100,000-year problem, Hypotheses to explain the problem, Climatic resonance
The mechanism may be internal to the Earth system. The Earth's climate system may have a natural resonance frequency of 100 ka; that is to say, feedback processes within the climate automatically produce a 100 ka effect, much as a bell naturally rings at a certain pitch. Opponents to this claim point out that the resonance would have to have developed 1 million years ago, as a 100 ka periodicity was weak to non-existent for the preceding 2 million years. This is feasible—continental drift and sea floor spreading rate change have been postulated as possible causes of such a change.


100,000-year problem, Hypotheses to explain the problem, Climatic resonance
Free oscillations of components of the Earth system have been considered as a cause, but too few Earth systems have a thermal inertia on a thousand-year timescale for any long-term changes to accumulate. The most common hypothesis looks to the Northern Hemisphere ice sheets, which might expand through a few shorter cycles until large enough to undergo a sudden collapse. The 100,000-year problem has been scrutinized by José A. Rial, Jeseung Oh and Elizabeth Reischmann who find that master-slave synchronization between the climate systems natural frequencies and the eccentricity forcing started the 100 ky ice ages of the late Pleistocene and explain their large amplitude.


100,000-year problem, Hypotheses to explain the problem, Orbital inclination
Orbital inclination has a 100 ka periodicity, while eccentricity's 95 and 125ka periods could inter-react to give a 108ka effect. While it is possible that the less significant, and originally overlooked, inclination variability has a deep effect on climate, the eccentricity only modifies insolation by a small amount: 1–2% of the shift caused by the 21,000-year precession and 41,000-year obliquity cycles. Such a big impact from inclination would therefore be disproportionate in comparison to other cycles. One possible mechanism suggested to account for this was the passage of Earth through regions of cosmic dust. Our eccentric orbit would take us through dusty clouds in space, which would act to occlude some of the incoming radiation, shadowing the Earth.


100,000-year problem, Hypotheses to explain the problem, Orbital inclination
In such a scenario, the abundance of the isotope 3He, produced by solar rays splitting gases in the upper atmosphere, would be expected to decrease—and initial investigations did indeed find such a drop in 3He abundance. Others have argued possible effects from the dust entering the atmosphere itself, for example by increasing cloud cover (on July 9 and January 9, when the Earth passes through the invariable plane, mesospheric cloud increases). Therefore, the 100 ka eccentricity cycle can act as a "pacemaker" to the system, amplifying the effect of precession and obliquity cycles at key moments, with its perturbation.


100,000-year problem, Hypotheses to explain the problem, Precession cycles
A similar suggestion holds the 21,636-year precession cycles solely responsible. Ice ages are characterized by the slow buildup of ice volume, followed by relatively swift melting phases. It is possible that ice built up over several precession cycles, only melting after four or five such cycles.


100,000-year problem, Hypotheses to explain the problem, Solar luminosity fluctuation
A mechanism that may account for periodic fluctuations in solar luminosity has also been proposed as an explanation. Diffusion waves occurring within the sun can be modeled in such a way that they explain the observed climatic shifts on earth.


100,000-year problem, Hypotheses to explain the problem, Land vs. oceanic photosynthesis
The Dole effect describes trends in δ18O arising from trends in the relative importance of land-dwelling and oceanic photosynthesizers. Such a variation is a plausible cause of the phenomenon.


100,000-year problem, Hypotheses to explain the problem, Ongoing research
The recovery of higher-resolution ice cores spanning more of the past 1,000,000 years by the ongoing EPICA project may help shed more light on the matter. A new, high-precision dating method developed by the team allows better correlation of the various factors involved and puts the ice core chronologies on a stronger temporal footing, endorsing the traditional Milankovitch hypothesis, that climate variations are controlled by insolation in the northern hemisphere. The new chronology is inconsistent with the "inclination" theory of the 100,000-year cycle.


100,000-year problem, Hypotheses to explain the problem, Ongoing research
The establishment of leads and lags against different orbital forcing components with this method—which uses the direct insolation control over nitrogen-oxygen ratios in ice core bubbles—is in principle a great improvement in the temporal resolution of these records and another significant validation of the Milankovitch hypothesis. An international climate modelling exercise (Abe-ouchi et al., Nature, 2013) demonstrated that climate models can replicate the 100,000-year cyclicity given the orbital forcing and carbon dioxide levels of the late Pleistocene. The isostatic history of ice sheets was implicated in mediating the 100,000-year response to the orbital forcing. Larger ice sheets are lower in elevation because they depress the continental crust upon which they sit, and are therefore more vulnerable to melting.


100-Flat Building
The 100-Flat Building (The Stokvartirny House, Russian: Стоквартирный дом) is an eight-floor residential building in Novosibirsk, Russia, located at Krasny Prospekt, 16. It is a historical and cultural monument of federal significance in Russia. The building was created in 1934–1937 by prominent Russian architects Andrey Kryachkov and Vitaly Maslennikov.


100-Flat Building, History
The building was originally conceived as a high-profile residential complex for the Soviet elite and arranged for 100 well-appointed apartments (hence the name). The initial project included 10 five-bedroom suits, 30 four-bedroom suits, 40 three-bedroom flats, and 20 two-bedroom flats. The flats have a well-designed layout, large living and utility rooms; some suits had small rooms for maids.


100-Flat Building, History
Construction of the house began in 1934. The initial exterior design was substantially complicated in the process, for architect Maslennikov added facade elements themed after the works of French architect Auguste Perret.


100-Flat Building, History
At the Exposition Internationale des Arts et Techniques dans la Vie Moderne in Paris on December 11, 1937, the project, along with other works by Kryachkov, was awarded the 1st degree diploma, a gold medal, and a Grand Prix.


100-Flat Building, History
Currently, there are 110 apartments in the building, not 100. In 2008, a monument to Kryachkov was erected in front of the building.


100-Flat Building, Notable residents
In various years there lived Gersh Budker (physicist), Eugeny Meshalkin (cardiologist), Vladimir Mysh (surgeon), Alexander Tikhonov (biathlete), Yevgeny Mravinsky (conductor), Nikolai Cherkasov (actor), Nikolai Simonov (actor), Vasili Merkuryev (actor). Kryachkov himself, contrary to the popular opinion, never lived in the building.


100-Flat Building, Gallery
Facade view of the building, with the monument to Kryachkov.


100-Flat Building, Gallery
The Grand Prix Diploma of the project (December 11, 1937).


100-Hour Plan
The 100-Hour Plan was a United States Democratic Party political strategy detailing the actions the party pursued upon assuming leadership of the 110th Congress on January 4, 2007. The strategy was announced before the 2006 midterm elections. Speaker Nancy Pelosi pledged that her party would continue to pursue these goals upon her assumption of leadership. The 100-hour time period refers to business hours and not actual time, and has alternately been termed "100 legislative hours"; Pelosi's spokesman Brendan Daly defined the starting point this way: "It's when the House convenes, after the one-minutes and before the special orders."


100-Hour Plan
This period began on the Tuesday (January 9, 2007) after the swearing-in ceremony on January 4. After it passes the House, most legislation still has to pass the Senate and receive the President's signature (or override his veto) to become law. The elements of the first day's proposals are House rules and therefore do not require any action from the Senate or President.


100-Hour Plan
By January 18, 2007, 87 business hours after the swearing-in, the House of Representatives had passed every one of the plan's measures in the form that they had been submitted to Congress. These measures included all of those promised, with the exception of part of one of the recommendations of the 9/11 commission.


100-Hour Plan, Origin
The origin for the name of the plan is a play-on-words from former Democratic President Franklin Roosevelt who promised quick action on the part of government (to combat the Great Depression) during his "first hundred days" in office. One hundred hours was also the amount of legislative time available to Congress prior to the President's 2007 State of the Union address on Tuesday, January 23.


100-Hour Plan, Origin
The plan was promised by Democrats in the days leading up to the 2006 midterm elections in the United States, in which the Democratic Party won control of both houses of Congress (in the House by a margin of 233–202 and in the Senate by a margin of 51-49—both independent Senators caucus with the 49 Democrats) after twelve years of Republican control (January 1995 to January 2007). Twelve years earlier, in January 1995, the Republicans had articulated their own legislative plan which they called The Contract with America.


100-Hour Plan, Components
The Plan as outlined by Speaker Pelosi is as follows:


100-Hour Plan, Divergence from 9/11 Commission's recommendations
House Democratic leaders included all but one of the recommendations of the bipartisan 9/11 Commission in H.R. 1. In particular, the reorganization of Congressional committees with responsibility for funding and oversight of the nation's intelligence agencies was rejected by Democratic leaders as early as November 2006, immediately after the election. The Commission also suggested removing term limits in favor of expertise and continuity, but Pelosi explicitly rejected this proposal, invoking terms limits when blocking Jane Harman from serving as chair of the Intelligence Committee.


100-Hour Plan, Political responses
The plan drew both praise and criticism. One of the 100-Hour Plan's greatest opponents was the preceding Republican House Speaker Dennis Hastert, who said of Speaker Pelosi's intended changes that, "By repealing President Bush's tax relief, she would devastate economic prosperity for Americans and burden taxpayers at all levels."


100-Hour Plan, Political responses
The plan was also criticized as being unrealistic, "because the Senate's rules give the minority party more power than the House does to slow down legislation, it could be weeks or months before final action on some of the House's proposed measures takes place."


100-Mosques-Plan
The 100-Mosques-Plan is the project of the Ahmadiyya Muslim Jamaat in Germany to built 100 new mosques. It was initiated by Mirza Tahir Ahmad, the Khalifatul Masih IV, during the centenary celebrations of the community in 1989. The project is completely financed by the Ahmadiyya Muslim Community, Germany, through collections from the members. The plans and the execution of the projects is also mostly performed by German Ahmadis voluntarily. Ahmadiyya Muslim Community has total of 52 mosques and 65 prayer centres in Germany.


100-ball cricket
100-ball cricket is a short form of cricket designed to attract new audiences to the game with simplified rules, which was originally created by the England and Wales Cricket Board (ECB) for its new city-based competition The Hundred.


100-ball cricket
The 100 ball game has two teams each having a single innings, which is restricted to a maximum of 100 balls, and the match lasts approximately two and a half hours, somewhat shorter than the existing Twenty20 format.


100-ball cricket
Before the launch of the professional The Hundred competition in July 2021, the 100-ball format was trialled in several amateur local leagues across England.


100-ball cricket, History, Origins
The new 100-ball format was born out of a proposal by the England and Wales Cricket Board (ECB) in 2016 to launch a new franchise cricket competition, similar to the Indian Premier League. At first it was expected that the competition would use the existing Twenty20 format.


