Eat the Rich" Mapuhi T. Tekurio – log drums on "Eat the Rich" Aladd Alationa Teofilo – log drums on "Eat the Rich" John Webster – keyboards	Get a Grip. Additional personnel Paul Barontrumpet Desmond Child – keyboards on "Crazy" David Campbell – orchestra arrangements on "Crazy" and "Amazing" Bruce Fairbairn – trumpet Don Henley – background vocals on "Amazing" Sandy Kanaeholo – log drums on "Eat the Rich" Tom Keenlyside – saxophone Lenny Kravitz – background vocals on "Line Up" Melvin Liufau – log drums on "Eat the Rich" Wesey Mamea – log drums on "Eat the Rich" Ian Putzbaritone saxophone Bob Rogerstrombone Richard Supa – keyboards on "Amazing" Liainaiala Tagaloa – log drums on "Eat the Rich" Mapuhi T. Tekurio – log drums on "Eat the Rich" Aladd Alationa Teofilo – log drums on "Eat the Rich" John Webster – keyboards	523810
wiki20220301en020_102553	Get a Grip	Production ProducerBruce Fairbairn EngineersJohn Aguto, Ed Korengo, Ken Lomas, Mike Plotnikoff, David Thoener Pre Production EngineerTony Lentini MixingBrendan O'Brien MasteringGreg Fulginiti at Masterdisk Mastering SupervisorDavid Donnelly ProgrammingJohn Webster Production coordinationDebra Shallman Guitar technicianDan Murphy ArrangerSteven Tyler Art directionMichael Golob Cover designHugh Syme PhotographyEdward Colver, William Hames John Kalodner Charts Weekly charts Year-end charts Certifications and sales Awards Grammy Awards Metal Edge Readers' Choice Awards See also Get a Grip Tour References Bibliography 1993 albums Aerosmith albums Geffen Records albums Albums produced by Bruce Fairbairn Albums recorded at A&M Studios Albums recorded at Little Mountain Sound Studios	Get a Grip. Production ProducerBruce Fairbairn EngineersJohn Aguto, Ed Korengo, Ken Lomas, Mike Plotnikoff, David Thoener Pre Production EngineerTony Lentini MixingBrendan O'Brien MasteringGreg Fulginiti at Masterdisk Mastering SupervisorDavid Donnelly ProgrammingJohn Webster Production coordinationDebra Shallman Guitar technicianDan Murphy ArrangerSteven Tyler Art directionMichael Golob Cover designHugh Syme PhotographyEdward Colver, William Hames John Kalodner Charts Weekly charts Year-end charts Certifications and sales Awards Grammy Awards Metal Edge Readers' Choice Awards See also Get a Grip Tour References Bibliography 1993 albums Aerosmith albums Geffen Records albums Albums produced by Bruce Fairbairn Albums recorded at A&M Studios Albums recorded at Little Mountain Sound Studios	523810
wiki20220301en020_102554	STS-60	STS-60 was the first mission of the U.S./Russian Shuttle-Mir Program, which carried Sergei K. Krikalev, the first Russian cosmonaut to fly aboard a Space Shuttle. The mission used NASA Space Shuttle Discovery, which lifted off from Launch Pad 39A on 3 February 1994 from Kennedy Space Center, Florida. The mission carried the Wake Shield Facility experiment and a SPACEHAB module, developed by SPACEHAB Inc., into orbit, and carried out a live bi-directional audio and downlink link-up with the cosmonauts aboard the Russian space station Mir. Crew Mission highlights	STS-60. STS-60 was the first mission of the U.S./Russian Shuttle-Mir Program, which carried Sergei K. Krikalev, the first Russian cosmonaut to fly aboard a Space Shuttle. The mission used NASA Space Shuttle Discovery, which lifted off from Launch Pad 39A on 3 February 1994 from Kennedy Space Center, Florida. The mission carried the Wake Shield Facility experiment and a SPACEHAB module, developed by SPACEHAB Inc., into orbit, and carried out a live bi-directional audio and downlink link-up with the cosmonauts aboard the Russian space station Mir. Crew Mission highlights	523815
