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9544_18 | In some implementations the performance of the physical storage can actually be improved, mainly due to caching. Caching however requires the visibility of the data contained within the I/O request and so is limited to in-band and symmetric virtualization software and devices. However these implementations also directly influence the latency of an I/O request (cache miss), due to the I/O having to flow through the software or device. Assuming the software or device is efficiently designed this impact should be minimal when compared with the latency associated with physical disk accesses.
Due to the nature of virtualization, the mapping of logical to physical requires some processing power and lookup tables. Therefore, every implementation will add some small amount of latency. |
9544_19 | In addition to response time concerns, throughput has to be considered. The bandwidth into and out of the meta-data lookup software directly impacts the available system bandwidth. In asymmetric implementations, where the meta-data lookup occurs before the information is read or written, bandwidth is less of a concern as the meta-data are a tiny fraction of the actual I/O size. In-band, symmetric flow through designs are directly limited by their processing power and connectivity bandwidths.
Most implementations provide some form of scale-out model, where the inclusion of additional software or device instances provides increased scalability and potentially increased bandwidth. The performance and scalability characteristics are directly influenced by the chosen implementation.
Implementation approaches
Host-based
Storage device-based
Network-based
Host-based |
9544_20 | Host-based virtualization requires additional software running on the host, as a privileged task or process. In some cases volume management is built into the operating system, and in other instances it is offered as a separate product. Volumes (LUN's) presented to the host system are handled by a traditional physical device driver. However, a software layer (the volume manager) resides above the disk device driver intercepts the I/O requests, and provides the meta-data lookup and I/O mapping.
Most modern operating systems have some form of logical volume management built-in (in Linux called Logical Volume Manager or LVM; in Solaris and FreeBSD, ZFS's zpool layer; in Windows called Logical Disk Manager or LDM), that performs virtualization tasks.
Note: Host based volume managers were in use long before the term storage virtualization had been coined.
Pros
Simple to design and code
Supports any storage type
Improves storage utilization without thin provisioning restrictions |
9544_21 | Cons
Storage utilization optimized only on a per host basis
Replication and data migration only possible locally to that host
Software is unique to each operating system
No easy way of keeping host instances in sync with other instances
Traditional Data Recovery following a server disk drive crash is impossible
Specific examples
Technologies:
Logical volume management
File systems, e.g., (hard links, SMB/NFS)
Automatic mounting, e.g., (autofs)
Storage device-based
Like host-based virtualization, several categories have existed for years and have only recently been classified as virtualization. Simple data storage devices, like single hard disk drives, do not provide any virtualization. But even the simplest disk arrays provide a logical to physical abstraction, as they use RAID schemes to join multiple disks in a single array (and possibly later divide the array it into smaller volumes). |
9544_22 | Advanced disk arrays often feature cloning, snapshots and remote replication. Generally these devices do not provide the benefits of data migration or replication across heterogeneous storage, as each vendor tends to use their own proprietary protocols.
A new breed of disk array controllers allows the downstream attachment of other storage devices. For the purposes of this article we will only discuss the later style which do actually virtualize other storage devices.
Concept
A primary storage controller provides the services and allows the direct attachment of other storage controllers. Depending on the implementation these may be from the same or different vendors.
The primary controller will provide the pooling and meta-data management services. It may also provide replication and migration services across those controllers which it is .
Pros |
9544_23 | No additional hardware or infrastructure requirements
Provides most of the benefits of storage virtualization
Does not add latency to individual I/Os
Cons
Storage utilization optimized only across the connected controllers
Replication and data migration only possible across the connected controllers and same vendors device for long distance support
Downstream controller attachment limited to vendors support matrix
I/O Latency, non cache hits require the primary storage controller to issue a secondary downstream I/O request
Increase in storage infrastructure resource, the primary storage controller requires the same bandwidth as the secondary storage controllers to maintain the same throughput
Network-based
Storage virtualization operating on a network based device (typically a standard server or smart switch) and using iSCSI or FC Fibre channel networks to connect as a SAN. These types of devices are the most commonly available and implemented form of virtualization. |
9544_24 | The virtualization device sits in the SAN and provides the layer of abstraction between the hosts performing the I/O and the storage controllers providing the storage capacity.
Pros
True heterogeneous storage virtualization
Caching of data (performance benefit) is possible when in-band
Single management interface for all virtualized storage
Replication services across heterogeneous devices
Cons
Complex interoperability matrices limited by vendors support
Difficult to implement fast meta-data updates in switched-based devices
Out-of-band requires specific host based software
In-band may add latency to I/O
In-band the most complicated to design and code
Appliance-based vs. switch-based |
9544_25 | There are two commonly available implementations of network-based storage virtualization, appliance-based and switch-based. Both models can provide the same services, disk management, metadata lookup, data migration and replication. Both models also require some processing hardware to provide these services.
Appliance based devices are dedicated hardware devices that provide SAN connectivity of one form or another. These sit between the hosts and storage and in the case of in-band (symmetric) appliances can provide all of the benefits and services discussed in this article. I/O requests are targeted at the appliance itself, which performs the meta-data mapping before redirecting the I/O by sending its own I/O request to the underlying storage. The in-band appliance can also provide caching of data, and most implementations provide some form of clustering of individual appliances to maintain an atomic view of the metadata as well as cache data. |
9544_26 | Switch based devices, as the name suggests, reside in the physical switch hardware used to connect the SAN devices. These also sit between the hosts and storage but may use different techniques to provide the metadata mapping, such as packet cracking to snoop on incoming I/O requests and perform the I/O redirection. It is much more difficult to ensure atomic updates of metadata in a switched environment and services requiring fast updates of data and metadata may be limited in switched implementations.
In-band vs. out-of-band |
9544_27 | In-band, also known as symmetric, virtualization devices actually sit in the data path between the host and storage. All I/O requests and their data pass through the device. Hosts perform I/O to the virtualization device and never interact with the actual storage device. The virtualization device in turn performs I/O to the storage device. Caching of data, statistics about data usage, replications services, data migration and thin provisioning are all easily implemented in an in-band device. |
9544_28 | Out-of-band, also known as asymmetric, virtualization devices are sometimes called meta-data servers. These devices only perform the meta-data mapping functions. This requires additional software in the host which knows to first request the location of the actual data. Therefore, an I/O request from the host is intercepted before it leaves the host, a meta-data lookup is requested from the meta-data server (this may be through an interface other than the SAN) which returns the physical location of the data to the host. The information is then retrieved through an actual I/O request to the storage. Caching is not possible as the data never passes through the device.
File based virtualization
A synonym used for NAS virtualization.
See also
Archive
Automated tiered storage
Storage hypervisor
Backup
Computer data storage
Data proliferation
Disk storage
Information lifecycle management
Information repository
Magnetic tape data storage
Repository
Spindle
References |
9544_29 | Virtualization software
Virtualization |
9545_0 | José Hernández Delgadillo (1927 – December 26, 2000) was a Mexican painter and muralist best known for carrying on the traditions of Mexican muralism in the latter 20th century. He created over 160 murals in Mexico and the United States, with most of his work, especially after 1970, containing strong political messages. Many of these messages have been unpopular in Mexico, which has made the artist somewhat obscure and some of his murals have been destroyed. Hernández Delgadillo's main recognition is membership in the Salón de la Plástica Mexicana honor society, but his home state has made effort to rescue and promote his life and work.