100-ball cricket, History, Origins
Following discussions involving the ECB's marketing team, clubs were instead told in April 2018 that the competition would use an entirely new form of cricket designed to be simpler to follow and shorter to fit television schedules. The more detailed proposal was presented by the ECB to the chair and chief executives of the first-class counties and the MCC on 19 April 2018, and was unanimously supported by the board of the new competition. At first it was proposed that each innings would involve 15 six-ball overs and a final 10-ball over.


100-ball cricket, History, Origins
In February 2019, the ECB announced tweaks to the proposed rules of 100-ball cricket. The competition will instead contain 10 ten-ball overs, i.e. a change of ends after ten balls. A bowler will be delivering five or 10 consecutive balls. A bowler would deliver a maximum of 20 balls per innings. Power-play conditions were also announced.


100-ball cricket, History, Amateur competitions
Trial events using the format have taken place at The Purchasers annual cricket festival at Belmont House in Kent, and club level in England.


100-ball cricket, History, Amateur competitions
In November 2018, the Warwickshire Cricket Board and Warwickshire County Cricket Club launched the 100-ball format club level tournament, which is designed to revitalise Sunday cricket at clubs across the Midlands. Called the Warwickshire Sunday Smash, the 16 team tournament is split into three divisions, with each side playing each team both home and away, throughout June and July. The teams include Solihull Blossomfield Cricket Club, Knowle & Dorridge, Sutton Coldfield, Bedworth, Alcester & Ragley, Stratford upon Avon, Water Orton, Four Oaks Saints, Moseley Ashfield and Aston Manor, who are all members of the Midlands Club Cricket Conference. The winners of each league and the best second place progressing to the Semi-Finals Day. The Finals Day took place on 1 September 2019 at Edgbaston. Stratford Upon Avon beat Knowle & Dorridge to win the first 100 ball competition in the U.K.


100-ball cricket, History, Amateur competitions
Shropshire County Cricket Club introduced the Swancote Energy Smash, which began in June 2019. It is a six-team tournament that has been divided into two groups, with games being played every Thursday night. The winners of each group is due to play in the inaugural final in early September 2019. The six teams are Shifnal, Claverley, Worfield, Bridgnorth, Chelmarsh and Wombourne.


100-ball cricket, History, Amateur competitions
In May 2021 Shropshire Cricket league launched two 100-ball knock out competitions, known as the Aaron's 100 and Aaron's Premier 100, involving 53 teams from across Shropshire and mid-Wales.


100-ball cricket, History, Amateur competitions
Cricket Wales launched the Cricket Wales U19’s 100 Ball Cup for under 19 year olds. It started on 25 June 2021 and is due to end with the final on 13 August 2021 at Ynystawe Cricket Club.


100-ball cricket, History, Professional competition
The first professional competition using the 100-ball format was The Hundred in July 2021. The Hundred involves eight men's and women's teams across England and Wales. The first professional match using the new format involved the women's teams of the Oval Invincibles and Manchester Originals who played each other at The Oval in London on 21 July 2021.


100-ball cricket, Format
100-ball cricket is a form of limited overs cricket, played by two teams each playing a single innings made up of 100 balls.


100-ball cricket, Reactions
Some experts have stated that proposals for the new format outlined by the ECB are nothing more than a further step towards "fast-food cricket", whereas others are appreciating it as a brilliant innovation.


100-ball cricket, Reactions
England's current Test captain, Joe Root, welcomed the ECB's plans for its new-team format in 2020. According to Root, it will attract a completely new audience. ODI and T20 captain, Eoin Morgan, had a similar opinion about this format. Former T20 captain Stuart Broad said he was hugely optimistic about the new format. Michael Vaughan also echoed with Broad and stated that it will be a more appealing concept to broadcasters. Michael Atherton shared that a T20 match was to be completed in a 3-hour window and this can be achieved with the proposed format.


100-ball cricket, Reactions
New Zealand all-rounder Jimmy Neesham was bemused on this move, asking why the England and Wales Cricket Board is trying something different when the current format is already so successful. Current limited overs specialists Dawid Malan and Mark Wood shared that in spite of the new format, T20s will still remain as the preference.


100-ball cricket, Reactions
Former MCC chief Keith Bradshaw called the 100-ball tournament an innovation for innovation's sake, reasoning that the main reason behind this thought process is that the ECB couldn't exploit the T20 boom. The England and Wales Professional Cricketers' Association shared that, overall, players were open to this new idea.


100-ball cricket, Reactions
Meanwhile, Cricket Australia has no plans to tinker with its existing Big Bash League. It also shared a concern that the introduction of shorter formats is further ignoring Test cricket.


100-ball cricket, Olympic Consideration
A bid for the sport’s inclusion at Los Angeles 2028 has received backing from the International Cricket Council (ICC) but a decision has yet to be made about which format of the game to propose. Jayawardene sits on the ICC’s own Cricket Committee, which is considering the format to be proposed and is also coach of the Southern Brave franchise men's team in The Hundred - a new short form of the game.


100-ball cricket, Olympic Consideration
"We will have to wait and see once the tournament has kicked off, the enthusiasm for it and how people embrace it," Jayawardene told the Daily Mail.


100-ball cricket, Olympic Consideration
"T20 was discussed as a format, T10 is an option, so why not the Hundred?


100-ball cricket, Olympic Consideration
"If it goes well, the time is compact and you get to finish in two and a half hours - it would be brilliant."


100-ball cricket, Olympic Consideration
Any choice of format would have to be approved by the IOC and fall under the aegis of the recognized International Federation, in this case the ICC.


100-kai no Kiss
"100Kai no Kiss" (100回のKISS, Hyakkai no Kiss, "100th Kiss") is the fourth single of the J-pop singer Aya Matsuura, who was a Hello! Project solo artist at the time. It was released on November 28, 2001 under the Zetima label. The song reached a peak of #2 on the weekly Oricon charts, and charted for 7 weeks.


100-man kumite
The 100-man kumite (Japanese: hyakunin kumite) is an extreme test of physical and mental endurance in Kyokushin karate. Kumite is a form of sparring, one of the three main sections of karate training, and involves simulated combat against an opponent. The 100-man kumite consists of 100 rounds of kumite, each between one-and-a-half and two minutes in length. Normally, the karate practitioner undergoing the test will have to face similarly or higher-ranked opponents, and may face an opponent a few times in the course of the test (depending on the number of opponents available to participate).


100-man kumite
The challenge was devised by Masutatsu Oyama, the founder of Kyokushin and the first person to complete the test. He completed the 100-man kumite three times over three consecutive days. The second man to complete the test was Steve Arneil in 1965. In July 2004, a woman named Naomi Ali completed the 100-man kumite. Variations using 20-man and 50-man challenges have also been employed.


100-nengo
100-nengo (100年後) is an album by Japanese rock band Ogre You Asshole, released on September 19, 2012. It was their third album on a major label and peaked at number 47 on the Oricon album chart. The band toured Japan in October and November in support of the album.


100-series highways (Nova Scotia)
The 100-Series Highways are a series of arterial highways in the Canadian province of Nova Scotia.


100-series highways (Nova Scotia)
A 100-series highway is a designation applied to a highway that can be a controlled-access expressway, Super-2, or fully divided freeway. The designation can also be applied in some cases to sections of uncontrolled access roads which are deemed strategically important and which will be upgraded in the future to controlled-access.


100-series highways (Nova Scotia)
These highways connect major population centres such as the Halifax Regional Municipality and Cape Breton Regional Municipality with smaller population centres such as Yarmouth, Truro, New Glasgow and Amherst, as well as the neighbouring province of New Brunswick.


100-series highways (Nova Scotia)
Some of the 100-series highways also carry the Trans-Canada Highway designation on their routes.


100-series highways (Nova Scotia)
The typical naming convention is to add 100 to a route containing a local trunk highway. E.g. Trunk 3 is a local trunk highway and Highway 103 is the 100-series highway running parallel to Trunk 3 in this corridor.


100-series highways (Nova Scotia)
A 100-series freeway is roughly equivalent in function to the 400-series highways of Ontario, Autoroutes of Quebec, or the Interstate Highway System of the United States, albeit on a much reduced scale and amount of traffic. Many of these highways were developed during the 1960s–1990s as political projects and proved detrimental to rural railway service in the province, resulting in many rail line abandonments.


100-series highways (Nova Scotia), Route list
Historical Note: Nova Scotia's original arterial highway number system had route number signs in the same shape as the U.S. Highway route number signs. These signs are now used for trunk highways.


100-series highways (Nova Scotia), Route list
Nova Scotia is planning to convert many 100-series highways to divided 4-lane highways during the 21st century, pending availability of funding.


100-ton gun
The 100-ton gun (also known as the Armstrong 100-ton gun)  was a 17.72 inches (450 mm) rifled muzzle-loading (RML) gun made by Elswick Ordnance Company, the armaments division of the British manufacturing company Armstrong Whitworth, owned by William Armstrong. The 15 guns Armstrong made were used to arm two Italian battleships and, to counter these, British fortifications at Malta and Gibraltar.


100-ton gun, Origins
Around 1870 the largest gun made by UK firms was the 320 mm RML (rifled, muzzle-loading) gun, with a mass of 38 long tons (38.6 t), firing an 818-pound (371 kg) projectile capable of piercing 16.3 inches (410 mm) of mild steel at 2,000 yards (1,800 m). This weapon was adequate for the needs of the time, but the progress of gun technology was very rapid. French industries soon made a 420 mm, 76 tonne gun. This led the Royal Navy to ask for an 80 long ton (81 t) gun.


100-ton gun, Origins
Armstrong, the main British artillery producer, began a project for creation of an even larger weapon, an 18 in (460 mm) gun, also called the '100 ton'. Armstrong offered it to the Royal Navy, which rejected the gun, deeming it too heavy and costly.


100-ton gun, Description
These new artillery pieces were enormous weapons for their time. Their weight was comparable to that of the much later Iowa-class 406mm/50cal guns, even though their barrels were quite short. They were muzzle-loading guns, with a rifled tube and rigid mount. Each gun required a crew of 35 men, including 18 men to handle the ammunition.


100-ton gun, Description
The gun was 9.953 m long. The barrel's maximum outer diameter was 1.996 m, which reduced to 735 mm at the muzzle. The construction method of an inner steel tube surrounded by multiple wrought iron coils, was very complex, with several structures containing one another. The internal barrel was 30 feet 3 inches (9.22 m) long, or 20.5 calibers. The weight of the gun was 103,888 kg, or about 100 tons.


100-ton gun, Description
Firing was mechanical or electrical, with an optical system for aiming.