wiki20220301en020_102555	STS-60	Crew Mission highlights After External Tank (ET) separation and main engine cutoff (MECO), a 2.5 minutes OMS burn was initiated at 12:52 UTC that circularized Discoverys orbit from a orbit to . Shortly after liftoff, pilot Kenneth S. Reightler Jr. experienced problems with his portable headset. The problem was traced to the Headset Interface Unit (HIU) and that unit was swapped with a flight spare. The payload bay doors were opened and around 13:45 UTC the crew was given a go for on-orbit operations. Shortly after reaching orbit, the STS-60 crew began checking Discoverys systems and activating the commercially developed SPACEHAB laboratory module and several of its experiments. The crew also activated one group of the payload bay Getaway Special (GAS) canisters.	STS-60. Crew Mission highlights After External Tank (ET) separation and main engine cutoff (MECO), a 2.5 minutes OMS burn was initiated at 12:52 UTC that circularized Discoverys orbit from a orbit to . Shortly after liftoff, pilot Kenneth S. Reightler Jr. experienced problems with his portable headset. The problem was traced to the Headset Interface Unit (HIU) and that unit was swapped with a flight spare. The payload bay doors were opened and around 13:45 UTC the crew was given a go for on-orbit operations. Shortly after reaching orbit, the STS-60 crew began checking Discoverys systems and activating the commercially developed SPACEHAB laboratory module and several of its experiments. The crew also activated one group of the payload bay Getaway Special (GAS) canisters.	523815
wiki20220301en020_102556	STS-60	SPACEHAB module experiments that were activated included the Organic Separations payload, which is designed to investigate cell separation techniques for possible pharmaceutical and biotechnology processing, and the Equipment for Controlled Liquid Phase Sintering Experiment (ECLiPSE) package, a furnace designed to explore the possibilities of creating stronger, lighter and more durable metals for use in bearings, cutting tools and electronics. SPACEHAB middeck experiments that were activated included Immune-1, which will look at the immune systems of rats in orbit, and the Commercial Protein Crystal Growth package, which is attempting to grow large, well- ordered protein crystals so that their structures can be more easily studied. The crew sleep period then began at 6:10 pm EST.	STS-60. SPACEHAB module experiments that were activated included the Organic Separations payload, which is designed to investigate cell separation techniques for possible pharmaceutical and biotechnology processing, and the Equipment for Controlled Liquid Phase Sintering Experiment (ECLiPSE) package, a furnace designed to explore the possibilities of creating stronger, lighter and more durable metals for use in bearings, cutting tools and electronics. SPACEHAB middeck experiments that were activated included Immune-1, which will look at the immune systems of rats in orbit, and the Commercial Protein Crystal Growth package, which is attempting to grow large, well- ordered protein crystals so that their structures can be more easily studied. The crew sleep period then began at 6:10 pm EST.	523815
wiki20220301en020_102557	STS-60	At 11:30 UTC on 5 February 1994, Discovery inadvertently flew through a cloud of wastewater ice crystals. Flight controllers determined that approximately one tablespoon of wastewater leaked out of a waste dump nozzle.	STS-60. At 11:30 UTC on 5 February 1994, Discovery inadvertently flew through a cloud of wastewater ice crystals. Flight controllers determined that approximately one tablespoon of wastewater leaked out of a waste dump nozzle.	523815
wiki20220301en020_102558	STS-60	The Wake Shield Facility deployment operation was canceled on 5 February 1994. This delay was the result of several factors, including radio interference and an inability to read the Wake Shield Facility's status lights when the orbiter's payload bay is in full sunlight. Deployment originally was scheduled for 16:00 UTC, but after grappling the free-flyer and lifting it out of the cargo bay and into the pre-deploy position, crew members and investigators on the ground were unable to tell whether power and transmitter status lights were giving the proper indications. After determining that the problem was not a systems failure, but difficulty in reading the status lights, the crew and flight controllers prepared for another release attempt. Interference between the radio transmitter on the Wake Shield Facility and the receiver on its payload bay carrier resulted in a one-day delay.	STS-60. The Wake Shield Facility deployment operation was canceled on 5 February 1994. This delay was the result of several factors, including radio interference and an inability to read the Wake Shield Facility's status lights when the orbiter's payload bay is in full sunlight. Deployment originally was scheduled for 16:00 UTC, but after grappling the free-flyer and lifting it out of the cargo bay and into the pre-deploy position, crew members and investigators on the ground were unable to tell whether power and transmitter status lights were giving the proper indications. After determining that the problem was not a systems failure, but difficulty in reading the status lights, the crew and flight controllers prepared for another release attempt. Interference between the radio transmitter on the Wake Shield Facility and the receiver on its payload bay carrier resulted in a one-day delay.	523815