Life
Hernández Delgadillo was born in Tepeapulco in the Mexican state of Hidalgo, the son of a poor rural farm worker. He grew up working on farms, road construction, in a greenhouse and making furniture. |
9545_1 | In 1945, he traveled to Mexico City and studied painting and architectural drawing at the workshop of Antonio Navarrete Tejero. To survive during this time, he made money by creating portraits.
After the first individual exhibition of his work, he decided to pursue advanced training, attending the Escuela Nacional de Pintura, Escultura y Grabado "La Esmeralda" from 1955 to 1960. According to his autobiography, at this time he met Pablo O'Higgins which inspired him to continue the ideals of Mexican muralism. |
9545_2 | In addition to his art career, he was also very politically active. He believed that popular organization in neighborhoods, unions and schools was necessary to exert non-violent pressure against the government. From 1980 to 1983 he wrote a weekly column for the Excélsior newspaper, which allowed him to write to present an alternate point of view and appear more neutral. In 1985, he stood for the Partido Mexicano de Trabajadores in the 38th electoral district, covering the Magdalena Contreras area and part of Alvaro Obregon. He was a pre candidate for president with the PRD in 1987, but the party chose Cuauhtémoc Cárdenas. The artist then worked for the Cárdenas campaign creating murals.
Hernández Delgadillo died in 2000, leaving behind his wife, Beatriz Zamora and three children, Beatriz, Myriam and Francisco. |
9545_3 | Career
Hernández Delgadillo's first exhibition of his easel work was in 1954 in Mexico City. He returned to school afterwards but when he finished his studied, he won recognition at two biennials, the II Bienal Interamericana in Mexico and the II Biennale de Paris for his expressionistic painting called Hombres (1961). This success earned him a grant to Paris from the French government. From 1963 to 1965 he lived in the country, exhibiting his work in Nice, Lyon, Marseille, Le Havre and Bordeaux as well as in the Reflets Gallery in Brussels and the Biosca Gallery in Madrid. The Musée d'Art Moderne de la Ville de Paris bought one of his works as well. He had another important individual exhibition in Beverly Hills in 1967. |
9545_4 | However, most of the artist's career was dedicated to muralism, creating over 160 of them, twenty of which are on university campuses in Mexico. His first mural was painted at the Escuela Primaria Belisario Dominguez in 1959. In 1969, he was named director of arte for the Centro Residencial Morelos, a housing project in Mexico City. He and students created forty murals, the largest of which consists of fifteen floors of abstract panels places among the windows. In the center of the small plaza between the apartment buildings, he created a monument highly critical of the social order, which put his career at risk. In 1973, he created the first of his militant murals. His main support was with student organizations, which invited him to paint in universities, technical schools and teachers’ colleges in various parts of the country. The artist created the designs and usually the students did the actual painting, using simple colors. Many times, the mural was done in a day, with the |
9545_5 | students using the occasion to also present musical productions, and discussion groups. From 1973 to 1976, he worked on posters which featured large powerful figures in basic colors, based on the designed for murals in also done at this time in Mexico City, Toluca, Xalapa, Pachuca, Fresnillo, Zacatepec de Hidalgo, Tepic and the teachers’ colleges in Tuxtla Gutiérrez. In 1975 he created a mural in the medical conference center of the former Hacienda de Cortés in Cuernavaca. He created his first mural in the United States in 1981 in San Fernando, California, sponsored by a Chicano organization. He returned in 1989 to create several works for the agricultural school of University of California, Davis, a Latino social service organization in San José and the mayor's office in Watsonville. In the 1990s he created one of his major works called El Hombre Nuevo Hacia el Futuro. |
9545_6 | Many of Hernández Delgadillo's murals are in urgent need of restoration with a number already lost, either due to deterioration or because they were destroyed because of their political messages. In 2013 an effort was begun Pachuca to rescue and restore his murals in that city, which include Contradicciones y lucha en Hidalgo at the Jardín del Arte and Por la democracia, el trabajo y la soberanía nacional at the Miguel Alemán primary school.
Other activities during his career include sculpture, receiving commissions between 1959 and 1960, and illustrating medical books in 1963 and 1972. In 1997 he organized the first competition of murals and public art called the Jornada Mundial del Arte Público y Muralismo, at the Palacio de Bellas Artes . |
9545_7 | His main recognition was membership in the Salón de la Plástica Mexicana (SPM), an honor society for Mexican artists, serving on its executive committee in the 1970s. After his death, the SPM established the José Hernández Delgadillo Prize in categories such as painting, print making, sculpture, photography and art objects and held a retrospective of his work in 2009. The Efrén Rebolledo Cultural Center in Pachuca has a gallery named after him. However, his work has become obscure, mostly because they espouse unpopular and radical political ideas. There was no biography written about him until 2008, when Hidalgo writer Guillermo Furlong Franco published a book called Muros de Insomnio, about the life and work of the artist. It was sponsored by the Fondo Estatal para la Cultura y las Artes of Hidalgo. |
9545_8 | Artistry
Hernández Delgadillo was an artist and activist in the tradition of Diego Rivera, José Clemente Orozco and David Alfaro Siqueiros, with his work more closely related to the second state of Mexican muralism rather than his contemporary Generación de la Ruptura . This was particularly true after the 1968 student uprising in Mexico, which inspired the artist to incorporate its ideology to reinvigorate Mexico's traditions of murals with social and political messages. In 1975, he described himself as one of the few artists still “fighting for Mexico.” He stated that it was “… very risky to do political art now. You put your subsistence and liberty at stake.” He also stated “After 1970, I conceived most of my visual work in line with popular struggles, in books, periodicals, posters, films and murals; this side of my work is predictably ignored by the educated public, and negated and attacked even by critics who purport to be revolutionaries.” |
9545_9 | He worked in oil, acrylics, mixed media, print and poster making and some sculptures in bronze. His style was mostly expressionistic, often denouncing acts of violence. Some murals, such as those done at university campuses rely on simple, basic colors but others more nuanced used of color, such as shades of reds and ochre are used to express anger at social injustices. Justino Fernandez wrote “In the works of Hernández Delgadillo, we find a definite sense of the monumental and certain underlying classicism combined with personal expressionism. This may seem contradictory, but is not, thanks to the synthesis to which he brings both tendencies.” “His giants – images of men and women, entire or fragmented nudes with extraordinarily expressive heads large or small, their features barely insinuated, their eyes tiny – betray his humanist leanings.” Similar to the artists of the Mexican muralism movement, he used indigenous cultural expression to highlight the country's heritage, its |
9545_10 | abilities as well as how it has been exploited. Many of his figures have a primeval quality, as if they sprang from the earth. |
9545_11 | References
1927 births
2000 deaths
Political artists
Mexican muralists
Artists from Hidalgo (state)
Escuela Nacional de Pintura, Escultura y Grabado "La Esmeralda" alumni
20th-century Mexican painters
20th-century male artists
Mexican male painters |
9546_0 | "Crazy in Love" is a song recorded by American singer Beyoncé featuring a rap verse and ad-libs from her future husband Jay-Z from her debut solo studio album Dangerously in Love (2003). The song was released as her official debut single and as the album's lead single on May 14, 2003, through Columbia Records and Music World Entertainment. Both artists wrote and composed the song in collaboration with Rich Harrison and Eugene Record; the former also produced it with Beyoncé. Using samples from the Chi-Lites's 1970 song "Are You My Woman (Tell Me So)", "Crazy in Love" is a pop love song that incorporates elements of hip hop, soul, and 1970s-style funk music. Its lyrics describe a romantic obsession that causes the protagonist to act out of character. |
9546_1 | "Crazy in Love" was a number-one hit in the United States and United Kingdom, and reached the top ten in various other countries worldwide. Music critics praised the hook, Jay-Z's contribution, and Beyoncé's assertive delivery of the lyrics. VH1 declared it the greatest song of the 2000s decade, while Rolling Stone ranked it at number 16 on their list of the 500 greatest songs of all time in 2021, and in 2018, declared the song the greatest of the 21st century so far. At the 46th Annual Grammy Awards (2004), "Crazy in Love" won Grammy Awards for Best R&B Song and Best Rap/Sung Collaboration. |
9546_2 | The song's accompanying music video features Beyoncé in various dance sequences. It won three awards at the 2003 MTV Video Music Awards, and its director, Jake Nava, won the Music Video Production Association award for Best R&B Video in 2004. Since 2003, "Crazy in Love" has been a staple in Beyoncé's live performances and concert tours. The American Society of Composers, Authors and Publishers (ASCAP) recognized "Crazy in Love" as one of the most performed songs of 2004. Artists including David Byrne have covered the song, and it has been used in various television shows and other media.