100-ton gun, Description
The gun crews could fire a projectile once every six minutes. Muzzle velocity was 472 m/s and maximum elevation was 10° 30'. At maximum charge (204 kg?) and maximum elevation, a projectile could achieve a range of only 5,990 meters, but at that distance the projectile could still pierce 394 mm of steel (it is not clear if it was mild or hardened).


100-ton gun, Description
The weight of the mount was: 20,680 kg (mobile mounts with 18 wheels), 24,118 kg (platform) and 2,032 kg (base). The platform was sloped at 4 degrees to slow the recoil. On the platform mount, hydraulic systems powered chains that traversed the guns through an arc of 150 degrees; another hydraulic system provided elevation.


100-ton gun, Ammunition
This was a second-generation RML gun, equipped with polygroove rifling and firing only studless ammunition with automatic gas-checks for rotation.


100-ton gun, Ammunition
Projectiles were of three types, all weighing 2,000 pounds (910 kg) and having a diameter of 17.7 inches (450) mm:


100-ton gun, Ammunition
Firing charges were polygonal in shape, with 399 x 368 mm maximum width and length. They were made of 1 cwt (51 kg) 'Large Black Prism' propellant, and four or five were needed for every shell fired at maximum power. The recoil was 1.75 m as two hydraulic pistons in the rear part of platform absorbed the remaining energy.


100-ton gun, Service, Sale to Italy
After the reunification of Italy, the Regia Marina began an innovative program to field the best and most powerful battleships of the time, the first being the Duilio-class, armed with 380 mm guns. They were already very powerful, but in February 1874 when the UK started to build HMS Inflexible, armed with 406 mm guns, Italian admirals called for even more powerful guns, to hold the lead in battleship design.


100-ton gun, Service, Sale to Italy
On 21 July 1874, Armstrong signed a contract with Italy to deliver eight of its 100-ton guns, enough to arm Duilio and her sister-ship Dandolo. During firing trials on 5 March 1880, one of Duilio's guns cracked while firing at the maximum charge. At the suggestion of the British Army, it was officially established that the maximum practical charge was 204 kg and not 255.


100-ton gun, Service, British response
The Italian contract shocked British authorities, who had the Malta naval base to defend. The opening of the Suez Canal in 1869 had rendered Malta the most important British base in the Mediterranean. Although Malta's defenses included 320 mm guns, this left Malta poorly defended against a possible attack from Duilio-class ships. This was a worrying problem because Francesco Crispi, one of the key architects of the Italian reunification, had called Malta "Italia irredenta" ("Unredeemed Italy").


100-ton gun, Service, British response
The British feared that Duilio and Dandolo, which were already well-armored, could fire on Malta's shore batteries, destroying them one after the other, while keeping outside the effective range of the batteries' guns. But the British Army's concerns had no immediate effect on London bureaucracy; until the Italians launched Duilio in May 1876, London made no decision. The Royal Navy finally responded, requesting proposals from British arms manufacturers for a gun capable of piercing 36-inch steel at 1000 yd (900 mm at 900 m). The manufacturers returned with designs for immense guns of 163, 193, and 224 tons.


100-ton gun, Service, British response
In December 1877, Simmons, chief of Malta defenses, was called to London to discuss the issue. He asked for four guns comparable to Duilio's at 3,000 yards. Due to the emergency, it was decided that the fastest and simplest solution was to quit designing the bigger guns and to buy the same weapons as those on Duilio, because generally a shore battery with the same caliber guns as a vessel retains an advantage over the vessel. Four guns were requested in March 1878 and manufacture started in August; in the meantime Duilio had been conducting sea trials since 1877.


100-ton gun, Service, British response
When Gibraltar's commanders heard of these big guns they too asked for some, which they obtained. Two of the four guns ordered for Malta would go to Gibraltar instead.


100-ton gun, Service, British response, Malta service
HMS Stanley, a cargo vessel specially adapted for the task, delivered Malta's two guns. One gun was placed in Cambridge Battery, which was ready in 1886, and the other in Rinella Battery, which was completed in 1884. Cambridge received its gun on 16 September 1882 but only mounted it on 20 February 1884. Rinella received its on 31 July 1883 and mounted it on 12 January 1884. By this time, the Duilio-class ships had been operational for around seven years.


100-ton gun, Service, British response, Malta service
The work to make these machines serviceable was so great that until 1885 there were no firing tests. The first ammunition load comprised all the models available, including 50 AP and 50 HE shells. Shrapnel, once fired, was not replaced, being considered less effective. Between 1887 and 1888 activity stopped due to the need to rework hydraulic systems, but nevertheless the guns were considered quite reliable, serving for more than 20 years.


100-ton gun, Service, British response, Malta service
The careers of the guns were unspectacular, as no Italian battleship threatened Malta after their installation. The Malta guns were phased out in 1906, as was the remaining gun at Gibraltar. All had fired their last shots a few years before in 1903 or 1904.


100-ton gun, Service, British response, Malta service
During the First World War the guns at Malta were supposedly made ready for use when SMS Goeben was known to be nearby. Although the 100 t guns were powerful, modern weapons would have totally outclassed them: the range and rate of fire were too low, as modern 280–305 mm guns had a range of over 15–20 km and a rate of fire of one shot every 30 seconds. Goeben would have had no difficulty firing on Malta's guns, if required to.


100-ton gun, Service, British response, Gibraltar service
The first battery built for the guns in Gibraltar was Napier of Magdala, on Rosia Bay, and the second, called Victoria Battery, was placed one kilometer north. Construction started in December 1878, with the first ready in 1883 and the second in 1884.


100-ton gun, Service, British response, Gibraltar service
HMS Stanley also delivered Gibraltar's two guns. The first gun arrived on 19 December 1882 and the second on 14 March 1883. These two guns were ready on their mounts in July and September 1883.


100-ton gun, Service, British response, Gibraltar service
The first firings took place in 1884, but the weapons were not fully operational until 1889 due to hydraulic system problems. The barrel on the gun at Napier cracked during firing trials; this was because the crew had managed to stress the gun by firing one shot every 2.5 minutes. The wrecked gun was not easily repairable so it was used as a foundation for a building. The gun at Victoria Battery was moved to Napier, which the military deemed the more effective site.


100-ton gun, Service, The two surviving guns
The guns at Napier of Magdala Battery and at Fort Rinella are still intact and one can visit them. The guns were too costly to demolish and were left as junk, but both were later restored to display condition. Fort Rinella is under the guardianship of Fondazzjoni Wirt Artna - the Malta Heritage Trust. The pink paint on the Fort Rinella gun was added only recently; originally they were not painted at all.


100-yard dash
The 100-yard dash is a track and field sprint event of 100 yards (91.44 metres). It was part of the Commonwealth Games until 1970, and was included in the triathlon of the Olympics in 1904. It is not generally used in international events, replaced by the 100-metre sprint (109.36 yards). However, it is still occasionally run in the United States in certain competitions; it was last run at the NCAA championships in 1975. Walter Halben Butler (1852–1931) is credited with being the first to run the race in 10 seconds.


100-yard dash, All-time top 25, Men, Notes
Below is a list of other times equal or superior to 9.37:


100-yard dash, All-time top 25, Women
Note: The following athletes have had their performances annulled due to doping offense:


100-yard dash, All-time top 25, Women, Notes
Below is a list of other times equal or superior to 10.33:


100-year flood
A 100-year flood is a flood event that has a 1 in 100 chance (1% probability) of being equaled or exceeded in any given year.


100-year flood
The 100-year flood is also referred to as the 1% flood, since its annual exceedance probability is 1%. For coastal or lake flooding, the 100-year flood is generally expressed as a flood elevation or depth, and may include wave effects. For river systems, the 100-year flood is generally expressed as a flowrate. Based on the expected 100-year flood flow rate, the flood water level can be mapped as an area of inundation. The resulting floodplain map is referred to as the 100-year floodplain.


100-year flood
Estimates of the 100-year flood flowrate and other streamflow statistics for any stream in the United States are available. In the UK The Environment Agency publishes a comprehensive map of all areas at risk of a 1 in 100 year flood. Areas near the coast of an ocean or large lake also can be flooded by combinations of tide, storm surge, and waves. Maps of the riverine or coastal 100-year floodplain may figure importantly in building permits, environmental regulations, and flood insurance.


100-year flood, Probability
A common misunderstanding is that a 100-year flood is likely to occur only once in a 100-year period. In fact, there is approximately a 63.4% chance of one or more 100-year floods occurring in any 100-year period. On the Danube River at Passau, Germany, the actual intervals between 100-year floods during 1501 to 2013 ranged from 37 to 192 years. The probability Pe that one or more floods occurring during any period will exceed a given flood threshold can be expressed, using the binomial distribution, as


100-year flood, Probability
where  T is the threshold return period (e.g. 100-yr, 50-yr, 25-yr, and so forth), and n is the number of years in the period. The probability of exceedance Pe is also described as the natural, inherent, or hydrologic risk of failure. However, the expected value of the number of 100-year floods occurring in any 100-year period is 1.


100-year flood, Probability
Ten-year floods have a 10% chance of occurring in any given year (Pe =0.10); 500-year have a 0.2% chance of occurring in any given year (Pe =0.002); etc. The percent chance of an X-year flood occurring in a single year is 100/X. A similar analysis is commonly applied to coastal flooding or rainfall data. The recurrence interval of a storm is rarely identical to that of an associated riverine flood, because of rainfall timing and location variations among different drainage basins.


100-year flood, Probability
The field of extreme value theory was created to model rare events such as 100-year floods for the purposes of civil engineering. This theory is most commonly applied to the maximum or minimum observed stream flows of a given river. In desert areas where there are only ephemeral washes, this method is applied to the maximum observed rainfall over a given period of time (24-hours, 6-hours, or 3-hours). The extreme value analysis only considers the most extreme event observed in a given year. So, between the large spring runoff and a heavy summer rain storm, whichever resulted in more runoff would be considered the extreme event, while the smaller event would be ignored in the analysis (even though both may have been capable of causing terrible flooding in their own right).


100-year flood, Statistical assumptions
There are a number of assumptions that are made to complete the analysis that determines the 100-year flood. First, the extreme events observed in each year must be independent from year to year. In other words, the maximum river flow rate from 1984 cannot be found to be significantly correlated with the observed flow rate in 1985, which cannot be correlated with 1986, and so forth. The second assumption is that the observed extreme events must come from the same probability distribution function.


100-year flood, Statistical assumptions
The third assumption is that the probability distribution relates to the largest storm (rainfall or river flow rate measurement) that occurs in any one year. The fourth assumption is that the probability distribution function is stationary, meaning that the mean (average), standard deviation and maximum and minimum values are not increasing or decreasing over time. This concept is referred to as stationarity.