wiki20220301en020_102559	STS-60	Wake Shield Facility deployment was also canceled on 6 February 1994 during its orbit 53 opportunity at 17:25 UTC, WSF and flight controllers worked on problems with the Pitch and Roll sensors on WSF's Attitude, Direction and Control system. Astronaut Jan Davis moved the wrist joint on the Remote Manipulator System (RMS) arm (Canadarm) to try to point WSF's Horizon Sensor into the Sun in an attempt to warm up the sensor's electronics package. The last deployment opportunity for on 6 December 1994 was a 50-minute window beginning at 19:23 UTC on orbit 54 but WSF was not ready. It was left mounted on the Canadarm during the crew sleep period while ground controllers considered their options. On its perch at the end of the RMS over night, WSF was able to grow 2 Gallium Arsenide (GaAs) thin films. The next deployment opportunity on 7 February 1994 would have been during orbit 67 but payload controllers and flight controllers determined that there would be insufficient time to safely	STS-60. Wake Shield Facility deployment was also canceled on 6 February 1994 during its orbit 53 opportunity at 17:25 UTC, WSF and flight controllers worked on problems with the Pitch and Roll sensors on WSF's Attitude, Direction and Control system. Astronaut Jan Davis moved the wrist joint on the Remote Manipulator System (RMS) arm (Canadarm) to try to point WSF's Horizon Sensor into the Sun in an attempt to warm up the sensor's electronics package. The last deployment opportunity for on 6 December 1994 was a 50-minute window beginning at 19:23 UTC on orbit 54 but WSF was not ready. It was left mounted on the Canadarm during the crew sleep period while ground controllers considered their options. On its perch at the end of the RMS over night, WSF was able to grow 2 Gallium Arsenide (GaAs) thin films. The next deployment opportunity on 7 February 1994 would have been during orbit 67 but payload controllers and flight controllers determined that there would be insufficient time to safely	523815
wiki20220301en020_102560	STS-60	films. The next deployment opportunity on 7 February 1994 would have been during orbit 67 but payload controllers and flight controllers determined that there would be insufficient time to safely develop contingency procedures in the event that WSF was unable to maintain stable attitude control without the use of its Horizon Sensor. It was decided that for the remainder of the mission, all WSF operations would take place at the end of the Canadarm and there would be no WSF free-flying operations on the mission.	STS-60. films. The next deployment opportunity on 7 February 1994 would have been during orbit 67 but payload controllers and flight controllers determined that there would be insufficient time to safely develop contingency procedures in the event that WSF was unable to maintain stable attitude control without the use of its Horizon Sensor. It was decided that for the remainder of the mission, all WSF operations would take place at the end of the Canadarm and there would be no WSF free-flying operations on the mission.	523815