Development and production |
9546_3 | By July 2002, Beyoncé had already recorded several songs which would appear on Dangerously in Love. Columbia Records planned to release the album in October 2002; however, the release was postponed several times to capitalize on the success of American rapper Nelly's 2002 single "Dilemma," which features Beyoncé's former Destiny's Child colleague Kelly Rowland. These delays allowed Beyoncé to record more songs for the album. |
9546_4 | Before meeting Beyoncé, Rich Harrison had conceptualized the beat of the song. He had sampled the hook's instrumentation from the 1970 song "Are You My Woman? (Tell Me So)," which had originally been written and composed by Eugene Record, frontman of the Chicago-based vocal group the Chi-Lites. When Harrison first played the beat to his friends, they could not "dig it," and this made him realize that he had conceived something special, which people would appreciate better after hearing the whole record. Thus Harrison decided not to market the selection, and instead, he waited for the right artist to record it: "I had it in the chamber, I had not really shopped it much, because sometimes you do not want to come out of the bag before it's right. People do not really get it and you will leave them with a foul taste in their mouth." |
9546_5 | Harrison was pleasantly surprised when he got a call from Beyoncé, who was working on one of the most anticipated albums of the year. However, things did not turn up according to his plans the following day, as he was late and was still suffering the effects of a hangover. When Harrison played the sample to Beyoncé in the studio, the singer initially had doubts about the "sound so full of blaring fanfare;" it seemed too retro and according to her, no one used horn riffs in the 21st century. Nevertheless, Beyoncé accepted the sample, much to Harrison's delight, and gave him two hours to write and compose the song while she went out. |
9546_6 | Harrison confessed that it was not easy for him to come up with the lyrics to "Crazy in Love" in that length of time. But two hours later, he had written the verses and the hook, in spite of being hung over. Harrison had also made provision for a backing track; he played all the instruments on the track. The bridge was written by Beyoncé, who was inspired by looking at herself in the mirror; as she was not wearing matching clothes and her hair was untidy, she kept saying, "I'm looking so crazy right now." Harrison sang back to her and said, "That's the hook." It also inspired the title of the song. After that Beyoncé had filled up the middle eight, she came up with the catchphrase – "Uh-oh, uh-oh, you know" – alongside Harrison. |
9546_7 | American rapper Jay-Z became involved late in the song's production. Around 3 am, he came to the studio and recorded a rap verse, which he improvised in about ten minutes. The recording of "Crazy in Love" took place nearly three months following the meeting of Beyoncé with Harrison.
Music and lyrics |
9546_8 | According to the sheet music published at Musicnotes.com by Alfred Music Publishing, "Crazy in Love" was composed in the key of D-minor and F-major. It incorporates influences of 1970s-style funk, hip hop, and soul. As commented by Robert Webb of The Independent, the old soul influences in the song seem to have been derived from the horn hook, which samples the 1970 song "Are You My Woman? (Tell Me So)." Having a go-go vibe, "Crazy in Love" is built on a hip hop beat. Beyoncé told The Sunday Herald that the beat is "so hard that it makes your heart hurt." The song's tempo is a moderate 100 beats per minute, in common time. Beyoncé's vocal range spans around one and a half octaves in the song, from the low note of A3 to the high note of F5. "Crazy in Love" uses two major chords, B♭ and G, a minor third apart. One of the main vocal riffs uses the traditional cowbell rhythm often found in samba music. Lisa Verrico of The Times magazine, wrote that "Crazy in Love" makes use of big drums |
9546_9 | and bits of brass. |
9546_10 | According to Natalie Nichols of the Los Angeles Times, the lyrics of "Crazy in Love" reference a state of romantic obsession. Beyoncé said that the song talks "about how, when you are falling in love, you do things that are out of character and you do not really care because you are just open." Anthony DeCurtis of Rolling Stone wrote that "Crazy in Love" has "such a cauldron of energy," that Beyoncé sounds "loose and sexy," gripped by emotions she "can neither understand nor control." The lyrics are composed in the traditional verse-chorus form. Jay Z opens the song with a brief spoken verse-rap, containing the lyrics: "Yes! So crazy right now. Most incredibly, it's your girl, B. It's your boy, Young. You ready?" After Beyoncé delivers the "uh-oh, uh-oh" catchphrase, Jay Z continues the monologue. Beyoncé begins the first verse, followed with the whistle-backed chorus. She repeats the "uh-oh, uh-oh" phrase, leading to the second verse. The chorus follows, giving way to the second |
9546_11 | verse-rap which contains the lyrics: "Jay Z in the range, crazy and deranged [...] I been iller than chain smokers, how you think I got the name 'Hova', I been real and the game's over". The song continues to the bridge, singing: "I'm not myself, lately I'm foolish, I don't do this, / I've been playing myself, baby, I don't care / 'Cuz your love's got the best of me, / And baby, you're making a fool of me, / You got me sprung and I don't care who sees." She then sings the chorus again and the song fades out with the horns. |
9546_12 | Release |
9546_13 | "Crazy in Love" was released to rhythmic contemporary, contemporary hit radio, and urban contemporary radios in the United States on May 18, 2003. The single was first released for digital download via iTunes Store in the United Kingdom and in the United States on May 20, 2003. Notably, the song was also fairly successful as a ringtone among cell phone users across the United States. The song was released as a CD single in Ireland and Switzerland, and as a digital EP in Germany on June 20, 2003. "Crazy in Love" was released as a maxi single in Germany on June 30, 2003, and in Australia on July 7, 2003. The song was issued as a CD single in the United Kingdom on June 30, 2003. "Crazy in Love" was released as a digital EP in several European countries, including Austria, Belgium, Denmark, Finland, Italy, the Netherlands, Norway, and Sweden on July 8, 2003. This digital EP was also available in Canada and Ireland on July 8, 2003. On July 22, 2003, two remixes–one from Rockwilder and the |
9546_14 | other from Adam 12–were released in the United States. |
9546_15 | Critical reception |
9546_16 | "Crazy in Love" was lauded by contemporary music critics, who complimented the horn lines and the guest appearance of Jay-Z. Many of them called it the Summer Anthem of 2003. Tim Sendra of AllMusic described the song as a "stunning pop masterpiece", while Stephen Thomas Erlewine of the same website called it "deliriously catchy". Darryl Sterdan of Jam! noted the "Crazy in Love" is "instantly addictive horn lines". Anthony DeCurtis of Rolling Stone wrote: "'Crazy in Love' ... roars out of the speakers on the strength of a propulsive horn sample and the charged presence of her pal, Jay-Z." Ben Ratliff of Blender magazine called the song an "itchy [and] eager-to-please" one. Marc Anthony Neal of PopMatters called the "uh-oh, uh-oh" phrase catchy. MTV News considered "Crazy in Love" to be the "proudest moment" of Dangerously in Love. Similarly, Allison Stewart of The Washington Post called it the best song on the album, praising its instrumentation, harmonies, and the rap verse of Jay Z. |