100-year flood, Statistical assumptions
The first assumption is often but not always valid and should be tested on a case-by-case basis. The second assumption is often valid if the extreme events are observed under similar climate conditions. For example, if the extreme events on record all come from late summer thunderstorms (as is the case in the southwest U.S.), or from snow pack melting (as is the case in north-central U.S.), then this assumption should be valid.


100-year flood, Statistical assumptions
If, however, there are some extreme events taken from thunder storms, others from snow pack melting, and others from hurricanes, then this assumption is most likely not valid. The third assumption is only a problem when trying to forecast a low, but maximum flow event (for example, an event smaller than a 2-year flood). Since this is not typically a goal in extreme analysis, or in civil engineering design, then the situation rarely presents itself.


100-year flood, Statistical assumptions
The final assumption about stationarity is difficult to test from data for a single site because of the large uncertainties in even the longest flood records (see next section). More broadly, substantial evidence of climate change strongly suggests that the probability distribution is also changing and that managing flood risks in the future will become even more difficult. The simplest implication of this is that not all of the historical data are, or can be, considered valid as input into the extreme event analysis.


100-year flood, Probability uncertainty
When these assumptions are violated there is an unknown amount of uncertainty introduced into the reported value of what the 100-year flood means in terms of rainfall intensity, or flood depth. When all of the inputs are known the uncertainty can be measured in the form of a confidence interval. For example, one might say there is a 95% chance that the 100-year flood is greater than X, but less than Y.


100-year flood, Probability uncertainty
Direct statistical analysis to estimate the 100-year riverine flood is possible only at the relatively few locations where an annual series of maximum instantaneous flood discharges has been recorded. In the United States as of 2014, taxpayers have supported such records for at least 60 years at fewer than 2,600 locations, for at least 90 years at fewer than 500, and for at least 120 years at only 11.


100-year flood, Probability uncertainty
For comparison, the total area of the nation is about 3,800,000 square miles (9,800,000 km2), so there are perhaps 3,000 stream reaches that drain watersheds of 1,000 square miles (2,600 km2) and 300,000 reaches that drain 10 square miles (26 km2). In urban areas, 100-year flood estimates are needed for watersheds as small as 1 square mile (2.6 km2). For reaches without sufficient data for direct analysis, 100-year flood estimates are derived from indirect statistical analysis of flood records at other locations in a hydrologically similar region or from other hydrologic models. Similarly for coastal floods, tide gauge data exist for only about 1,450 sites worldwide, of which only about 950 added information to the global data center between January 2010 and March 2016.


100-year flood, Probability uncertainty
Much longer records of flood elevations exist at a few locations around the world, such as the Danube River at Passau, Germany,  but they must be evaluated carefully for accuracy and completeness before any statistical interpretation.


100-year flood, Probability uncertainty
For an individual stream reach, the uncertainties in any analysis can be large, so 100-year flood estimates have large individual uncertainties for most stream reaches. For the largest recorded flood at any specific location, or any potentially larger event, the recurrence interval always is poorly known. Spatial variability adds more uncertainty, because a flood peak observed at different locations on the same stream during the same event commonly represents a different recurrence interval at each location.


100-year flood, Probability uncertainty
If an extreme storm drops enough rain on one branch of a river to cause a 100-year flood, but no rain falls over another branch, the flood wave downstream from their junction might have a recurrence interval of only 10 years. Conversely, a storm that produces a 25-year flood simultaneously in each branch might form a 100-year flood downstream. During a time of flooding, news accounts necessarily simplify the story by reporting the greatest damage and largest recurrence interval estimated at any location. The public can easily and incorrectly conclude that the recurrence interval applies to all stream reaches in the flood area.


100-year flood, Observed intervals between floods
Peak elevations of 14 floods as early as 1501 on the Danube River at Passau, Germany, reveal great variability in the actual intervals between floods. Flood events greater than the 50-year flood occurred at intervals of 4 to 192 years since 1501, and the 50-year flood of 2002 was followed only 11 years later by a 500-year flood. Only half of the intervals between 50- and 100-year floods were within 50 percent of the nominal average interval. Similarly, the intervals between 5-year floods during 1955 to 2007 ranged from 5 months to 16 years, and only half  were within 2.5 to 7.5 years.


100-year flood, Regulatory use
In the United States, the 100-year flood provides the risk basis for flood insurance rates. Complete information on the National Flood Insurance Program (NFIP) is available  A regulatory flood or base flood is routinely established for river reaches through a science-based rule-making process targeted to a 100-year flood at the historical average recurrence interval. In addition to historical flood data, the process accounts for previously established regulatory values, the effects of flood-control reservoirs, and changes in land use in the watershed. Coastal flood hazards have been mapped by a similar approach that includes the relevant physical processes.


100-year flood, Regulatory use
Most areas where serious floods can occur in the United States have been mapped consistently in this manner. On average nationwide, those 100-year flood estimates are well sufficient for the purposes of the NFIP and offer reasonable estimates of future flood risk, if the future is like the past. Approximately 3% of the U.S. population lives in areas subject to the 1% annual chance coastal flood hazard.


100-year flood, Regulatory use
In theory, removing homes and businesses from areas that flood repeatedly can protect people and reduce insurance losses, but in practice it is difficult for people to retreat from established neighborhoods.


100-yen shop
100-yen shops (100円ショップ, hyaku-en shoppu) are common Japanese shops in the vein of American dollar stores. Stocking a variety of items from clothing to stationery, housewares to food, each item is priced at precisely 100 yen. This price is considered attractive to Japanese consumers because it can be paid for with a single 100-yen coin. However, the current Japanese sales tax of 8% (food and drinks) or 10% (other items) is also added, making a 100-yen purchase actually cost 108 or 110 yen. Larger items, like furniture and tools, may also cost more yet are still relatively affordable, usually costing less than 1000 yen.


100-yen shop
The four major chains are Daiso, Seria, Watts, and Can Do, which combined have over 5,500 locations across Japan as of 2012. A variation of the 100-yen shops are 99-yen shops. Daiei also operates 88-yen stores. Some shops, such as Lawson 100, specialize in certain items, such as groceries or natural goods, but this is less common than the variety store model.


100-yen shop
The concept of stores that sell products at a uniformly low price dates back to the Edo period, when shops selling items for 19 mon and later 38 mon were popular. By the Meiji period, this had expanded to clothing stores and food stands, and stores selling only 1-yen items were not uncommon The first 100-yen shop in its modern form was opened in 1985 in Kasugai, Aichi prefecture by Akira Matsubayashi, the founder of the company Life Standard. It was called '100-yen Shop' (100円ショップ).


100-yen shop
This model was eventually adopted by Hirotake Yano, the founder of Daiso Industries Co. Ltd., who opened the first Daiso store 1991. Today, there are over 2,800 Daiso stores throughout Japan, with 20-30 new stores opening every month. One of the largest 100-yen shops is the Daiso in the Tokyo neighborhood of Harajuku. It spans four stories and over 10,500 square feet (980 m2).


100-yen shop
Similar shops have opened around other parts of Asia as well, some operated by Japanese companies such as Daiso, which now has branches in 25 countries outside of Japan. In Hong Kong, department stores have opened their own 10-dollar-shops (JPY140) to compete in the market, thus there are now "8-dollar-shops" (JPY110) in Hong Kong, in order to compete with those lower prices.


100-yen shop
100-yen shops are able to keep prices down by purchasing goods internationally and in bulk. These goods come from countries with lower production costs, namely China and Thailand.


100. Yıl Albümü
100. Yıl Albümü (a.k.a. BJK 100. Yıl Marşları) (English: Centennial Album) is a stadium anthems and football chants based album, recorded following the Turkish League triumph of Beşiktaş in 2003, their 100th year of foundation, prepared by Turkish musicians Mustafa Sandal and Ufuk Yıldırım, and composers Reha Falay and Murat Zor.


100. Yıl Albümü, Background and reception
Released in late May 2003, the album was initially promoted in Laila, a now-defunct dance music venue/nightclub, in front of around 2,000 attendees, along with club officials and footballers. The album consists of arrangements of fan chants and well-known local songs such as "Samanyolu", "İnleyen Nağmeler", and "Çilli Bom", as well as former world hit covers such as "Eye Of The Tiger" and "We Will Rock You".


100.000 dollari per Ringo
100.000 dollari per Ringo is a 1965 Spaghetti Western film directed by Alberto De Martino.


100.000 dollari per Ringo
It was shown as part of a retrospective on Spaghetti Western at the 64th Venice International Film Festival.


100.000 dollari per Ringo, Release
100.000 dollari per Ringo was released in Italy in November 1965 and in Spain in July 1966. Thomas Weisser commented that the film was relatively unknown in the United States, but that the film was one of Richard Harrison's greatest international box office hits.


100.000 of niets
100.000 of niets  (100,000 or nothing) was a Flemish television quiz show on the Flemish public broadcaster N.I.R. (nowadays the VRT), between 1956 and 1959. It was one of the most popular television shows from the Flemish pioneer years.


100.000 of niets, Concept
100.000 of niets was originally part of another quiz show, Knal, wie vangt de bal? (Bang, who catches the ball?). It aired on December 11, 1956, and by January 12, 1958, it became an independent weekly show. The programme was hosted by Tony Corsari, Bob Van Bael and Pros Verbruggen and the jury was hosted by Mr. Van Hove, Professor Lucien De Smet and Dr. A.J. Aernouts. In 1959 the show was cancelled. In 1968 it returned to the screen, presented by Pros Verbruggen, Jan Theys and Rudy Samson. Regine Clauwaert was the female guest host.


100.000 of niets, Concept
Each show had three candidates and four thematical rounds. One candidate remained in the finale and had to answer one very detailed question correctly. The prize was 100.000 Belgian francs, though most of the time the winner just received a kitchen appliance.


100.000 of niets, Controversy
While the show was popular quite some candidates criticized the correct answers needed. On March 9, 1958, one candidate named Van Cuyck lost after giving only one wrong answer in a series of seven correct ones. In comparison to present-day norms, many questions were phrased in an ambiguous manner and since every round the acceptance of dubious answers tended to differ at times. One time a candidate complained that his answer was indeed correct, despite being told it wasn't. Corsari personally made sure that the man received his award after all.


100.000 of niets, Controversy
Female host Liliane Taelemans received a lot of criticism because her clothes were considered to be "too revealing". She was eventually fired and in 1958 she went on to become the Belgian candidate for the Miss Universe election.


