"G" Is for Gumshoe, Plot summary
It's Kinsey's CFI colleague Darcy who points out Agnes Grey is the name of a novel by Anne Brontë, which seems to link to the names Emily and Lottie (Charlotte) Agnes had mentioned. Kinsey tracks down a family called Bronfen, who match the circumstances Agnes described, and surmises that the surviving brother of the family, Patrick, murdered Lottie and Emily. She is convinced that when Patrick killed Irene's mother, Sheila, Agnes Grey was Anne Bronfen, a third sister, who took off with Irene to protect her, changing their identities and posing as the young Irene's mother. The three daughters were presumably named for the Brontë sisters, which explains the alias Anne chose to use. Patrick faked Anne's death in order to gain sole possession of the family property.


"G" Is for Gumshoe, Plot summary
Kinsey is convinced that Patrick is responsible for Agnes's death, to cover his past crimes, and discovers evidence of further killings at his home. When she confronts Patrick, she is interrupted by Messinger, who kills Patrick. Dietz and Rochelle have managed to get Eric away from Messinger, and Messinger's stated intention is to use Kinsey as a hostage to exchange for Eric. As she drives Messinger to the airport at gunpoint to intercept Rochelle, Kinsey is convinced Messinger will kill them all; and he succeeds in killing Rochelle's twin Roy, who was attempting to help her escape with Eric. However, Rochelle outsmarts Messinger and kills him first.


"G" Is for Gumshoe, Plot summary
In the epilogue, the third contract killer hired by Tyrone Patty is apprehended; and Patty himself dies as a consequence of a jail altercation. Dietz leaves to pursue his plan of providing anti-terrorism training on military bases.


"G" Is for Gumshoe, Reception
"G" Is for Gumshoe was honored with both the Private Eye Writers of America's Shamus Award for best novel and Bouchercon's 1991 Anthony Award for Best Novel. The reviewer for the School Library Journal considered the book oriented towards adults and suitable for young adults as well and wrote that "this light mystery maintains interest to the end".


"GDD CUP" International Challenger Guangzhou
The "GDD CUP" International Challenger Guangzhou (formerly known as ATP Challenger Guangzhou and China International Guangzhou) has been a tennis tournament held in Guangzhou, China. The event was held in 2008 as part of the ATP Challenger Series and in 2011 ATP Challenger Tour. It is played on hard courts.


"Galway Joe" Dolan
Joseph "Galway Joe" Dolan (25 May 1942 – 7 January 2008) was an Irish musician, songwriter and artist. Known as "Galway Joe" to distinguish him from Joe Dolan of Mullingar, he was born in Galway, County Galway, Ireland.


"Galway Joe" Dolan
Dolan was an arts student in Dublin before becoming involved in the Irish showbands of the 1960s, playing guitar with The Capitol Showband and The Swingtime Aces.


"Galway Joe" Dolan
He is best known as one of the three founding members, together with Andy Irvine and Johnny Moynihan, of the highly influential folk group Sweeney's Men, which was formed in Galway in May 1966; Dolan also chose the group's name. Sweeney's Men invigorated the Irish folk scene, and had an unexpected Irish top 10 hit with "Old Maid in the Garret" in 1967.


"Galway Joe" Dolan
The week "Old Maid in the Garret" was in the Top Ten, Dolan left the band to go to Israel with the intention of taking part in the Six-Day War. Later on, Des Kelly—Sweeney's Men's manager—joked that Dolan had arrived on the seventh day, "but it took him a year to get down there". He wrote the song "The Trip to Jerusalem" about his journey there, which was later recorded by Christy Moore in 1978 on the album The Iron Behind the Velvet.


"Galway Joe" Dolan
In that album's sleeve notes, Moore quoted Dolan's explanation of the genesis of the song:


"Galway Joe" Dolan
His song "The Foxy Devil" was also recorded by Moore on the same album. The Dubliners covered  "Nelson's Farewell", which was a hit in Ireland, and the trio Ardvarna released a beautiful version of "Mayfly Days".