9546_17 | This was echoed by Kelefa Sanneh of The New York Times who wrote that "Crazy in Love" is the best one on the album thanks to its "simplicity, irresistible combination of triumphant horns and a wicked hip-hop beat". She added that "[Beyoncé's] vocals – as deft and accurate as ever – convey none of the giddy rush that the lyrics describe." Likewise, Sal Cinquemani of Slant Magazine wrote the lyrical arrangement, the music structure and the guest vocals by Jay Z all contributed in making "Crazy in Love" a wonderful resume for Beyoncé. |
9546_18 | Rob Fitzpatrick of NME called "Crazy in Love" a "head-nodding [and] body-rocking funk-soul genius" and wrote that it is "a 100 per cent, stone-cold, dead-cert classic". He complimented Beyoncé's vocals, describing them as "genuinely, hip-grindingly fruity". Los Angeles Times writer Natalie Nichols noted that "sexy dance tunes as the vintage funk-flavored 'Crazy in Love'" made Dangerously in Love a great album. Neil Drumming of Entertainment Weekly wrote that the song has a "fresh sound". Spence D. of IGN Music wrote that Beyoncé rides the "infectious rhythm" with grace and mid-range seductively. He added, "As [it] can be expected, the track bumps when Jay drops his distinctive uptown flavor. While other rap-meet-R&B tracks often fall flat, this one works well as Beyoncé and Jay's verbals play nicely against one another." Lisa Verrico of The Times wrote that Jay Z performed a "decent rap", however, "Beyoncé and the beats save the day" and that "Crazy in Love" was a departure for |
9546_19 | Beyoncé from Destiny's Child. |
9546_20 | Commercial performance |
9546_21 | "Crazy in Love" was a commercial success in the United States, debuting at number fifty-eight on the Billboard Hot 100. Although it hadn't yet been released to retail stores, the single gained much attention and reached number one on the Billboard Hot 100 based on heavy rotation alone. The same week it reached number one, Dangerously in Love debuted on the Billboard 200 at number one on July 12, 2003. Substantial airplay, and later in retail, gains of "Crazy in Love" allowed it to dominate the chart, spending eight consecutive weeks at number one on the Hot 100, making it Beyoncé's first number one single in her solo career. According to Nielsen SoundScan, "Crazy in Love" was the most downloaded song in the United States for four consecutive weeks in July 2003. "Crazy in Love" spent fifteen weeks in the top ten, twenty-six weeks in the top fifty, and twenty-seven weeks on the chart in total. The song was certified gold by the Recording Industry Association of America (RIAA) in 2004 |
9546_22 | while its mastertone was also certified gold two years later. "Crazy in Love" was the fourth biggest hit of 2003 in the United States. By October 6, 2010, "Crazy in Love" had sold 47,000 physical units in the United States. "Crazy In Love" also has the distinction of being the first number-one single on Billboard's inaugural Hot Dance Airplay Chart, which debuted on August 16, 2003, where it spent seven weeks at the top spot. |
9546_23 | In the United Kingdom, Beyoncé became the third female artist to top the UK Singles Chart and UK Albums Chart simultaneously, following Mariah Carey in 1994 and Kylie Minogue in 2001. Including her career with Destiny's Child, "Crazy in Love" became Beyoncé's third number one single in the United Kingdom and was the only song to top the charts the United Kingdom and the United States simultaneously in 2003. The single spent three weeks at number one in the United Kingdom and fifteen weeks in the top hundred. As of March 2018, it has sold over 1 million units in the country, making it her second best selling song there. "Crazy in Love" reached number one on the Irish Singles Chart, where it spent eighteen weeks. In Australia, "Crazy in Love" peaked at number two on the ARIA Singles Chart and was certified eight-times platinum by the Australian Recording Industry Association (ARIA) with sales of over 560,000 units. It also peaked at number two on the New Zealand Singles Chart, and was |
9546_24 | certified platinum by the Recording Industry Association of New Zealand (RIANZ). "Crazy in Love" reached top ten throughout Europe, including Austria, the Belgian territories of Flanders and Wallonia, Denmark, Germany, Hungary, Italy, the Netherlands, Norway, Sweden and Switzerland. |
9546_25 | Music video
Production and synopsis
The music video of "Crazy in Love", released in May 2003, was directed by Jake Nava and filmed in downtown Los Angeles. In MTV Making of the Video 2003 documentary, Beyoncé described the video's conception: "[It] celebrates the evolution of a woman. It is about a girl who is at the point of a relationship. She realizes that she is in love, she is doing stuff she would not normally do but she does not care. It does not matter she is just crazy in love." |
9546_26 | The opening sequence of the video features Jay-Z as a passenger in a car speeding along Mission Road in Los Angeles, where he encounters Beyoncé, standing in the middle of the road, at the Fourth Street bridge. Beyoncé performs in various dance sequences, beginning with her wearing a white tank top, denim blue shorts, and red high-heels. She performs an elaborate solo dance on a riser. The scene shifts to a gold set with a mock photo shoot, before moving into a scene with dancers detailing Beyoncé and dancing against a wall while wearing caps and full length pants. Jay Z appears and ignites a line of petrol leading to a car parked under the bridge, which explodes in flames. Jay Z performs his rap in front of the burning car, and Beyoncé dances beside him, wearing an exotic silk print over a fur coat, before kicking the valve off a fire hydrant. She continues to dance while the water is flying everywhere. The video ends with Beyoncé and her dancers wearing vibrant Versace dresses in |
9546_27 | front of a large fan. Their outfits contrast with the neutral colors of the background, the video. Carmit Bachar, then a member of The Pussycat Dolls, is one of the dancers. |
9546_28 | Reception and accolades
The music video received acclaim by music critics. Cynthia Fuchs, writing for PopMatters commented that the photo shoot scene uses the routine used by Jennifer Lopez in the video for "Jenny from the Block" (2002) with hot lights, scary makeup, and inclusion of many shots of legs. She wrote that: "Beyoncé's body becomes its undeniable emblem." Tom Moon of The Philadelphia Inquirer wrote that Beyoncé "shakes every inch of her famously photogenic goddess frame." |
9546_29 | The music video won three awards at the 2003 MTV Video Music Awards in the categories of Best Female Video, Best R&B Video, and Best Choreography. It however lost to Good Charlottes "Lifestyles of the Rich & Famous" in the Viewer's Choice category. Director Nava also won a Music Video Production Association award for the Best R&B Video in 2004. During the same year, the video won the Best Collaboration award at the 2004 MTV Video Music Awards Japan, where it was also nominated for the Best Female Video award. "Crazy in Love" was nominated at the 36th NAACP Image Awards for the Outstanding Music Video award. It won the Best International Video award at the 2004 MuchMusic Video Awards. The song is also recognized as the Best Selling Mobile Ringtone in the United Kingdom for 2003 In 2014, The Guardian writer Michael Cragg included the clip for "Crazy in Love" in his list of the ten best music videos by Beyoncé. He offered high praise for it, saying "Aware of how much of a statement the |
9546_30 | song was, the video is a checklist of icon-making visuals, from the locations... the dance moves... to the part where she makes bubble blowing look like the sexiest thing a human could do." |
9546_31 | Live performances |
9546_32 | Beyoncé first performed "Crazy in Love" with Jay Z at the 2003 BET Awards. They also performed the song during the 2003 MTV Video Music Awards. She sang the song in a medley, with the pre-recorded vocals of Sean Paul on "Baby Boy" (2003). "Crazy in Love" was included on the set list for most of Beyoncé's concert tours. The song was the closing track of her Dangerously in Love World Tour that began in late 2003. |