100.1 FM
The following radio stations broadcast on FM frequency 100.1 MHz:


100.3 FM
The following radio stations broadcast on FM frequency 100.3 MHz:


100.4 FM
This is a list of radio stations that broadcast on FM frequency 100.4 MHz:


100.4 Jazz FM
100.4 Jazz FM (launched as JFM 100.4) was an independent local radio station for the North West England playing jazz music. 100.4 Jazz FM played its own music from its Salford studio during the day, whereas specialist shows like Dinner Jazz and Legends of Jazz with Ramsey Lewis were networked from London's 102.2 Jazz FM. The station was replaced by Smooth FM 100.4 in 2004.


100.4 Jazz FM, History
In 1993, Golden Rose Communications was awarded the regional FM licence for the North West, beating ten other applications for the licence. Jazz FM was launched as JFM on 1 September 1994 and broadcast from Exchange Quays, in Salford, England. It was originally known as JFM in order to try to appeal to more listeners who were put off by the "jazz" in Jazz FM. The station name reverted to Jazz FM, a decision also made to its sister London station in 1995 when Richard Wheatly became chief executive officer for Golden Rose Communications. Jazz FM originally played a wide variety of jazz, pandering to more smooth jazz during the daytime to attract the 25- to 45-year-old target market Jazz FM needed to make the station a success. The station before the rebrand, however, played more soul and softer R&B alongside jazz.


100.4 Jazz FM, History
In 2003, the Guardian Media Group did extensive research into the type of music the listeners in the north-west wanted to listen to. They concluded that many people were put off by the name "jazz" in the station name. As a result, 100.4 Jazz FM closed on 13 February 2004 and relaunched as 'Smooth FM' on 1 March 2004.


100.4 Jazz FM, History
Smooth FM 100.4 relaunched as Smooth Radio 100.4 in March 2007 at the same time as London based 102.2 Smooth FM.


100.4 Jazz FM, History, Return to the airwaves
On 28 February 2008 GMG Radio's chief executive John Myers made an announcement that Jazz FM would be brought back in the North West, London and the West Midlands on DAB. Myers also said that he believed it would make more sense for there to be a dedicated radio station for jazz listeners than the commitments to play jazz on Smooth Radio 100.4, as required by the licence granted to them by Ofcom. The closure of theJazz on Digital One was also part of the reason for the return of Jazz FM. The relaunch of jazzfm.com, under a three-year deal with The Local Radio Company happened on 6 October 2008.


100.5 Das Hitradio
100'5 Das Hitradio is a radio station from Eupen, a town in the German speaking part of Belgium. The station is on the air since 1998 and broadcasts under the motto: "Die Super Hits der 80er, der 90er und das Beste von heute" (The Super Hits of the 80s, the 90s, and the Best of Today").


100.5 Das Hitradio
The station is owned by 40.8% by the BRF Medien AG in Eupen, 39.2% by Radio Salü in Saarbrücken, Germany, 10% by PFD Pressefunk GmbH.


100.5 Das Hitradio, Listeners
Target audience is about 1.1 million German-speaking people in the area of transmission between the age of 29 and 45. More than 292,000 people listen daily to 100.5 Das Hitradio. This station is the most listened to station in the German-speaking region and in southwestern North Rhine-Westphalia.


100.5 Das Hitradio, Programmes
100.5 plays the music mix of the most popular pop and rock songs of the last decades ("The Super Hits of the 80s, 90s and the best of today"). Every 30 minutes 100.5 airs a live newscast, these newscasts begin 5 minutes earlier than the other radio stations ( "immer fünf minutes früher informiert" ). With the extensive newscasts at 12:25 and 17:25 daily for the region "Total Euregional". In general, the newscast's content is regional and national themes in equal proportions.


100.5 Das Hitradio, Programmes
There are political and social information broadcasts of this type are aired five minutes before the hour (for example 13:55) and five minutes before the half hour (e.g., 14:25). During broadcast hours 100.5 focuses on service, music and entertainment contributions. In addition, the station transmits all the games of football Sports Teams Borussia Mönchengladbach and Alemannia Aachen live.


100.5 Das Hitradio, Programmes
"Von zwei bis frei", from 10:55 to 18:00, plays varied music from the 80s until the present day.


100.5 Das Hitradio, Programmes
Every night from 18:00 (Mon-Thu until 20:00 and Fri-Sat until 0:00) "In the Mix". A nonstop mix of songs from the 80s, 90s and today. Mixed by "Star DJ Enrico Ostendorf".


100.5 Das Hitradio, Programmes
Every Sunday there is also the "100'5 Top 20 Chart Show" from 16:00-17:40. That is the top 20 of the station compiled by the listeners. The program is presented by Enrico Ostendorf.


100.5 Das Hitradio, Reception
The Meuse-Rhine is 100'5 receive anywhere on 100.50 MHz FM. The stations RDS ident is: * * 100'5.


100.5 Das Hitradio, Reception
Cable Frequencies: Aachen, Aldenhoven, Alsdorf, Baesweiler, Bedburg, Bergheim, Düren, Elsdorf, Eschweiler, Geilenkirchen, Heinsberg, Hellenthal, Herzogenrath, Hürtgenwald, Inden, Jülich, Kall, Kerpen, Kreuzau, Langerwehe, Merzenich, Nideggen, Niederzier, Nörvenich, Schleiden, Stolberg, Titz, Übach-Palenberg en Würselen (104.60 MHz). in Belgium at 89.30 MHz. Because of the position of its FM antenna the station can be received in Eindhoven (The Netherlands).


100.5 FM
100.5 FM may refer to one of many FM radio stations:


100.6 FM
The following radio stations broadcast on FM frequency 100.6 MHz:


100.7 FM
The following radio stations broadcast on FM frequency 100.7 MHz:


100.8 FM
The following radio stations broadcast on FM frequency 100.8 MHz:


100.9 FM
The following radio stations broadcast on FM frequency 100.9 MHz:


100.9 ZZZ FM
Triple Z (call sign: 2ZZZ) is a commercial radio station covering New South Wales' Far North Coast, and is part of the Broadcast Operations Group. The station targets the 18-39 market with a mostly top 40 hits format, though in networking hours the format shifts to a more adult contemporary mix.


100.9 ZZZ FM
It began broadcasting on 1 January 1994, from its Goonellabah studios. First announcer on air was Dave Williams, followed by Vashti Stewart, Neil Marks & Mike O'Reilly. The first song played on air was "The Heat Is On" by Glenn Frey.


1000 (number)
1000 or one thousand is the natural number following 999 and preceding 1001. In most English-speaking countries, it is often written with a comma separating the thousands digit: 1,000.


1000 (number)
It may also be described as the short thousand in historical discussion of medieval contexts where it might be confused with the Germanic concept of the "long thousand" (1200).


1000 (number)
A period of 1,000 years is sometimes termed, after the Greek root, a chiliad. A chiliad of other objects means 1,000 of them.


1000 AM
The following radio stations broadcast on AM frequency 1000 kHz:


1000 AM
1000 AM is a United States and Mexican clear-channel frequency. KOMO Seattle, WMVP Chicago and XEOY Mexico City share Class A status on 1000 kHz.


1000 Airplanes on the Roof
1000 Airplanes on the Roof is a melodrama in one act by Philip Glass which featured text by David Henry Hwang and projections by Jerome Sirlin. It is described by Glass as "a science fiction music drama".


1000 Airplanes on the Roof
The work was commissioned by the Donau Festival, Krems an der Donau, The American Music Theater Festival, Philadelphia, and West Berlin City Council in 1988. It premiered on July 15, 1988, at the Vienna Airport in Hangar #3. The performance featured vocals by Linda Ronstadt and was conducted by Michael Riesman. The US premiere took place in September 1988 at The American Music Theater Festival, Philadelphia and went on to play in 40 US cities and Canada, including New York, Boston, Chicago and Toronto, as well as Glasgow, Scotland during that city's celebration as European City of Culture.


1000 Airplanes on the Roof, Synopsis
The drama is set in New York City with a sole character, "M", who recalls encounters with extraterrestrial life forms, including their message:


1000 Airplanes on the Roof, Synopsis
"It is better to forget, it is pointless to remember. No one will believe you. You will have spoken a heresy. You will be outcast."


1000 Airplanes on the Roof, Synopsis
In the staged production, "M" performs in the midst of a three-dimensional, holographic set. In the classic sense of the word melodrama, the role is performed by an actor in a spoken monologue over music. Although in the world premiere, "M" was played by a male actor, the character was played alternately by female actor Jodie Long and male actor Patrick O'Connell in many of the US performances.


1000 Airplanes on the Roof, Book
The libretto and images of the original set are published in:


1000 Amps
1000 Amps is a 2012 action-adventure puzzle-platform game developed by Brandon Brizzi.


1000 Amps, Plot
There is a power outage in the Amp Tree System; Plug must navigate the darkness and repair the lights, one room at a time.


1000 Amps, Gameplay
The player controls Plug as he makes his way through the various interconnected rooms of the Amp Tree System. He must illuminate all of the tiles in each room by walking over them. As he gradually lights up the room, he will be able to jump higher; this effect is temporary, as his jumping ability resets upon entering a new room. However, he will also obtain other, permanent upgrades to help him solve more complex puzzles, such as the ability to teleport.


1000 Amps, Reception
1000 Amps received mixed reviews. John Walker of Rock Paper Shotgun recommended the game, saying, "I really want you to play this. It’s such a smart, enormous game, often enormously difficult, but get stuck and there are always another dozen rooms you can try." Gamezebo also praised 1000 Amps, calling it a "stylish, expansive game that relies on its attractive, high-contrast visuals, as well as the opportunities it gives the player for exploration", though said the game's mechanic of resetting rooms when exited "can sometimes be frustrating, as it’s easy to bounce out of a room unintentionally".


1000 Amps, Reception
PC Gamer gave it 64/100, calling it "[a]n often frustrating game built around a clever idea", and argued that the darkening of unsolved rooms makes "exploration [become] an exercise in feeling around in the dark, unsure if you're about to plunge down a hole into another room entirely, losing all your progress in the current room." On a positive note, it also said "[t]he core idea of powering up your character progressively is a solid one, and there are moments of real beauty in the stark-but-cute art style", though wrote the game was too flawed as a whole to take full advantage of these ideas.


1000 Arms
1000 Arms is the fifteenth studio album by Canadian country rock band Blue Rodeo, released on October 28, 2016.


1000 Awesome Things
1000 Awesome Things is a blog written by Neil Pasricha, who posts one thing in life he considers awesome each weekday. The site was launched on June 20, 2008 with #1000 Broccoflower and is counting down until it hits #1. An awesome thing is posted every weekday and #1 was posted on April 19, 2012.