"Galway Joe" Dolan
Dolan subsequently dropped professional music in favour of painting, but continued to compose and would pass on tapes to anyone who was interested. He continued to play in local sessions.


"Galway Joe" Dolan, Death
Dolan died of cancer in January 2008, survived by his son Andy, sister Chris, brother-in-law Vim, and nieces Eileen and Jessica. His autobiography, Lost Miles and Broken Strings, has not yet been published.


"Gjergj Kastrioti Skënderbeu" Decoration
The "Gjergj Kastrioti Skënderbeu" Decoration (Albanian: Dekorata "Gjergj Kastrioti Skënderbeu") is a high honorary state decoration that is currently awarded to Albanian and foreign citizens in Albania, that have made an important contribution to the defence, reinforcement and development of the Republic of Albania.


"Gjergj Kastrioti Skënderbeu" Decoration
The name refers to Skanderbeg, who is the national hero of the Albanian people. The Decoration is granted by the President of Albania. It should not be confused with the royal Order of Skanderbeg, which is a dynastic order bestowed by the Albanian royal family.


"Glozel est Authentique!"
"Glozel est Authentique!" is a 1984 role-playing game adventure for Call of Cthulhu, 	written by E. S. Erkes and C. Rawling, and published by Theatre of the Mind Enterprises (TOME).


"Glozel est Authentique!", Contents
"Glozel est Authentique!" features two scenarios: the title scenario sends investigators to the site of an archeological dig in France to determine its authenticity, and "Secrets of the Kremlin" sends characters to the heart of Stalin's Moscow.


"Glozel est Authentique!", Reception
Stephen Kyle reviewed Glozel est Authentique! for White Dwarf #59, giving it an overall rating of 5 out of 10, and stated that "some of TOME's previous CoC adventure packs have been notable for their poor layout, terrible artwork and hordes of stereotypical Germans. Well, just for a change, this one has terrible layout, quite good artwork and hordes of stereotypical French and Russians."


"Glozel est Authentique!", Reception
William A. Barton reviewed "Glozel est Authentique!" in Space Gamer No. 71. Barton commented that "Overall, "Glozel est Authentique!" is probably TOME's best CoC adventure pack to date. If you've liked TOME's past releases, you'll love this one; even if you haven't cared for past adventures, this is one you should take a look at - as a French/Russian sourcebook for CoC play, if nothing else."


"Go Home" vans
The "Go Home" vans were part of a controversial 2013 advertising campaign by the British Home Office in which advertising vans with slogans recommending that illegal immigrants should "go home or face arrest" were sent to tour areas with high immigrant populations. The hypothesis of the operation was that people who did not have leave to remain would voluntarily depart if "a near and present" danger, such as being arrested, was made apparent.


"Go Home" vans
The pilot programme, which had the internal codename 'Operation Vaken', ran in the six London boroughs of Barking and Dagenham, Barnet, Brent, Ealing, Hounslow, and Redbridge from 22 July to 22 August 2013, and was part of the Home Office hostile environment policy. In October 2013, the evaluation report stated that 60 voluntary departures were believed to be directly related to 'Operation Vaken' and 65 more cases were "currently being progressed to departure."


"Go Home" vans
The campaign was cancelled after a public outcry against it.


"Go Home" vans
British politicians including Nick Clegg, Vince Cable and Eric Pickles expressed concerns about the campaign. Nigel Farage described the advertisements as "unpleasant." Yvette Cooper compared the slogans on the vans with slogans used by the National Front in the 1970s and the campaign was described by Diane Abbott as an example of dog-whistle politics, stating that "It is not so much dog-whistle politics as an entire brass band ... It is akin to scrawling 'Paki go home' on the side of buildings. I don't believe this policy is going to achieve anything besides stoking fear and resentment."


"Good Hair" and Other Dubious Distinctions
"Good Hair" and Other Dubious Distinctions is a 2011 documentary film directed, written and edited by Camille S. DeBose. The film focuses on cultural language and practices that negatively impact the development of a healthy sense of self. The filmmaker's commentary asserts a criticism of the way wavy hair, lighter skin and a slender nose are still considered more attractive in the black community in light of historical and contemporary movements which have sought to liberate black self-esteem.