wiki20220301en020_102561	STS-60	On 7 February 1994, work had been progressing in the SPACEHAB-2 module on a number of experiments. These included the Three-Dimensional Microgravity Accelerometer (3-DMA) experiment, Astroculture experiment (ASC-3), Bioserve Pilot Lab (BPL), Commercial Generic Bioprocessing Apparatus experiment (CGBA), Commercial Protein Crystal Growth experiment (CPCG), Controlled Liquid Phase Sintering-Hab (ECLiPSE-Hab), Immune Response Studies Experiment (IMMUNE-01), Organic Separation experiment (ORSEP), Space Experiment Facility (SEF), Penn State Biomodule (PSB) and the Space Acceleration Measurement System (SAMS) Experiment. Sergei Krikalev had been operating the SAMS experiment.	STS-60. On 7 February 1994, work had been progressing in the SPACEHAB-2 module on a number of experiments. These included the Three-Dimensional Microgravity Accelerometer (3-DMA) experiment, Astroculture experiment (ASC-3), Bioserve Pilot Lab (BPL), Commercial Generic Bioprocessing Apparatus experiment (CGBA), Commercial Protein Crystal Growth experiment (CPCG), Controlled Liquid Phase Sintering-Hab (ECLiPSE-Hab), Immune Response Studies Experiment (IMMUNE-01), Organic Separation experiment (ORSEP), Space Experiment Facility (SEF), Penn State Biomodule (PSB) and the Space Acceleration Measurement System (SAMS) Experiment. Sergei Krikalev had been operating the SAMS experiment.	523815
wiki20220301en020_102562	STS-60	At 12:38 UTC on 8 February 1994, Good Morning America performed a live bi-directional audio and downlink video hookup between astronauts on board Discovery and 3 cosmonauts on board the Soviet Union Mir Space Station. Discovery was over the Pacific Ocean and Mir was over the southern United States. Afterwards, work progressed with SPACEHAB-2 module and middeck experiments while Wake Shield Facility continued operations at the end of the Canadarm. A slight problem developed with the status indicators on the 3-DMA experiment and the crew downlinked video to aid in troubleshooting. The astronauts ended Flight Day 6 at 00:10 UTC (9 February 1994).	STS-60. At 12:38 UTC on 8 February 1994, Good Morning America performed a live bi-directional audio and downlink video hookup between astronauts on board Discovery and 3 cosmonauts on board the Soviet Union Mir Space Station. Discovery was over the Pacific Ocean and Mir was over the southern United States. Afterwards, work progressed with SPACEHAB-2 module and middeck experiments while Wake Shield Facility continued operations at the end of the Canadarm. A slight problem developed with the status indicators on the 3-DMA experiment and the crew downlinked video to aid in troubleshooting. The astronauts ended Flight Day 6 at 00:10 UTC (9 February 1994).	523815
wiki20220301en020_102563	STS-60	Flight Day 7 (9 February 1994) began at 08:20 UTC. ODERACS operations were scheduled for 14:55 UTC during Orbit 97 and BREMSAT deploy was scheduled for 19:50 UTC. The WSF experiment was brought to an end and a telemetry problem with the facility prevented the growth of the 6th and final thin film on board WSF. Five other thin films were grown throughout the mission before Wake Shield Facility was berthed. WSF closeout was completed by 13:10 UTC. At 12:58 UTC, commander Charles F. Bolden reported to the ground that one of the Thermal Protection System (TPS) blankets around Discoverys forward RCS thruster below Bolden's cabin window was slightly peeled back. Jan Davis was directed to halt her power down and stowage of the Remote Manipulator System (Canadarm) and use the arm to perform a camera survey of the front left side of the orbiter. At 19:20 UTC, the BREMSAT satellite momentum wheel was spun up and BREMSAT was ejected into space at 19:23 UTC at the rate of .	STS-60. Flight Day 7 (9 February 1994) began at 08:20 UTC. ODERACS operations were scheduled for 14:55 UTC during Orbit 97 and BREMSAT deploy was scheduled for 19:50 UTC. The WSF experiment was brought to an end and a telemetry problem with the facility prevented the growth of the 6th and final thin film on board WSF. Five other thin films were grown throughout the mission before Wake Shield Facility was berthed. WSF closeout was completed by 13:10 UTC. At 12:58 UTC, commander Charles F. Bolden reported to the ground that one of the Thermal Protection System (TPS) blankets around Discoverys forward RCS thruster below Bolden's cabin window was slightly peeled back. Jan Davis was directed to halt her power down and stowage of the Remote Manipulator System (Canadarm) and use the arm to perform a camera survey of the front left side of the orbiter. At 19:20 UTC, the BREMSAT satellite momentum wheel was spun up and BREMSAT was ejected into space at 19:23 UTC at the rate of .	523815