9546_33 | On February 8, 2004, Prince appeared at the 46th Annual Grammy Awards with Beyoncé. In a performance that opened the show, they performed a medley of "Purple Rain", "Let's Go Crazy", "Baby I'm a Star", and Beyoncé's "Crazy in Love". Beyoncé performed "Crazy in Love" live at the 2004 BRIT Awards February 17, 2004. Monique Jessen And Todd Peterson wrote that she, "...lit up the stage with her performance of "Crazy in Love", wearing a white Roberto Cavalli dress and nearly half a million dollars worth of diamonds. The pop diva, appearing onstage in a puff of smoke, stopped midway through the song to pull up her top before walking away with the best international female solo artist award." Beyoncé and Jay Z also performed "Crazy in Love" at The Prince's Trust Urban Music Festival at Earls Court in London on May 31, 2004. |
9546_34 | "Crazy in Love" was the first song on Beyoncé's set list on The Beyoncé Experience in Los Angeles and the I Am... Tour at several venues, including the Odyssey Arena in Belfast, the O2 Arena in London, and in Athens and Sydney. On August 5, 2007, Beyoncé performed the song at Madison Square Garden in New York City. Beyoncé emerged in a sparkling silver dress with a long train. She walked to the front of the stage, did a couple of snaps of her neck and then started singing "Crazy in Love". She climbed a staircase where her all-female band and three backup singers were positioned. The staircase moved forward in two places; top part moved while the bottom poked out more. At the top of her staircase, she removed her train and returned to the main stage. Her backup singers followed and danced with Beyoncé. After "Crazy in Love", Beyoncé performed a short rendition of Gnarls Barkleys "Crazy" (2006), singing: "Who do you, who do you think you are? / Ha, ha, ha, bless your soul." |
9546_35 | Shaheem Reid of MTV News wrote: "There are few (very few) ladies out there who can really sing, a lot who can dance, a lot more who look good — but really no other who can combine all three and add iconic star power like Miss Beyoncé, arguably the best all-around stage performer in the game right now." Jon Pareles of The New York Times wrote: "Beyoncé needs no distractions from her singing, which can be airy or brassy, tearful or vicious, rapid-fire with staccato syllables or sustained in curlicued melismas. But she was in constant motion, strutting in costumes (most of them silvery), from miniskirts to formal dresses, flesh-toned bodysuit to bikini to negligee." Frank Scheck of The Hollywood Reporter wrote: "Her performance of 'Crazy in Love' featured some surprising arrangements that gave the material freshness". Performances of "Crazy in Love" were included on her live albums The Beyoncé Experience Live (2007), and the deluxe edition of I Am... World Tour (2010). Beyoncé performed |
9546_36 | "Crazy in Love" wearing a pink fringe dress at a concert at Palais Nikaïa in Nice, France, on June 20, 2011, in support of her album 4, and at the 2011 Glastonbury Festival on June 26, 2011. |
9546_37 | In August 2011, Beyoncé performed "Crazy in Love" during her revue show 4 Intimate Nights with Beyoncé. She performed a slowed-down, jazzier version of the song and danced with a similar routine to the one in the music video. During the ITV special A Night With Beyoncé which aired on December 4 in the United Kingdom, Beyoncé performed "Crazy in Love" to a selected crowd of fans. In May 2012, she performed the song during her Revel Presents: Beyoncé Live revue in Atlantic City, New Jersey, United States' entertainment resort, hotel, casino and spa, Revel. During the performance, Jay-Z did not appear on stage but his pre-recorded voice was heard. Dan DeLuca of noted that the song was one of the "beat-savvy booty-shaking workouts" performed during the revue. Jim Farber of New York Daily News wrote that "The first, and last parts of the show stressed the steeliest Beyoncé, told in bold songs" like "Crazy in Love". A writer of Black Entertainment Television noted that, "She dazzled fans |
9546_38 | with an assortment of high-energy performances of her upbeat hits like... 'Crazy in Love.'" Beyoncé also performed the song at the Super Bowl XLVII halftime show held on February 3, 2013. In July 2013, while placing Beyoncé at number 33 on their list of 50 Best Live Musicians, the writers of Rolling Stone magazine noted that the performance of "Crazy in Love" was a highlight during her live shows with the singer "expertly poppin' her booty". |
9546_39 | Cover versions |
9546_40 | Several artists have recorded cover versions of "Crazy in Love". In 2003, Irish singer-songwriter Mickey Joe Harte recorded an acoustic rendition of "Crazy In Love" for the charity album Even Better Than the Real Thing Vol. 1. Alternative rock band Snow Patrol recorded the song during a BBC session with Zane Lowe. Snow Patrol's version was released as a B-side to the single "Spitting Games", on the compilation Cosmosonica – Tom Middleton Presents Crazy Covers Vol. 1 and on Snow Patrol's compilation album Up to Now. Ross Langager of PopMatters noted that their cover "sparks an initial chuckle of recognition but soon after becomes more than a bit unfortunate". David Byrne closed his concert at the Hollywood Bowl on June 27, 2005, with a samba-tinged version of "Crazy in Love". In 2007, American alternative rock band Switchfoot produced a rock version that was released as part of Yahoo!'s CoverArt series. Switchfoot produced a video for their cover version. Nashville-based indie quintet |
9546_41 | Wild Cub performed a version of the song in June 2014 for The A.V. Club A.V. Undercover series. |
9546_42 | British band The Magic Numbers performed "Crazy in Love" on the Australian radio station Triple J, and recorded it for the Starbucks (Hear Music) compilation album, Sounds Eclectic: The Covers Project (2007). Tracy Bonham covered the song with guitar and violin accompaniment, for her 2007 album In The City + In The Woods. British close harmony trio The Puppini Sisters covered "Crazy in Love" for their 2007 album The Rise and Fall of Ruby Woo; this was remixed by the electronica jazz outfit The Real Tuesday Weld. Indie artist Dsico recorded an electronic cover of the song. In 2009, Pattern Is Movement recorded a cover of "Crazy in Love", which they claimed was inspired by Anohni's version; this cover was included on their September 4, 2009 Daytrotter session. Antony and the Johnsons released an orchestral version of the song as the b-side to their 2009 single "Aeon". Indie singer-songwriter Eden recorded a cover version of "Crazy in Love" for his final extended play (EP) under the EDEN |
9546_43 | Project alias. |
9546_44 | German group The Baseballs covered the song in rockabilly style for their debut album Strike! Back in August 2010. "Crazy in Love" was performed live on Australian Idol during the first season by winner Guy Sebastian on the Final 2 showdown in 2003. A jazz version was performed during the fourth season by runner-up Jessica Mauboy on the Final 6 Big Band show in 2006. In June 2008, Mauboy performed "Crazy in Love" on Indonesian Idol with some eliminated contestants. Singapore Idol contestant Maia Lee performed "Crazy in Love" on the show. In March 2012, Swing Republic released their electro swing cover version which also ended up featuring on their album released the same year entitled Midnight Calling. In June 2012, Robin Thicke and Olivia Chisholm covered the song during the show Duets. Kate Kroll of Rolling Stone gave a negative review for Chisholm's performance, saying that "Her voice sounded thin, and she just can't seem to shake that Stepford Wife stare." Emeli Sandé and The |