"Good Hair" and Other Dubious Distinctions
As a practicing and teaching sociologist, the filmmaker sought to illuminate the notion of symbolic violence through the lens of Pierre Bourdieu and spark conversation not just in the black community but all other communities as well. Cultural practices which value some features but not others are issues common to every family and every community. For the filmmaker this is an issue of valuing and finding beauty in every human being.


"Good Hair" and Other Dubious Distinctions, Synopsis
The film begins with a series of outdoor shots narrated by the filmmaker. The viewer follows her fuzzy form as she approaches the camera and tells a story of people remarking on the features they hope her unborn child will be born with. The film continues with a collection of personal stories juxtaposed against discussion and analysis from professionals and academics. Viewers get glimpses of the filmmaker's pregnant form as she travels through the landscape. The film ends with the sight of the filmmaker's child and a quote by bell hooks on shame and the life cycle.


"Good Hair" and Other Dubious Distinctions, Release
The film had its Chicago debut at the Black Harvest Film Festival on August 22, 2011.


"Good Hair" and Other Dubious Distinctions, Reviews
The film was reviewed and recommended by Video Librarian in their 2013 January/February online issue.


"Good day, fellow!" "Axe handle!"
"'Good Day, Fellow!' 'Axe Handle!'" (Norwegian: "God dag, mann!" "Økseskaft!") is a Scandinavian folktale, collected by Asbjørnsen and Moe.


"Good day, fellow!" "Axe handle!", Plot
A deaf or hard of hearing ferryman has a wife, two sons and a daughter. They fritter away all their money, and leave him to pay the bill when their credit runs out.


"Good day, fellow!" "Axe handle!", Plot
He sees the bailiff coming in the distance and decides to be clever and prepare his answers ahead of time. He reasons that the first thing the man will ask will be about what he is carving. He will say that it is an axe handle. He thinks that the other questions will be about the length of the axe handle, his ferry, his mare and the way to the cowshed.


"Good day, fellow!" "Axe handle!", Plot
However, the first thing the bailiff says is "Good day, fellow!" He replies "Axe handle! ", thinking himself clever.


"Good day, fellow!" "Axe handle!", Plot
Next the bailiff asks how far it is to the inn. "Up to this knot!" he replies, pointing to the axe handle.


"Good day, fellow!" "Axe handle!", Plot
"I'm going to tar her," says the ferryman. "She's lying on the beach, cracked at both ends."


"Good day, fellow!" "Axe handle!", Plot
"Oh, she's in the stable, big with foal," he says, still thinking himself clever.


"Good day, fellow!" "Axe handle!", Plot
The bailiff finally gets angry with him and shouts, "Go to the devil, fool that you are!"


"Good day, fellow!" "Axe handle!", Plot
"Oh, it's not far away, when you're over the hill, you're almost there," says the man.


"Good day, fellow!" "Axe handle!", Influence
The phrase "Goddag mann, økseskaft!" (Good day fellow axe handle) has become a common idiom for a non sequitur, not just in Norway but also the rest of Scandinavia ("Goddag, yxskaft!" in Swedish, "Goddag mand, økseskaft!" in Danish and "Hyvää päivää, kirvesvartta!" in Finnish).


"Good day, fellow!" "Axe handle!", Influence
The folktale was later published in the widely used Swedish elementary school book Sörgården by Anna Maria Roos in 1912.


"Good day, fellow!" "Axe handle!", Influence
A similar tale appears in a 1985 collection of folktales given an erotic twist, by Erik Høvring.


"H" Is for Homicide
"H" Is for Homicide is the eighth novel in Sue Grafton's "Alphabet" series of mystery novels  and features Kinsey Millhone, a private eye based in Santa Teresa, California.