1000 Awesome Things, History
The author said that at the time of starting the site "if you flipped open the newspaper it was filled with the same stuff every day. The polar ice caps were melting, there were pirates storming the seas, the economy was on the verge of collapse, and there were wars going on all over the world." As a result, he created a website discussing "popping bubble wrap, or snow days, or the smell of a bakery." In later interviews, and through a series on his blog, Pasricha shared that his divorce and a friend's suicide prompted him to continue looking for positive things in life.


1000 Awesome Things, Books
In 2009, Neil Pasricha was approached by literary agents after winning the Webby Award and signed with Erin Malone from WME who also representsblog-to-books Stuff White People Like and Texts From Last Night. It was published as a 400-page hardcover the United States and Canada in April, 2010 from AEB/Putnam, a division of Penguin Publishing. The book became a bestseller in its first week and a New York Times bestseller. The book has been translated and is available in Dutch, Korean, German, Japanese, Portuguese, Chinese, and French.


1000 Awesome Things, Books
In Canada, The Book of Awesome was recognized as a Heather's Pick. It has been a bestseller on The Globe and Mail bestseller list for over 130 weeks and was the #1 Globe and Mail non-fiction book of the year for 2010 and 2011 and the #3 non-fiction book for 2012. It has been a #1 bestseller in many international markets.


1000 Awesome Things, Movie
In a 2012 newspaper interview the author said The Book of Awesome has been optioned for a movie but did not discuss details.


1000 Awesome Things, Media coverage
The Book of Awesome and 1000 Awesome Things have been covered by magazines, newspapers, and broadcasters such as The Today Show, BBC, CNN, The Guardian, Reader's Digest, Entertainment Weekly, Wired's GeekDad blog, The New Yorker, Slate, TEDxToronto on YouTube, and The Globe and Mail.


1000 Awesome Things, Awards
2014 Scott and Kristin Powers won the "Awesome Award" for being awesome. Sandy Mcdermott was a close second. Julian Scott Valentin won the 2014 Junior Awesome Awards for being equally as awesome.


1000 Blank White Cards
1000 Blank White Cards is a party game played with cards in which the deck is created as part of the game. Though it has been played by adults in organized groups worldwide, 1000 Blank White Cards is also described as well-suited for children in Hoyle's Rules of Games. Since any game rules are contained on the cards (rather than existing as all-encompassing rules or in a rule book), 1000 Blank White Cards can be considered a sort of nomic. It can be played by any number of players and provides the opportunity for card creation and gameplay outside the scope of a single sitting. Creating new cards during the game, dealing with previous cards' effects, is allowed, and rule modification is encouraged as an integral part of gameplay.


1000 Blank White Cards, Game
The game consists of whatever the players define it as by creating and playing things. There are no initial rules, and while there may be conventions among certain groups of players, it is in the spirit of the game to spite and denounce these conventions, as well as to adhere to them religiously.


1000 Blank White Cards, Game
For many typical players, though, the game may be split into three logical parts: the deck creation, the play itself, and the epilogue.


1000 Blank White Cards, Game, Deck creation
A deck of cards consists of any number of cards, generally of a uniform size and of rigid enough paper stock that they may be reused. Some may bear artwork, writing or other game-relevant content created during past games, with a reasonable stock of cards that are blank at the start of gameplay.


1000 Blank White Cards, Game, Deck creation
Some time may be taken to create cards before gameplay commences, although card creation may be more dynamic if no advance preparation is made, and it is suggested that the game be simply sprung upon a group of players, who may or may not have any idea what they are being caught up in. If the game has been played before, all past cards can be used in gameplay unless the game specifies otherwise, but perhaps not until the game has allowed them into play.


1000 Blank White Cards, Game, Deck creation
Though cards are created at all times throughout the game (except the epilogue), it is necessary to start with at least some cards pre-made. Despite the name of the game, a deck of 80 to 150 cards is usual, depending on the desired duration of the game, and of these approximately half will be created before the start of play. If a group doesn't already possess a partial deck they may choose to start with fewer cards and to create most of the deck during play.


1000 Blank White Cards, Game, Deck creation
Whether or not the group possesses a deck already (from previous games), they will usually want to add a few more cards, so the first phase of the game involves each player creating six or seven new cards to add to the deck. See structure of a card below.


1000 Blank White Cards, Game, Deck creation
When the deck is ready, all of the cards (including blanks) are shuffled together and each player is dealt five cards. The remainder of the deck is placed in the centre of the table.


1000 Blank White Cards, Game, Play
The rules of game are determined as the game is played. There exists no fixed order of play or limit to the length or scope of the game. Such parameters may be set within the game but are of course subject to alteration.


1000 Blank White Cards, Game, Play
Play proceeds clockwise beginning with the player on the dealer's left. On each player's turn, he/she draws a card from the central deck and then plays a card from his/her hand. Cards can be played to any player (including the person playing the card), or to the table (so that it affects everyone). Cards with lasting effects, such as awarding points or changing the game's rules, are kept on the table to remind players of those effects. Cards with no lasting effects, or cards that have been nullified, are placed in a discard pile.


1000 Blank White Cards, Game, Play
Blank cards can be made into playable cards at any time simply by drawing on them (see structure of a card).


1000 Blank White Cards, Game, Play
Play continues until there are no cards left in the central deck and no one can play (if they have no cards that can be played in the current situation). The "winner" is the player with the highest score of total points at the end of the game, though in some games points don't actually matter.


1000 Blank White Cards, Game, Epilogue
Since the cards created in any game may be used as the beginning of a deck for a future game, many players like to reduce the deck to a collection of their favourites. The epilogue is simply an opportunity for the players to collectively decide which cards to keep and which to discard (or set aside as not-for-play).


1000 Blank White Cards, Game, Epilogue
Many players believe that having their own cards favoured during the epilogue is the true "victory" of 1000 Blank White Cards, although the game's creator has never discarded or destroyed a card unless that action was specified within the scope of the game. Retaining and replaying those cards which seem at the moment less than perfect can help reduce a certain stagnation and tendency to over-think that can otherwise overtake the game's momentum.


1000 Blank White Cards, Game, Epilogue
One group of players in Boston (not the long-dispersed Harvard cadre) have introduced the idea of the "Suck Box":


1000 Blank White Cards, Game, Epilogue
We don't like to destroy cards, even if they suck, so we have a notecard box called The Suck Box. If a player feels a card is boring and useless to gameplay, they will nominate it for admission to The Suck Box. All players present then vote (sometimes lobbying for their cases), and the card either goes into The Suck Box or gets to remain in the primary deck. Ironically, when The Suck Box was introduced, one player created a card for the express purpose of adding it to The Suck Box. However, the rest of us felt that it was too amusing a card and had to remain in the deck.


1000 Blank White Cards, Structure of a card
At its simplest, a card is just that: a physical card, which may or may not have undergone any modifications. Its role in the game is both as itself and as whatever information it carries, which can be changed, erased or amended. The cards used vary widely in size, from the original 11⁄2" x 31⁄2" Vis-Ed brand flash cards, to half or full index cards, to simply sheets of A7 sized paper. Cards may be created with any marking medium and need not conform to any conventions of size or content unless specified within the scope of the game.


1000 Blank White Cards, Structure of a card
Cards have been made of a wide range of substances, and modifying the shape or composition of a card is entirely acceptable: the original Vis-Ed box still contains a card, created by Plan 9 From Bell Labs developer Mycroftiv, to which a tablet of zinc has been affixed with adhesive tape; the card reads "Eat This!... In a few minutes, the ZINC will be entering your system." Many cards have been created which demanded their own modification, destruction or duplication, and many have been created which display nothing but a picture or text bearing no explicit significance whatsoever. Some have been eaten, burned, or cut and folded into other shapes.


1000 Blank White Cards, Structure of a card
The game does tend to fall into structural conventions, of which the following is a good example:


1000 Blank White Cards, Structure of a card
A card consists (usually) of a title, a picture and a description of its effect. The title should uniquely identify the card. The picture can be as simple as a stick figure, or as complex as the player likes. The description, or rule, is the part that affects the game. It can award or deny points, cause a player to miss a turn, change the direction of play, or do anything the player can think of. The rules written on cards in play make up the majority of the game's total ruleset.


1000 Blank White Cards, Structure of a card
In practice, these conventions can generate rather monotonous decks of one panel cartoons bearing point values, rules or both. As conceived, the game is far broader, as it is not inherently limited in length or scope, is radically self-modifying, and can contain references to, or actual instances of, other games or activities. The game can also encode algorithms (trivially functioning as a Turing machine), store real-world data, and hold or refer to non-card objects.


1000 Blank White Cards, History
The game was originally created late in 1995 by Nathan McQuillen of Madison, Wisconsin. He was inspired by seeing a product at a local coffeehouse: a box of 1000 Vis-Ed brand blank white flash cards. He introduced "The game of 1000 blank white cards" a few days later into a mixed group including students, improvisational theatre members and club kids. Initial play sessions were frequent and high energy, but a fire consumed the regular venue shortly after the game's introduction. The game physically survived but with the loss of their regular meeting place the majority of the original players fell out of contact with one another, and soon most had moved on to other cities.


1000 Blank White Cards, History
The game started to spread as a meme through various social networks, mostly collegiate, in the late 1990s. Aaron Mandel, a former Madison resident, brought the game to Harvard University and started an active playgroup which changed the size of the cards to the more standard half-index dimensions (2+1⁄2 by 3+1⁄2 inches (64 mm × 89 mm)). Boston players Dave Packer and Stewart King created the first web content representing the game. Their graduation served to further spread the game to the west coast and onto the web. Subsequently, an article in GAMES Magazine and inclusion in the 2001 revision of Hoyle's Rules of Games established the game as an independent part of gaming culture. Various celebrities have also contributed cards to the game, including musicians Ben Folds and Jonatha Brooke, and cartoonist Bill Plympton.


1000 Blank White Cards, History
The game's inventor and its original players have frequently expressed amusement at the spread of a game they regarded mostly as a brilliant but highly idiosyncratic bit of conceptual humor which provided them with an excuse to draw goofy cartoons.


1000 Broadway
1000 Broadway is a 24-story office building in Portland, Oregon. The distinguishing feature of the building is a series of rings that form a dome over the center portion of its roof. Because of this, the building is nicknamed "The Ban Roll-on Building".


1000 Broadway
The architectural firm of Broome, Oringdulph, O'Toole, Rudolph, and Associates designed the building. It was also Portland developer Tom Moyer's first major project. It reportedly cost US$90 million to build the tower. 1000 Broadway opened to the public in 1991.


1000 Broadway
The half-block lot formerly hosted the Broadway Theater, an art deco movie house. Plans to restore and include the old marquee never came to fruition. However, a 4-screen multi-plex movie theater was built inside the new tower. Originally the new theater was operated by Act III Theaters, which had been formed from the chain started by Moyer. The 1000 Broadway theater, along with all Act III theaters, was later acquired by Regal Cinemas in 1998, which in turn closed the 1000 Broadway four-plex in September 2011.