9546_45 | Bryan Ferry Orchestra recorded a cover of the song which was included on The Great Gatsby soundtrack (2013). Upon hearing a preview of the song, Randall Roberts of the Los Angeles Times commented that the cover was the best song on the album sang with a "surprising, simmering urgency". Kyle Anderson of Entertainment Weekly also wrote that the swing cover of "Crazy in Love" was one of the highlights on the album. On October 21, 2013, Third Degree covered "Crazy in Love" on the fifth season of The X Factor Australia, and on May 4, 2014, C Major covered the song on the third series of The Voice Australia. In 2015, Monica Michael covered the song on The X Factor UK. Filipina actress Denise Laurel covered the song while impersonating Beyoncé, based on her performance at the Super Bowl XLVII halftime show on Your Face Sounds Familiar, in which Laurel won the season. |
9546_46 | Usage in media |
9546_47 | In 2002, Beyoncé signed a contract with Pepsi, and appeared on several of its advertising campaigns, one of which featured "Crazy in Love" as background music. After winning the Best Collaboration Awards for "Crazy in Love" at the 2004 BET Awards, Beyoncé dedicated the award to the show's host, comedian Mo'Nique, who parodied the choreography from the "Crazy in Love" video with six equally voluptuous female dancers. "Crazy in Love" was included on the official soundtrack albums of the following films: Bridget Jones: The Edge of Reason (2004), White Chicks (2004), Taxi (2004), Good Luck Chuck (2007), Gayby (2012), and Love, Rosie (2014), as well in the tenth season of Brazilian soap opera Malhação. In 2009, the cast of Glee performed a mash up of the songs "Hair" from the musical Hair and "Crazy in Love" in season one, episode eleven "Hairography". A parody of the song is also used in the Disney Channel's show That's So Raven, in the episode "Hizzouse Party". It was featured on the |
9546_48 | video games Karaoke Revolution Party and Just Dance 2. On the eleventh series of Dancing on Ice, Gemma Collins and Matt Evers performed to the song on the first week of the competition. |
9546_49 | Impact and legacy
Entertainment Weekly magazine ranked "Crazy in Love" forty-seven in its list of The 100 Greatest Summer Songs. The song was also ranked as the Best Song of 2003 from NME, Mojo, Nöjesguiden, Rockdelux, Dotmusic, Playlouder and Magic The song was listed at number three on Rolling Stones list of the 50 Best Songs of the 2000s Decade in 2009, and as the one-hundred-and-eighteenth greatest song of all time on the magazine's list of the 500 Greatest Songs of All Time (2010), as well as ranking it at number two on the list Singles of the Year, and at number three on their 100 Best Songs of the 2000s list, writing: "The horns weren't a hook. They were a herald: Pop's new queen had arrived." |
9546_50 | In 2018, the song topped Rolling Stone list on "100 Greatest Songs of the Century – So Far". In 2021, Rolling Stone placed "Crazy in Love" at number 16 on its list of the 500 Greatest Songs of All Time. The song also placed at number one on the Singles of the Decade by The Times Literary Supplement and 75 Best Singles of the Decade by The Observer. "NME" staff voted "Crazy in Love" the best song of the 2000s, calling it "a dancefloor-destroying howitzer of a pop song.", also ranking it at number nineteen on their list of five hundred best songs of all time. The song was ranked at number four on Pitchfork Media's list of The Top 500 Tracks of the 2000s, number seven on The Daily Telegraphs list of the best songs of the decade and number six on Slants list of the 100 Best Singles of the Decade. In September 2011, VH1 ranked "Crazy in Love" number one on its list of The 100 Greatest Songs of the 2000s. In October 2011, to mark NMEs fifteenth birthday, its staff members selected the |
9546_51 | one-hundred-and-fifty tracks "that have meant the most to [them] over the site's lifetime", placing "Crazy in Love" at number sixteen. In 2012, the song was ranked at number twenty-two on Billboards list of "Top 50 'Love' Songs of All Time". In 2013, John Boone and Jennifer Cady of E! placed the song at number one on their list of ten best Beyoncé's songs, writing: "It's the song that started it all. The definitive best Beyoncé jam is her first, complete with a guest spot by now-husband Jay Z, a killer hook and a chorus of horns that you have to dance to. Literally have to, Pavlovian conditioning-style." In a 2013 list of Jay Z's 20 Biggest Billboard Hits, "Crazy in Love" was ranked at number one. On July 5, 2013, NME magazine named "Crazy in Love" "the Best Pop Song of the Century". Q ranked the song at number fifty-nine on their list of 1001 Best Songs Ever. It was also ranked at number two on The Village Voices list Pazz + Jop 2003. |
9546_52 | In 2004, "Crazy in Love" was nominated for three Grammy Awards in the categories of Best R&B Song and Best Rap/Sung Collaboration, which it won, and Record of the Year, which it did not win. A remix of "Crazy in Love", known as "Krazy in Luv" (Maurice's Nu Soul Mix), won the award Best Remixed Recording, Non-Classical for its remixer, Maurice Joshua. "Crazy in Love" was also recognized at the 2004 ASCAP Pop Music Awards Awards as one of the Most Performed Songs and its publisher, EMI, received the Publisher of the Year award. Vibe magazine's VIBE Awards recognized the song for Coolest Collaboration in 2003. In Europe, "Crazy in Love" won the Best Song award at the 2003 MTV Europe Music Awards. "Crazy in Love" won the awards for Best R&B/Urban Track and Best Pop Dance Track at the 22nd Annual International Dance Music Awards in 2003. It was recognized by Beyoncé's peers in the urban markets, and won the award for Best Collaboration at the BET Awards, where it also received a nomination |
9546_53 | in the Viewers Choice Awards category in 2004. "Crazy in Love" was nominated at the 36th NAACP Image Awards for the Outstanding Song award and for Favorite Song at the 2004 Kids' Choice Awards. |
9546_54 | Remixes
"Crazy in Love" has various remixes, including the Rockwilder remix, Maurice Joshua's Nu Soul remix, and Juniors World remix. These versions appeared on the single releases of "Crazy in Love" under an alternative spelling, "Krazy in Luv". The Rockwilder remix slows down the beat and makes the song deeper and funkier with chopped up horn samples and sparkling synth textures. Maurice's Nu Soul Remix speeds up the beat, taking it from hip-hop to house territory. A version of the song included on Asian special edition of Dangerously in Love features a rap in Mandarin Chinese performed by American-Taiwanese singer Vanness Wu, instead of Jay Z's performance. |
9546_55 | "Crazy in Love" was re-recorded by Beyoncé for the film Fifty Shades of Grey (2015) and used for its trailer which was released on July 24, 2014. This slowed-down version was produced by Boots with violin arrangements by Margot, both of whom worked on Beyoncé's self-titled fifth studio album (2013), and unlike the original, doesn't feature Jay-Z. Margot said: "It inspires me to work on other artists' songs [because] it pushes my boundaries in a direction that I wouldn't necessarily come up with. Obviously I know how 'Crazy in Love' goes, but I knew there was the possibility her vocals would be different. It's almost more vulnerable and beautiful this way, because you do do crazy things when you fall in love. To hear the mood reversed and flipped makes it even more powerful." |
9546_56 | The track was then officially released through iTunes Store on Beyoncé's birthday, September 4, 2015. The single cover artwork is a black and white version of the original single cover. The rendition was performed for the first time during the 2015 Budweiser Made in America Festival on September 5, 2015. It was included on the setlist of The Formation World Tour, alongside the original version.