"H" Is for Homicide
In this novel, Kinsey Millhone goes under cover to help break up an insurance fraud ring in Los Angeles led by Raymond Maldonado. She infiltrates the ring by befriending Maldonado's former girlfriend Bibianna Diaz. In the process she meets up with a former school mate and ex cop, Jimmy Tate.


"H" Is for Homicide
This novel earned a place on the New York Times hard-cover best-seller list just two weeks after initial publication.


"H" Is for Homicide
The title is similar to that of the fictional novel "H as in Homicide" portrayed as a work written by Ernesta Snoop of the Snoop Sisters in the 1972 television movie that spawned a series.


"H" Is for Homicide, Plot summary
These are troubling times for California Fidelity, the insurance company for whom Kinsey Millhone does occasional freelance work in return for office space. First, a recent employee and friend of Kinsey's, Parnell Perkins, is shot and killed—and the police investigation seems curiously lacking in results. Second, in the wake of poor profit figures, company troubleshooter Gordon Titus (or 'tight-ass' as he is immediately nicknamed) arrives to shake things up. The informal arrangement with Kinsey seems high on his list of targets.


"H" Is for Homicide, Plot summary
In the new mood of nervous efficiency prevalent at CFI pending Titus's arrival, Kinsey is passed the claim file of Bibianna Diaz to investigate for possible fraud. Kinsey assumes a false identity as Hannah Moore in an attempt to befriend Bibianna, who, by co-incidence, is in a relationship with a former schoolmate and police-academy associate of Kinsey's, Jimmy Tate, recently relieved of police duties on the grounds of corruption. Bibianna has problems too, it seems: her former boyfriend Raymond Maldonaldo, of whom she is—rightly, as it turns out—terrified, is the jealous type and is hunting her down.


"H" Is for Homicide, Plot summary
Kinsey realises that a CFI colleague has inadvertently given away information on Bibianna to Raymond's gang, and things come to a head while she is out drinking with Bibianna and Tate. Raymond's brother Chago and his girlfriend Dawna accost Bibianna; and in the fracas that ensues, Tate shoots and kills Chago. Bibianna is taken into custody, Kinsey deliberately sticking to her in order to cement their relationship.


"H" Is for Homicide, Plot summary
Kinsey's enforced overnight stay in the police 'tank' is interrupted by Lieutenant Dolan, who has a job offer for her: Raymond is the head of a huge insurance fraud gang, and the police want Kinsey to use her new position as Bibianna's confidante to get the evidence they need; there seems to be a leak somewhere in the police department, and they need someone unconnected whom they can trust to bring Raymond to justice.


"H" Is for Homicide, Plot summary
Kinsey withdraws her initial gut refusal when Dolan tells her Raymond killed Parnell but that they have been stalling the murder investigation in order not to jeopardize the longstanding fraud case. Kinsey agrees to help out of a sense of duty to Parnell; but the police plan to have Kinsey wired for her own protection goes awry, and she is left to fend for herself.


"H" Is for Homicide, Plot summary
Thus begins a dangerous and stifling few days for Kinsey, undercover and up to her neck in a criminal ring headed by a deluded killer. Raymond effectively keeps both Kinsey and Bibianna under house arrest in Los Angeles, with the aid of his second in command, Luis. Raymond can't accept Bibianna's rejection of him and is determined to force her into marriage. The snag in the plan, which Bibianna doesn't dare confess, is that she has actually just married Tate. Tensions run high, while Kinsey learns much about the car insurance fraud business, keeps her eyes open, and eventually establishes the leak is a clerk at the County Sheriff's office, whose father is a crooked doctor heavily involved in Raymond's ring.


"H" Is for Homicide, Plot summary
Matters come to a head when Bibianna escapes and is pursued almost to her death by one of Raymond's henchmen. Visiting her in the hospital, the doctor inadvertently lets slip to Raymond that Bibianna's next of kin is her husband, Jimmy Tate. Enraged, Raymond shoots Jimmy. Kinsey sets off in hot pursuit and receives unexpected help from Luis, who turns out to be an undercover LAPD cop. Kinsey makes it back to Santa Teresa in the nick of time for her friend Vera Lipton's wedding. Both Bibianna and Tate survive; but despite her success in wrapping up the insurance fraud claim, Kinsey is fired from CFI by Gordon Titus.