1000 Clowns
1000 Clowns was a rap group most notable for two songs: "(Not the) Greatest Rapper", which appeared on the Good Burger soundtrack, and "Kitty Kat Max".


1000 Clowns, History
The group's vocalists were sisters Anita and Michelle, and the band's leader, composer, lead singer and rapper was Kevi. DJ Mr. Pao was the turntablist, and he co-produced many of the songs. The other two members were DJ Dax and drummer Scotty.


1000 Clowns, Freelance Bubblehead
The group released an album in 1999 titled Freelance Bubblehead, produced by Mickey Petralia. Neil Gladstone of CMJ New Music Monthly thought that the album was "easy on the ears" but formulaic.


1000 Clowns, Freelance Bubblehead, Track listing
The single "(Not the) Greatest Rapper" charted at number 23 on the UK Singles Chart in 1999.


1000 Connecticut Avenue
1000 Connecticut Avenue is a high-rise building located in the United States capital of Washington, D.C.. This building replaced a previous structure, built in 1956, which was demolished in the winter of 2007.


1000 Connecticut Avenue, Architect
The architect of the current building was James Ingo Freed, who teamed with New York firm of Pei Cobb Freed & Partners to design the postmodern structure of the building. This was one of several projects, including the United States Air Force Memorial that were underway when the architect died in 2005. The previous building was valued at approximately $ 25 million. The previous building served as the headquarters for real estate agency, Manta.


1000 Connecticut Avenue, Architect
The previous building rose to 153 feet (47 m); due to the Heights of Buildings Act of 1910, the building's height was restricted to being lower than the width of the right-of-way of the avenue on which the building fronts. The new 1000 Connecticut Avenue was completed in 2012. A law firm, Arent Fox, leases eight floors of the building.


1000 Crore Club
1000 Crore Club is an unofficial designation by the Indian film trade and the media, related to Indian language films that have grossed ₹1000 crore (10 billion Indian rupees or $142 million) or more in India or worldwide. Baahubali 2: The Conclusion grossed ₹1,430 crore in all languages in India itself, while nett collection was ₹1,115 crore in all languages in India. Baahubali 2: The Conclusion became the first Indian film to gross over 1000 crore worldwide.


1000 Crore Club
It was followed by the Aamir Khan-starrer Bollywood film Dangal, which is the highest grossing Indian film, expanding the club to 1700 crore, 1800 crore and 1900 crore, before creating the ₹2,000 crore ($284 million) Club, and becoming the fifth highest-grossing non-English language film of all time. The 1000 crore club is preceded by the 100 crore club.


1000 Crore Club, History
Baahubali 2: The Conclusion (2017), which released on 28 April 2017, became the first Indian film to cross the ₹1,000 crore (US$140 million) and ₹1,500 crore (US$210 million) marks, in May 2017, and briefly became the highest-grossing Indian film worldwide, before being overtaken by Dangal. Baahubali 2 is the highest-grossing film in India, where it has grossed ₹1,417 crore (US$200 million). Overseas, it is the highest-grossing Indian film in the United States ($21 million), where it became the first Indian film to cross $20 million, as well as becoming the first Indian film to gross over $10 million in the United Arab Emirates.


1000 Crore Club, History
Dangal (2016), following its Chinese release on 5 May 2017, became the highest-grossing Indian film and fifth highest-grossing non-English language film of all time, crossing ₹2,000 crore ($284 million) worldwide, making it the first Indian film to gross $300 million worldwide and one of the top 30 highest-grossing 2016 films (surpassing the $299.5 million gross of Alice Through the Looking Glass). Dangal is also the highest-grossing sports film of 2017, and Disney's fourth highest-grossing film of 2017.


1000 Crore Club, History
Dangal is the first Indian film to exceed $100 million and ₹1,000 crore overseas, crossing ₹1,400 crore ($199 million) in international markets, including ¥1.29 billion (US$187 million) in China and ₹41 crore ($5.82 million) in Taiwan. Its overseas gross in China more than doubled its domestic gross of $84.4 million in India.


1000 Crore Club, History
In China, Dangal became the 16th highest-grossing film of all time, the 8th highest-grossing foreign film, the highest-grossing non-Hollywood foreign film (surpassing Japanese anime film Your Name), the leggiest box office release (cumulative gross 83 times its opening day haul, surpassing Zootopia), had the most consecutive days with a ¥10 million (US$1 million) gross (surpassing the 30 days of Transformers: Age of Extinction) and $1 million gross (38 days), was the highest-grossing film in May 2017 (ahead of Pirates of the Caribbean: Dead Men Tell No Tales and Guardians of the Galaxy Vol. 2), and is the year's second highest-grossing foreign film (after The Fate of the Furious). In 47 days, the film had 44,445,270 admissions at the Chinese box office. Aamir Khan's earnings from Dangal is estimated to be ₹300 crore ($43 million), the highest payday for a non-Hollywood actor.


1000 Crore Club, History
When adjusted for inflation, the first Indian film to gross an adjusted ₹1,000 crore worldwide was Awaara (1951) until it was surpassed by Disco Dancer (1982). which was surpassed by "Baahubali 2: The Conclusion" (2017). The first Indian film to gross an adjusted ₹1,000 crore overseas was Disco Dancer (1982), at the Soviet box office, which made it the highest-grossing Indian film overseas up until it was surpassed by Dangal in 2017.


1000 Crore Club, List
This is a list of the films in the 1000 crore club, adjusted for inflation. For the list of the highest-grossing Indian films in terms of nominal value (without adjusted inflation), see List of highest-grossing Indian films.


1000 DKK (1997)
Danmarks Nationalbank issued a 1000 kroner bank note on 18 September 1998 – updated on 25 November 2004.


1000 DKK (1997)
The Danish thousand-kroner bill (DKK1000) is a denomination of Danish currency. Danish artists Anna and Michael Ancher are featured on the front side of the bill. It is at present the largest denomination in circulation, and the current version came into circulation on 25 November 2004. The banknote is 165 mm x 72 mm.


1000 DKK (1997)
The front of the banknote has a double portrait of artists Anna and Michael Ancher (18 August 1859 to 15 April 1935, and 9 June 1849 to 19 September 1927). The couple are known for their paintings depicting everyday life in the fishing town of Skagen. The portraits featured on the banknote were inspired by two paintings by Danish artist Peder Severin Krøyer made in 1884, and originally hung on the walls in the dining room at Brøndums Hotel in Skagen. The anchor background pattern on the banknote does not directly refer to the artists' surname (anker means anchor in Danish), but to a necklace worn by Anna.


1000 DKK (1997)
The back of the banknote shows a tournament scene from a sepulchral monument in Bislev Church in northern Jutland.


1000 DKK (1997)
The 1000 kroner bill is sometimes referred to as a tudse (toad), from a word play on the word tusinde (a thousand).


1000 DKK (1997)
25 November 2004 the Danish national bank improved the security features with a hologram of a palette, the number 1000 and the Roman numeral "M".


1000 Days
1000 Days is the third studio album by American band Wand. It was released on September 25, 2015, by Drag City.


1000 Days, Critical reception
1000 Days was met with generally favorable reviews from critics. At Metacritic, which assigns a weighted average rating out of 100 to reviews from mainstream publications, this release received an average score of 76, based on 100 reviews.


1000 Days of Syria
1000 Days of Syria is a hypertext-based historical fiction game centered on the first 1000 days of the Syrian Civil War. Created in 2014 by Mitch Swenson, it is considered to be one of the first examples of an electronic literature newsgame.


1000 Dreams
"1000 Dreams" is a song performed by French recording duo Miss Kittin & The Hacker, taken from their second studio album, Two. It was released in April 2009, as the album's second single by Nobody's Bizzness. "1000 Dreams" became a minor hit in Belgium, where it reached top-twenty on the Flanders Ultratip chart. The song was used to open the 2009-2010 Fall/Winter Dior haute couture collection.


1000 Dreams, Composition
"1000 Dreams" is credited as a Europop song and is influenced by Depeche Mode, Kraftwerk, Robyn, and Tracey Thorn. The Kraftwerk influences are prominent in the riffs of the song.


1000 Dreams, Critical reception
Eric Henderson of Slant Magazine gave a critical view of the album Two, yet praised the song, commenting, "Miss Kittin floats on the clouds of '1000 Dreams,' firm in her belief that indulging in myriad rewardless sensations will ultimately prove its own reward."


1000 Dreams, Critical reception
Chris Todd from Clash placed "1000 Dreams" at number two on the Top 20 Songs of 2009.


1000 Dreams, Music video
The music video was directed by Régis Brochier of 7th floor Productions in January 2009.


1000 Fires
1000 Fires is the debut studio album by American singer and actress Traci Lords, released on February 28, 1995, by Radioactive Records. The album remains her only full-length music release to date. Lords started working on the album in April 1994, and collaborated with producers Juno Reactor, Mike Edwards and Babble. Executive produced by Gary Kurfirst, 1000 Fires is predominantly influenced by electronic music with elements of techno, trance and trip hop. Lyrically, it mostly focuses on dark themes, referring to Lords' past in the porn industry, revealing her rape experience on the song "Father's Field" or dealing with thoughts of suicide on "Fallen Angel".


1000 Fires
Upon its release, the album received mixed reviews from music critics. It achieved moderate commercial success, but failed to enter the Billboard 200. It is currently out of print. During the promotion of the album, Lords performed as a DJ and opened shows for other artists such as Moby and the band My Life with the Thrill Kill Kult.


1000 Fires
Two singles from the album were released. The lead single, "Control", peaked at number two on the Billboard Hot Dance Club Songs and its instrumental version was featured in the film Mortal Kombat (1995). The soundtrack to the film was certified double platinum by the Recording Industry Association of America (RIAA), which earned Lords her first music award. Its following single, "Fallen Angel", was also successful in charts, peaking at number eleven on Hot Dance Club Songs. The Paul Oakenfold remix of the song was included on the soundtrack to the film Virtuosity (1995), in which Lords had a cameo appearance.


1000 Fires, Background and recording
After her departure from the adult film industry and transition to mainstream films, Lords got signed for a development deal with Capitol Records, but was later dropped due to disagreements between her and the label. "They wanted to market me in the way that would make the most money. They wanted to make me the new Samantha Fox. And I never wanted that. That wasn't what it was about for me. I pretty much had a sense of myself, and I knew that I would be an imposter," Lords said.