wiki20220301en020_102564	STS-60	On Flight Day 8 (10 February 1994), the astronauts performed a number of operations to prepare Discovery for its trip home. These included Hot-Fire tests of all 44 Reaction Control Systems jets, Flight control system checkout, SAREX stow, CPCG Stow, ASC-3 Deactivation, ORSEP Deactivation, stowage of all non-essential cabin items and Ku-Band antenna stow. Flight Day 9 (11 February 1994) operations included the powerup of all critical orbiter entry systems (Group B powerup), SAMS deactivation, CAPL Deactivation and De-Orbit preps. Ground controllers gave Discovery a go to start SPACEHAB deactivation at 13:00 UTC and this was complete by 15:20 UTC. Landing was at KSC runway 15 at 19:18:41 UTC. See also List of human spaceflights List of Space Shuttle missions Outline of space science Space Shuttle References NASA mission summary External links STS-60 Video Highlights	STS-60. On Flight Day 8 (10 February 1994), the astronauts performed a number of operations to prepare Discovery for its trip home. These included Hot-Fire tests of all 44 Reaction Control Systems jets, Flight control system checkout, SAREX stow, CPCG Stow, ASC-3 Deactivation, ORSEP Deactivation, stowage of all non-essential cabin items and Ku-Band antenna stow. Flight Day 9 (11 February 1994) operations included the powerup of all critical orbiter entry systems (Group B powerup), SAMS deactivation, CAPL Deactivation and De-Orbit preps. Ground controllers gave Discovery a go to start SPACEHAB deactivation at 13:00 UTC and this was complete by 15:20 UTC. Landing was at KSC runway 15 at 19:18:41 UTC. See also List of human spaceflights List of Space Shuttle missions Outline of space science Space Shuttle References NASA mission summary External links STS-60 Video Highlights	523815
wiki20220301en020_102565	STS-60	See also List of human spaceflights List of Space Shuttle missions Outline of space science Space Shuttle References NASA mission summary External links STS-60 Video Highlights Space Shuttle missions Spacecraft launched in 1994 February 1994 events 1994 in Florida Spacecraft which reentered in 1994	STS-60. See also List of human spaceflights List of Space Shuttle missions Outline of space science Space Shuttle References NASA mission summary External links STS-60 Video Highlights Space Shuttle missions Spacecraft launched in 1994 February 1994 events 1994 in Florida Spacecraft which reentered in 1994	523815
wiki20220301en020_102566	STS-62	STS-62 was a Space Shuttle program mission flown aboard . The primary payloads were the USMP-02 microgravity experiments package and the OAST-2 engineering and technology payload, both in the orbiter's cargo bay. The two-week mission also featured a number of biomedical experiments focusing on the effects of long duration spaceflight. The landing was chronicled by the 1994 Discovery Channel special about the Space Shuttle program and served as the show's opening. A C.F. Martin backpacker guitar was also flown aboard Columbia during the mission. Crew Mission highlights Day 1 Flight Day One (Friday, March 4) consisted of ascent operations and reconfiguration of the orbiter in order to support orbital operations, an OMS-2 burn to circularize Columbias orbit to a orbit, USMP-2 activation, PSE operations, APCG activation, CPCG operations, RMS checkout, DEE operations, CGBA activation. The payload bay doors were opened at 10:26 am EDT.	STS-62. STS-62 was a Space Shuttle program mission flown aboard . The primary payloads were the USMP-02 microgravity experiments package and the OAST-2 engineering and technology payload, both in the orbiter's cargo bay. The two-week mission also featured a number of biomedical experiments focusing on the effects of long duration spaceflight. The landing was chronicled by the 1994 Discovery Channel special about the Space Shuttle program and served as the show's opening. A C.F. Martin backpacker guitar was also flown aboard Columbia during the mission. Crew Mission highlights Day 1 Flight Day One (Friday, March 4) consisted of ascent operations and reconfiguration of the orbiter in order to support orbital operations, an OMS-2 burn to circularize Columbias orbit to a orbit, USMP-2 activation, PSE operations, APCG activation, CPCG operations, RMS checkout, DEE operations, CGBA activation. The payload bay doors were opened at 10:26 am EDT.	523818