"H" Is for Homicide, Publication history
With a first printing of 170,000 copies, this book earned a place on the New York Times hard-cover best-seller list just two weeks after initial publication.


"Hamburger" Jones
Alonzo "Hamburger" Jones is an American writer and "catchphrase" comedian, best known for his cowboy hat and frequent use of the word "hamburger".


"Hamburger" Jones, Career
A longtime comedian, Jones first gained national attention following two television appearances on HBO's Def Comedy Jam in the early nineties. Known for his clean comedy routines, Jones became so recognizable for his use of the word "hamburger" at the end of jokes or as a substitution for profanity, often stretching the syllables, that he soon adopted it as his stage name. Although the origins of this shtick have not been well documented, a brief biography by his booking agent claims:


"Hamburger" Jones, Career
Comedian Hamburger is on a mission to let people know they are not living right. In doing so, Hamburger tries not to use profanity, like gentlemen of the old west who does not swear in front of the ladies. Instead, comedian Alonzo Jones has substituted profanity with one word.....HAMBURGER.


"Hamburger" Jones, Career
Although he is said to have performed on Showtime at the Apollo, BET's Teen Summit, ComicView, and a few others following his Def Comedy Jam sets, Jones has rarely been seen on television since, except for two appearances on Byron Allen's Comics Unleashed seven years apart, nearly a decade after his last performance on Def Comedy Jam. Despite this, Jones continues to perform stand-up, appearing on tour as recently as May 2019.


"Hamburger" Jones, Personal life
Over the years, Jones befriended numerous comedians, including Uncle Jimmy Mack, who he claimed had contacted him after beginning a "relationship with the Lord".


"Happy" in Galoshes
"Happy" in Galoshes is the second solo album by American rock singer Scott Weiland. Weiland, known for his roles as the lead singer in Stone Temple Pilots and Velvet Revolver, released his first album, 12 Bar Blues in 1998. Ten years later, "Happy" in Galoshes served as the official follow-up. Two versions have been released, a single disc and double disc deluxe version—the deluxe edition offers a second disc of 10 extra tracks. The album was released November 25, 2008 on Weiland's own Softdrive Records.


"Happy" in Galoshes
Produced by Doug Grean and Scott Weiland, with select tracks recorded by Steve Albini, the album features guest appearances by Paul Oakenfold and No Doubt members Adrian Young, Tony Kanal, and Tom Dumont. Oakenfold appears on a cover of David Bowie's "Fame." Weiland cited Bowie as one of his main influences. This is Weiland's final main solo album to featured the original material during his lifetime, as his next and final solo album The Most Wonderful Time of the Year (2011) only featured the cover of Christmas song.


"Happy" in Galoshes, Musical style and lyrics
In an interview with The Pulse of Radio regarding the album, Weiland stated:"It'll definitely be a sonic journey like the first album was, a little bit more focused since I'm not on a narcotic journey like I was on the last one. But, you know, still sort of all over the map, because my influences are so wide and varied." In an interview with MTV News, Weiland stated that the songs on "Happy" In Galoshes were inspired by the death of his brother, Michael (who also played drums on a song on the album), and Weiland's separation from his wife of eight years, Mary Forsberg.


"Happy" in Galoshes, Development
"Happy" in Galoshes was originally reported to be a double album, but in actuality, it is a single album that is being offered in a deluxe edition.


"Happy" in Galoshes, Development
On September 17, 2008, Spin.com posted an exclusive stream of "Paralysis", and the track "Missing Cleveland" was posted on Weiland's MySpace site. On October 24, Spin also posted another new song, "Crash". On October 27, rockdirt.com released the video for "Paralysis", which features actress Paz de la Huerta. On November 18, the album became available to preview on Scott Weiland's MySpace page. A series of 4 webisodes directed by Rocco Guarino were released on scottweiland.com to promote the single "Crash".