1000 Fires, Background and recording
Following the split up from her husband Brook Yeaton, Lords decided to focus on her career outside acting. She began taking vocal lessons and was encouraged by her coach to search for a new record deal. After meeting with American DJ Rodney Bingenheimer at a birthday party, she was recommended to Jeff Jacklin, who hired her to record the song "Love Never Dies" for the 1992 film Pet Sematary Two. The producer of the soundtrack, Gary Kurfirst, signed her for a development deal with his label Radioactive Records.


1000 Fires, Background and recording
"I've kept personal journals since about the age of nine, and some lyrics were actually taken from them; I remember talking to Ben (Watkins of Juno Reactor) one day about suicide when something struck a chord - I looked back at the journals that I'd written when I was about ten, and the words that I found were the same words that I used in the song, words that I wrote when I was just a child."


1000 Fires, Background and recording
—Lords on creating the lyrics to the song "Fallen Angel"


1000 Fires, Background and recording
In April 1994, the label arranged her to fly to London and meet with producer Tom Bailey. They recorded the songs "I Want You", "Fly" and "Just Like Honey", which was later re-recorded by Keith Fernley of Bailey's group Babble with a different set of lyrics and became the song "Father's Field". Lords used lyrics she had previously written in New Zealand based on her personal journals she kept since she was a child. After finishing her recording with Bailey, Lords wanted something with a harder edge to add another dimension to her album.


1000 Fires, Background and recording
She was introduced to producer Ben Watkins of the electronic group Juno Reactor and decided to incorporate more rave sound. Mainly inspired by the music she would hear at warehouse parties during her stay in London, Lords teamed up with American singer Wonder with whom she created the lyrics to the song "Control". Lords later commented on the inspiration behind the album's sound: "It was in England that I fell in love with techno music.


1000 Fires, Background and recording
I was working in the UK doing some modelling a couple of years ago, and I was sharing a flat with some other girls in South London. We were really broke, and the cheapest place to go and have a good night out were raves - you could get in for about three bucks. So I went to a lot of raves and clubs, and I fell in love with the music - it was something that wasn't happening in the States at the time." Lords recorded three more songs with Watkins; "Good-N-Evil", "Outlaw Lover" and "Fallen Angel".


1000 Fires, Background and recording
Later she met Mike Edwards, the lead singer of the band Jesus Jones. They recorded the songs "Distant Land", "Say Something" and "Okey Dokey"; the latter of which they recorded as a joke at the end of a recording session.


1000 Fires, Title and artwork
When asked about the album's title, Lords said: "I think that fire is something that's really representative of the record. It's really, really peaceful and you're drawn to it. But if you get too close, it can torch you and kill you. But if you just get close enough, it's warm and it's soothing, it's mesmerising and it's peaceful. It can give you everything or destroy you, depending on how smart you are." The cover sleeve was shot by Joshua Jordan.


1000 Fires, Composition
The album's opening track and lead single, "Control", is an up-tempo electronic song. Heavily influenced by techno and trance, it contains a prominent electric guitar riff. "I told Ben [Watkins] I wanted to do a song that had elements of rock and roll but with a techno vibe and he ran with it, creating a slamming heavy metal guitar intro on an insanely hyper track." The song is about a dominant female who nurses a broken heart as she sings, "Let me kiss it and make it better/After tonight you will forget her".


1000 Fires, Composition
"Fallen Angel" is also an up-tempo techno-trance song with elements of ambient music. It features Spanish guitar and castanets. The lyrics were influenced by and written surrounding the death of Kurt Cobain. The third track, "Good-N-Evil", incorporates elements of industrial music. "Fly" is a mid-tempo song built around a trip hop beat. The album's fifth track and the only ballad on the album, "Distant Land", contains elements of ambient music and features mellow guitar melody. Lyrically, the song is a tale of a woman waking up lost and not knowing where she is, searching for light in a distant land.


1000 Fires, Composition
"Outlaw Lover", the sixth track from the album, is an up-tempo electronic song. It contains strong techno elements and features male opera vocals. Lords cast herself as a woman in a small town who had been wronged, and tells her unfaithful lover "You best be warned I'm a woman scorned," before shooting him dead. The lyrics were inspired by cowboy stories and old westerns. The following track, "I Want You", is another song with strong trip hop influences and oriental vibe. "Say Something" also incorporates trip hop music within its composition. In the album's ninth track, "Father's Field", Lords reveals her experience with rape when she was 10 years old. She was attacked by her 16-year-old classmate in the back of her father's house.


1000 Fires, Release and promotion
Following the release of the album, Lords embarked on a small tour performing as a DJ, mostly in the Miami club scene. On August 12, 1995, she was the opening act of the Lollapalooza after party, Enit Festival, alongside Moby, Sven Väth, DJ Keoki and Single Cell Orchestra.


1000 Fires, Release and promotion
"Control" was released as the lead single from the album on December 20, 1994. The song received critical acclaim, especially for its rave sound which was unexpected from Lords. It peaked at number two on the Billboard Hot Dance Club Songs and number 84 on the UK Singles Chart. Its instrumental version was featured on the soundtrack to the 1995 film Mortal Kombat. The music video was shot in Los Angeles, California, and was inspired by James Bond with Lords portraying the female version of the character.


1000 Fires, Release and promotion
The album's second single, "Fallen Angel", released on August 3, 1995, was also successful in charts, peaking at number eleven on Hot Dance Club Songs. Lords managed to get Paul Oakenfold add the song to his DJ set. His remix of the song was included on the soundtrack to the film Virtuosity (1995), in which Lords had a cameo.


1000 Fires, Release and promotion
Two music videos for the song were released: one features the original version of the song and was shot during the making of the film Virtuosity; the second version, directed by Stéphane Sednaoui, features the "Honeymoon Stitch Mix", produced by Chad Smith and Dave Navarro, then of Red Hot Chili Peppers.


1000 Fires, Reception
Upon its release, 1000 Fires received mixed reviews from music critics. Stephen Thomas Erlewine at AllMusic gave it three stars out of five, calling it "a competent exercise in techno". He criticized Lords' vocals as being "thin" and not having much range, but also remarked that "she does have a forceful and distinctive personality, which gives the record a cohesive sound." Benjamin Svetkey at Entertainment Weekly gave the album a B+, referring to Lords as "Moby with estrogen injections". The Guardian stated that "there's no saying a former under-age porn star can't make decent records and – shock! – that's exactly what her debut album is." noting that her "come-hither whisper works well on ambient items like Distant Land." while the album was brought down by "some terrible dance-by-numbers things"


1000 Fires, Reception
Despite the good chart position of the lead single, 1000 Fires did not achieve mainstream success. Lords later commented: "The problem with that album was that it was ahead of its time. Electronica was just starting to happen. Moby was just starting to be huge. I opened for Thrill Kill Kult and Moby as a DJ back then. The masses didn't know who Moby was. I think if it had been slightly delayed it would have done better. Madonna had it right to wait for Ray of Light. She has been a lot better with her timing than me. I am proud of that album because I hear it now and it still feels current. It doesn't feel dated."


1000 Forms of Fear
1000 Forms of Fear is the sixth studio album by Australian singer Sia. It was released on 4 July 2014 by Monkey Puzzle and RCA Records worldwide, and Inertia Records in Australia. Primarily an electropop album, the record also incorporates influences from reggae and hip hop. Lyrically, the record is focused on Sia struggling to deal with drug addiction and a diagnosis of bipolar disorder at the time, rediagnosed as complex PTSD in 2019.


1000 Forms of Fear
1000 Forms of Fear received generally favorable reviews from music critics, who praised Sia's vocals as well as the album's lyrical content. The album debuted at number one on the US Billboard 200 with first-week sales of 52,000 copies. The release also charted atop the charts of Australia and Canada, and reached the top five charts of Denmark, New Zealand, Norway, Sweden, Switzerland, and the United Kingdom. As of 26 October 2015, it has been certified gold by the RIAA denoting 500,000 equivalent-album units sold in the United States. As of January 2016, the album has sold 1 million copies worldwide.


1000 Forms of Fear
The album spawned four singles. Its lead single, "Chandelier", released in March 2014, became a worldwide top-10 single; it also peaked at number eight on the US Billboard Hot 100, becoming the first song by Sia to enter the chart as a lead artist. "Big Girls Cry" was released in June 2014. Sia's solo version of "Elastic Heart", which was originally a collaboration with The Weeknd and Diplo, was released in January 2015, and reached the top 20 of the Hot 100. "Fire Meet Gasoline" was released as the fourth and final single in Germany on 19 June 2015. The official music video for "Chandelier" has been viewed on YouTube more than 2 billion times, and the video for "Elastic Heart" has been viewed more than 1 billion times.


1000 Forms of Fear
To promote the project, Sia appeared on a number of TV shows, including The Ellen DeGeneres Show and Jimmy Kimmel Live!, where she recruited Maddie Ziegler, who starred in three music videos from the album, as her persona onstage, during 2014 and 2015. 1000 Forms of Fear earned Sia three ARIA Music Awards in 2014 and was listed as one of the best albums of 2014 by several publications, including The Boston Globe and Rolling Stone. The lead single "Chandelier" received four Grammy nominations for Song of the Year, Record of the Year, Best Pop Solo Performance, and Best Music Video.


1000 Forms of Fear, Background
In 2010, Sia released her fifth studio album, We Are Born, which peaked at number two on the ARIA Albums Chart and was certified gold by the Australian Recording Industry Association. Following the release of We Are Born, Sia decided to retire from the career as a recording artist and established a career as a songwriter. She wrote the song "Titanium" for American singer Alicia Keys, but it was later sent to David Guetta, who included Sia's original demo vocals on the song and released it as a single in 2011.


1000 Forms of Fear, Background
"Titanium" was a commercial success worldwide, peaking within the top five of record charts in the United States, Australia and numerous European regions. However, Sia was not pleased with the success of the single: "[...] I never even knew it was gonna happen, and I was really upset. Because I had just retired, I was trying to be a pop songwriter, not an artist." From 2011 to 2013, Sia became well known for writing songs for Christina Aguilera, Beyoncé, Flo Rida, and Rihanna.


1000 Forms of Fear, Background
By September 2013, Sia was recording vocal tracks at her home studio with the hope of releasing a new album the following spring. Later that year, a team of RCA Records representatives including the label's CEO Peter Edge met with Sia to discuss a record deal. The singer agreed to a contract for a new album in which she was not obliged to tour or do press appearances to promote the album.


1000 Forms of Fear, Background
In an interview published by NME in February 2015, Sia revealed that 1000 Forms of Fear was released as a contractual obligation: "Basically, I put this out to get out of my publishing deal. I was planning to be a pop song writer for other artists. But my publishing deal was as an artist so I had to put one more album out. I didn't want to get famous so I kept all the songs I wanted and had a lot of fun making it."