Track listings and formats |
9546_57 | Credits and personnelRecording and management Recorded at Sony Music Studios (New York City)
Mixed at The Hit Factory (New York City)
Additional vocals recorded at The Hit Factory (New York City)
Contains samples of the composition "Are You My Woman (Tell Me So)", written by Eugene Record, published by Unichappell Music Inc. (BMI) and performed by The Chi-Lites (courtesy of Brunswick Records)
Jay-Z appears courtesy of Roc-A-Fella Records and Def Jam Recordings
Published by Beyoncé Publishing (ASCAP), Hitco South South (ASCAP) — all rights administered by Music of Windswept (ASCAP) — EMI Blackwood Music Inc. OBO Itself (BMI), Dam Rich Music (BMI), EMI April Music Inc. OBO Itself (BMI), Carter Boyd Publishing (ASCAP) and Unichappell Music Inc. (BMI)Personnel'
Beyoncé – lead vocals, background vocals, production
Rich Harrison – production, instrumentation
Pat Thrall – recording
Tony Maserati – mixing
Jim Caruana – engineer |
9546_58 | Pat Woodward – assistant mix engineer
Luz Vasquez – assistant mix engineer
Jay-Z – songwriting
Maurice Joshua – remixing
Charts
Weekly charts
Year-end charts
Decade-end charts
All-time charts
Certifications
Release history
See also
List of best-selling singles
List of European number-one hits of 2003
List of number-one singles of 2003 (Ireland)
List of Hot R&B/Hip-Hop Singles & Tracks number ones of 2003
List of Billboard Hot 100 number-one singles of 2003
List of number-one dance singles of 2003 (U.S.)
List of Hot R&B/Hip-Hop Singles & Tracks number ones of 2003
List of artists who have achieved simultaneous UK and US number-one hits
List of best-selling singles in Australia
References
External links |
9546_59 | Beyoncé songs
2003 singles
2003 songs
Billboard Hot 100 number-one singles
Columbia Records singles
European Hot 100 Singles number-one singles
Funk songs
Grammy Award for Best Rap/Sung Collaboration
Grammy Award for Best Remixed Recording, Non-Classical
Irish Singles Chart number-one singles
Jay-Z songs
MTV Video Music Award for Best Female Video
Music videos directed by Jake Nava
Song recordings produced by Rich Harrison
Songs written for films
Songs written by Beyoncé
Songs written by Eugene Record
Songs written by Jay-Z
Songs written by Rich Harrison
UK Singles Chart number-one singles
Number-one singles in Scotland
Song recordings produced by Beyoncé |
9547_0 | Omaha's Henry Doorly Zoo and Aquarium is a zoo in Omaha, Nebraska. It is accredited by the Association of Zoos and Aquariums and a member of the World Association of Zoos and Aquariums. Its mission is conservation, research, recreation, and education. In August 2014, TripAdvisor proclaimed Henry Doorly Zoo the "world's best zoo", leading San Diego Zoo and Loro Parque, based on an algorithmic assimilation of millions of reviews for 275 major zoos worldwide. |
9547_1 | Omaha's Henry Doorly Zoo and Aquarium is nationally renowned for its leadership in animal conservation and research. Evolving from the public Riverview Park Zoo established in 1894, today the zoo includes several notable exhibits. It features the largest cat complex in North America; "Kingdoms of the Night" is the world's largest nocturnal exhibit and indoor swamp; the Lied Jungle is one of the world's largest indoor rainforests, and the "Desert Dome" is one of the world's largest indoor deserts, as well as the largest glazed geodesic dome in the world. The zoo is Nebraska's top paid attendance attraction and has welcomed more than 25 million visitors over the past 40 years.
History |
9547_2 | The zoo originally began in 1894 as Riverview Park Zoo. Four years later, it had over 120 animals. In 1952, the Omaha Zoological Society was created with aims to improve the zoo. In 1963, Margaret Hitchcock Doorly donated $750,000. In doing so, she stipulated that the zoo be renamed in memory of her late husband, Henry Doorly, chairman of the World Publishing Company. Union Pacific helped the zoo lay down of track in 1968 with the inaugural run of the Omaha Zoo Railroad made on July 22, 1968.
Omaha's Henry Doorly Zoo and Aquarium has two rides that circumnavigate the zoo (tram and train), a carousel and the Skyfari, an aerial tram which opened in 2009 and which takes visitors from the Butterfly and Insect Pavilion to the new lion viewing exhibit. |
9547_3 | The zoo is adjacent to the former site of Rosenblatt Stadium. In 2011, the zoo began developing the land at former Rosenblatt Stadium to become the new parking area and visitor center, leaving a small memorial at the location of home plate. Rosenblatt was replaced by the new TD Ameritrade Park downtown. |
9547_4 | Zoo history timeline
This is a selected list of when buildings and exhibits were created:
1894: Riverview Park opened.
1898: The park had a varied animal population of over 120 animals.
1920s : Gould Dietz donated cat cages.
1930s : The WPA built cat and bear exhibits.
1952: The Omaha Zoological Society was organized for the improvement and administration of the zoo.
1963: Margaret Hitchcock Doorly donated $750,000 to the zoo with the stipulation that the zoo be named after her late husband, Henry Doorly.
1965: The Omaha Zoological Society was reorganized as a nonprofit organization, and the first phase of the zoo, which included bear grottos, gorilla and orangutan buildings, and Ak-sar-ben Nature Kingdom, was dedicated.
1968: The inaugural run of Omaha Zoo Railroad was in July, and the Eugene C. Eppley Pachyderm Hill opened in November on the old baseball diamond site. |
9547_5 | 1972: The Ak-Sar-Ben waterfall was constructed; in August, the Owen Sea Lion Pavilion opened, complete with a new concession building, public restrooms, and a gazebo where an old public swimming pool was located.
1973: Owen Swan Valley and the Primate Research Building were completed.
1974: A new diet kitchen and educational classrooms were completed.
1977: The Cat Complex was added.
1979: The hospital and nursery opened.
1981: The giraffe and hoofstock complex opened.
1983: The Lee G. Simmons Free-flight Aviary was completed.
1984: A saltwater aquarium opened in what had been the museum.
1985: The gorilla and orangutan buildings were completely renovated and named in honor of the Owen family; Richard Simmons cut the ribbon.
1986: World-Herald Square was completed, and the First Tier Wolf Woods, maintenance building, and hay barn were relocated to the northeast. |
9547_6 | 1987: The Mutual of Omaha Wild Kingdom Pavilion, the visitor services area US West Plaza, and a new main entrance were finished.
1988: Construction began on the Lied Jungle, and the zoo was selected for the endangered black-footed ferret breeding program. The zoo's greenhouse was built near the maintenance shop.