"Happy" in Galoshes, Development
"Missing Cleveland" was the first single released from the album on November 11. On February 17, it was announced that fans could vote for the album's second single. The candidates for the voting are "Paralysis", "Blind Confusion", and "Killing Me Sweetly."


"Happy" in Galoshes, Reception
"Happy" in Galoshes debuted at #97 on the Billboard 200, selling 10,500 copies in its first week. The album received a 3.5/5 score from Rolling Stone magazine, and a four out of a possible five from Allmusic. Entertainment Weekly wasn't as approving, giving it a C– score.


"Helen Butte" vs. Masonna Pussy Badsmell
"Helen Butte" vs. Madonna Pussy Badsmell is a studio album by To Live and Shave in L.A., released on August 6, 1996 by Full Contact Records.


"Helen Butte" vs. Masonna Pussy Badsmell, Release and reception
Aiding & Abetting called "Helen Butte" vs. Madonna Pussy Badsmell "a nice collection of random musical violence. To Live and Shave in L.A. already has a fine reputation for this sort of musical mayhem, and this album doesn't disappoint." AllMusic gave the album two out of five stars, calling it a "disturbing cacophony melted on in several, short pieces" and a "predictable gimmick that wears thin early." Jeff Bagato of the Washington City Paper enjoyed and said "musically, Moog, bass, guitar, and lots of tape manipulation (heavy-metal records are particularly in evidence) are sucked into the black hole of Tom Smith's mixing board and condensed into piles of slurred, guttural ranting, static, and broken rock."


"Helen Butte" vs. Masonna Pussy Badsmell, Track listing
All lyrics are written by Tom Smith, except "Television's Over" by T. V. Smith; all music is composed by Frank Falestra, Tom Smith and Ben Wolcott, except "Television's Over" by T. V. Smith.


"Helen Butte" vs. Masonna Pussy Badsmell, Personnel
Adapted from the "Helen Butte" vs. Madonna Pussy Badsmell liner notes.


"Hello, World!" program
A "Hello, World!" program generally is a computer program that outputs or displays the message "Hello, World!". Such a program is very simple in most programming languages, and is often used to illustrate the basic syntax of a programming language. It is often the first program written by people learning to code. It can also be used as a sanity test to make sure that computer software intended to compile or run source code is correctly installed, and that the operator understands how to use it.


"Hello, World!" program, History
While small test programs have existed since the development of programmable computers, the tradition of using the phrase "Hello, World!" as a test message was influenced by an example program in the seminal 1978 book The C Programming Language. The example program in that book prints "hello, world", and was inherited from a 1974 Bell Laboratories internal memorandum by Brian Kernighan, Programming in C: A Tutorial:


"Hello, World!" program, History
In the above example, the main( ) function defines where the program should start executing. The function body consists of a single statement, a call to the printf function, which stands for "print formatted". This function will cause the program to output whatever is passed to it as the parameter, in this case the string hello, world, followed by a newline character.


"Hello, World!" program, History
The C language version was preceded by Kernighan's own 1972 A Tutorial Introduction to the Language B, where the first known version of the program is found in an example used to illustrate external variables:


"Hello, World!" program, History
The program also prints hello, world! on the terminal, including a newline character. The phrase is divided into multiple variables because in B, a character constant is limited to four ASCII characters. The previous example in the tutorial printed hi! on the terminal, and the phrase hello,  world! was introduced as a slightly longer greeting that required several character constants for its expression.


"Hello, World!" program, History
The Jargon File claims that "Hello, World!" originated instead with BCPL (1967). This claim is supposedly supported by the archived notes of the inventors of BCPL, Brian Kernighan at Princeton and Martin Richards at Cambridge. The phrase predated by over a decade its usage in computing; as early as the 1950s, it was the catchphrase of radio disc jockey William B. Williams.


"Hello, World!" program, Variations
"Hello, World!" programs vary in complexity between different languages. In some languages, particularly scripting languages, the "Hello, World!" program can be written  as a single statement, while in others (particularly many low-level languages) there can be many more statements required. For example, in Python, to print the string Hello, World! followed by a newline, one only needs to write print("Hello, World!"). In contrast, the equivalent code in C++  requires the import of the input/output software library, the manual declaration of an entry point, and the explicit instruction that the output string should be sent to the standard output stream. Generally, programming languages that give the programmer more control over the machine will result in more complex "Hello, World" programs.


"Hello, World!" program, Variations
The phrase "Hello World!" has seen various deviations in punctuation and casing, such as the presence of the comma and exclamation mark, and the capitalization of the leading H and W. Some devices limit the format to specific variations, such as all-capitalized versions on systems that support only capital letters, while some esoteric programming languages may have to print a slightly modified string. For example, the first non-trivial Malbolge program printed "Hello world", this having been determined to be good enough. Other human languages have been used as the output; for example, a tutorial for the Go programming language outputted both English and Chinese or Japanese characters, demonstrating the programming language's built-in Unicode support.


"Hello, World!" program, Variations
Some languages change the functionality of the "Hello, World!" program while maintaining the spirit of demonstrating a simple example. Functional programming languages, such as Lisp, ML, and Haskell, tend to substitute a factorial program for "Hello, World! ", as functional programming emphasizes recursive techniques, whereas the original examples emphasize I/O, which violates the spirit of pure functional programming by producing side effects. Languages otherwise capable of printing "Hello, World!" (Assembly, C, VHDL) may also be used in embedded systems, where text output is either difficult (requiring additional components or communication with another computer) or nonexistent. For devices such as microcontrollers, field-programmable gate arrays, and CPLDs, "Hello, World!" may thus be substituted with a blinking LED, which demonstrates timing and interaction between components.


"Hello, World!" program, Variations
The Debian and Ubuntu Linux distributions provide the "Hello, World!" program through their software package manager systems, which can be invoked with the command hello. It serves as a sanity check and a simple example of installing a software package. For developers, it provides an example of creating a .deb package, either traditionally or using debhelper, and the version of hello used, GNU Hello, serves as an example of writing a GNU program.


"Hello, World!" program, Variations
Variations of the "Hello, World!" program that produce a graphical output (as opposed to text output) have also been shown. Sun demonstrated a "Hello, World!" program in Java based on scalable vector graphics, and the XL programming language features a spinning Earth "Hello, World!" using 3D computer graphics. Mark Guzdial and Elliot Soloway have suggested that the "hello, world" test message may be outdated now that graphics and sound can be manipulated as easily as text.


"Hello, World!" program, Time to Hello World
"Time to hello world" (TTHW) is the time it takes to author a "Hello, World!" program in a given programming language. This is one measure of a programming language's ease-of-use; since the program is meant as an introduction for people unfamiliar with the language, a more complex "Hello, World!" program may indicate that the programming language is less approachable. The concept has been extended beyond programming languages to APIs, as a measure of how simple it is for a new developer to get a basic example working; a shorter time indicates an easier API for developers to adopt.


"Heroes" (David Bowie album)
"Heroes" is the 12th studio album by English musician David Bowie, released on 14 October 1977 by RCA Records. After releasing Low earlier that year, Bowie toured as the keyboardist of his friend and singer Iggy Pop. At the conclusion of the tour, they recorded Pop's second solo album Lust for Life at Hansa Tonstudio in West Berlin before Bowie regrouped there with collaborator Brian Eno and producer Tony Visconti to record "Heroes". It was the second instalment of his Berlin Trilogy, following Low and preceding Lodger (1979). Of the three albums, it was the only one wholly recorded in Berlin. Much of the same personnel from Low returned for the sessions, augmented by King Crimson guitarist Robert Fripp.


"Heroes" (David Bowie album)
The album was recorded sporadically from July to August 1977. The majority of the tracks were composed on the spot in the studio, the lyrics not being written until Bowie stood in front of the microphone. The music itself is based in art rock and experimental rock, and builds upon its predecessor's electronic and ambient approaches, albeit with more positive tones, atmospheres and passionate performances. The album also follows the same structure as its predecessor, side one featuring more conventional tracks and side two featuring mostly instrumental tracks.