1989: Durham Family's Bear Canyon was added; Doorly's Pride (a heroic bronze sculpture of a pride of 12 lions) was installed in the entry plaza area, and the zoo received the prestigious AAZPA Bean Award for its long-term gaur propagation efforts. The black-footed ferret building was constructed.
1990: Dairy World featuring a children's petting zoo, educational exhibits, and concession area, was added, and the world's first in vitro-fertilized tiger was born at the zoo.
1991: The Birthday House for children's birthday parties and education classes was finished; the world's first artificially inseminated tiger was born at the zoo. |
9547_7 | 1992: The Lied Jungle opened on April 4, with the attached Durham's TreeTops Restaurant and Education Center. Simmons Plaza near the main entrance was completed.
1993: The old aquarium was closed and construction of the new aquarium began. The zoo received two AAZPA awards: the Conservation Award for its black-footed ferret management program and the Significant Achievement Award for the Lied Jungle. The world's first artificially inseminated gaur calf was born at the zoo.
1994: The Union Pacific Engine House for the Omaha Zoo Railroad was added.
1995: The Walter and Suzanne Scott Kingdoms of the Seas Aquarium was opened. The zoo had more than 1.6 million visitors, and land was acquired for an off-site breeding facility and drive-through park. Construction began on the IMAX 3D Theater, and the zoo participated in the propagation of the world's first in vitro gorilla birth (Timu was born at the Cincinnati Zoo). |
9547_8 | 1996: The Bill and Berniece Grewcock Center for Conservation and Research was completed, and Timu, the world's first in vitro gorilla moved to Omaha's zoo.
1997: The Lozier IMAX theater was finished.
1998: The Garden of the Senses, the Lee G. Simmons Conservation Park and Wildlife Safari ( west at Nebraska's I-80 Exit 426 near Ashland), and a new diet kitchen were completed, and construction began on a new pathology laboratory and keepers lounge.
1999: Sue's Carousel was added, construction began on the world's largest desert dome, and the zoo hosted a temporary Komodo dragon exhibit.
2000: The new North Entrance Plaza was completed, featuring a new gift shop, warehouse, entrance plaza, and visitor gazebo. The zoo joined the Okapi Species Survival Program, allowed it to be one of only 14 zoos in North America to display rare okapi; a traveling koala exhibit visited the zoo. |
9547_9 | 2001: Cheetah Valley, and new bongo and tree kangaroo exhibits were constructed, and the zoo hosted a traveling white alligator exhibit.
2002: Desert Dome was finished, and construction began on Hubbard Gorilla Valley.
2003: Kingdoms of the Night, featuring various nocturnal habitats, opened beneath the Desert Dome.
2004: Hubbard Gorilla Valley was opened, and a tower with two high-capacity elevators were added to take visitors from the main level of the zoo near the Desert Dome down 44 ft. to Hubbard Gorilla Valley.
2005: The Hubbard Orangutan Forest opened in two phases in May and August; a giraffe feeding station opened in the spring; and construction began on an addition to the Grewcock Center for Conservation and Research.
2006: A new Guest Services building and two additional gates at the main entrance were added; the Hubbard Research wing expansion to the Grewcock Center for Conservation and Research opened in July; and the Budgie Encounter was finished. |
9547_10 | 2007: Mutual of Omaha's Wild Kingdom Pavilion was transformed into the Exploration Station, and construction on the Butterfly and Insect Pavilion began.
2008: The Berniece Grewcock Butterfly and Insect Pavilion opened; and construction on a Madagascar exhibit began.
2009: Skyfari, a chairlift connecting the Butterfly and Insect Pavilion to the old African rangeland exhibit area.
2010: Expedition Madagascar opened.
2012: Scott Aquarium is reopened after renovations, Rosenblatt Stadium is demolished by the zoo, and the zoo is official renamed Omaha's Henry Doorly Zoo and Aquarium.
2013: A new gift shop opened, the IMAX facility was remodeled, and the Infield At The Zoo and Gateway to the Wild exhibits were completed. |
9547_11 | 2014: Stingray Beach opened to the public. The seasonal interactive exhibit, located by Sue's Carousel, provides visitors the opportunity to touch and feed cownose, Atlantic and Southern stingrays. Camel rides, also located by Sue's Carousel, opened to the public. Construction on Omaha's Henry Doorly Zoo and Aquarium's largest project to date, the African Grasslands, began."
2016: Six African elephants arrived at the zoo from Eswatini to escape a drought on March 11. On May 27, the African Grasslands opened after two years of construction. This, coupled with Memorial Day weekend, caused what local media dubbed "Zoopocalypse". Within two hours of opening the zoo saw over 8,000 visitors enter the main gates; a normal Sunday sees 4–5,000 people all day. Hours later, the entrance count was up to over 20,000 people.
2017: Warren the African elephant tragically dies. He was the only male of the six African elephants that arrived at this zoo from Eswatini. |
9547_12 | 2018: Bay Family Children's Adventure Trails opens.
2019: The Birmingham Zoo's male African elephant Callee joins the herd to breed with its five female African elephants.
2020: Owen Sea Lion Shores Attraction opened on September 4. |
9547_13 | Major exhibits
African Grasslands
After six years of planning and three years of construction, the 28-acre, $73 million African Grasslands exhibit opened to the public May 27, 2016, over the zoo's former eastern boundary area and Pachyderm Hill exhibits. The exhibit is the zoo's largest project to date, with over twenty five new buildings, in addition to multiple wildlife panoramas and a Kopje, and features giraffes, hoofstock, white rhinos, and many other native species including six African elephants in a 29,000-square feet exhibit that is the largest herd room in North America. There are a variety of new structures for guests, such as a hunting lodge-inspired Grill, the exploration-based Wildlife Management Headquarters, tents for overnight visits, and a Giraffe Encounter where guests may feed giraffes. In May 2019, the Birmingham Zoo's male African bush elephant Callee joined the herd of five female elephants to breed with them. |
9547_14 | Highlighted species include:
African bush elephant
Giraffe
Southern white rhinoceros
Plains Zebra
Ostrich
Meerkat
Klipspringer
Rock hyrax
White-throated monitor lizard
Crested guineafowl
African pygmy goat
Lion
Cheetah
Sable antelope
Bongo
Asian Highlands
A new exhibit built on previously undeveloped space the Asian Highlands area is a $22 million, 8-acre recreation of the highlands of central Asia, including India and China designed to simulate a mountain ascent, featuring species native to the region as well as a Yeti Camp, acting as a hub for visitors with themed food and gift options, and a Kid's Discovery Trail as well. The first phase of the exhibit opened in the spring of 2018 and the second phase opened in the spring of 2019.
Indian rhinoceros
Père David's deer
Red panda
White-naped crane
Sichuan takin
Goral
Tufted deer
Sloth bear
Snow leopard
Siberian tiger |
9547_15 | Butterfly and Insect Pavilion
The Berniece Grewcock Butterfly and Insect Pavilion opened in 2008. The Pavillion is a total-immersion exhibit located between the Scott Aquarium and the Giraffe Complex. Viewed from the sky, the exhibit resembles a winged insect. The building features several different exhibits inside:
Butterfly Conservatory: The area features -high glass sidewalls to allow the maximum amount of light inside the exhibit. Natural light, large trees, rocks, and water elements are all critical components needed to simulate a natural habitat and important to stimulate natural butterfly behaviors. |
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