"Heroes" (David Bowie album)
The cover photo, like Iggy Pop's The Idiot, is a nod to the painting Roquairol by German artist Erich Heckel. Upon release, "Heroes" was a commercial success, peaking at number 3 on the UK Albums Chart and number 35 on the US Billboard Top LPs & Tape chart. It was the best-received work of the Berlin Trilogy on release, with NME and Melody Maker naming it Album of the Year. Bowie promoted the album extensively, appearing on several television programmes and interviews. He supported Low and "Heroes" on the Isolar II world tour throughout 1978, performances of which have appeared on the live albums Stage (1978) and Welcome to the Blackout (2018).


"Heroes" (David Bowie album)
Retrospectively, "Heroes" has continued to receive positive reviews, many reviewers praising Bowie's growth as an artist and Fripp's contributions. Although critical opinion has tended to view Low as the more groundbreaking record, "Heroes" is regarded as one of Bowie's best and most influential works. The title track, initially unsuccessful as a single, remains one of Bowie's best-known and acclaimed songs. An altered and obscured version of the cover artwork later appeared as the artwork for Bowie's 2013 album The Next Day. The album has been reissued several times and was remastered in 2017 as part of the A New Career in a New Town (1977–1982) box set.


"Heroes" (David Bowie album), Background
In the second half of 1976, David Bowie moved to Switzerland with his wife Angela to escape the drug culture of Los Angeles. He then moved to the Château d'Hérouville in Hérouville, France with his friend, singer Iggy Pop, where the two recorded his debut studio album The Idiot in the summer of 1976. After meeting with musician Brian Eno the same year, Bowie, producer Tony Visconti and Eno began work on Low, the first instalment of what would come to be known as the Berlin Trilogy. Recording for Low began in September 1976 and continued through November, finishing up at Hansa Studios in West Berlin, following Bowie and Pop's move there.


"Heroes" (David Bowie album), Background
RCA Records stalled on releasing Low for three months, fearing poor commercial performance. Upon its eventual release in January 1977, it received little to no promotion from both RCA and Bowie himself, who felt it was his "least commercial" record up to that point and instead opted to tour as Pop's keyboardist. The tour, launched to support The Idiot, lasted from March to April 1977. After the tour's completion, Bowie and Pop returned to Hansa Tonstudio 2, where they recorded Pop's next solo album Lust for Life in two and a half weeks, from May to June 1977.


"Heroes" (David Bowie album), Background
By the time he finished Lust for Life, Bowie was ready to begin work on his next record. In mid-June, he travelled to Paris to undertake his first promotional appearances in over a year. He filmed a music video for his Low single "Be My Wife", then taped two interviews with French journalists a week later. Afterwards, Bowie contacted Eno to discuss their next collaboration. The two spent a few weeks devising concepts and ideas for the new album before they were joined by Visconti, who was busy with other commitments.


"Heroes" (David Bowie album), Recording and production
For the album, Bowie, Visconti and Eno regrouped at Hansa Studio 2 in West Berlin. Although the album was the second instalment of Bowie's Berlin Trilogy, it was the only one recorded entirely in Berlin. The studio was a former concert hall converted into a recording studio that had been used by Gestapo officers during World War II as a ballroom. The studio was located about 500 yards from the Berlin Wall, leading Bowie to describe it as "the hall by the wall".


"Heroes" (David Bowie album), Recording and production
Describing how the location of the studio affected the creative process, Visconti recalled: "Every afternoon I'd sit down at [a] desk and see three Russian Red Guards looking at us with binoculars, with their Sten guns over their shoulders, and the barbed wire, and I knew that there were mines buried in that wall, and that atmosphere was so provocative and so stimulating and so frightening that the band played with so much energy".


"Heroes" (David Bowie album), Recording and production
Guitarist Carlos Alomar told biographer David Buckley: "These things [Germans, Nazis, the Wall, oppression] are hanging in the air, and when things get darker physically, you kind of think of darker themes too. Berlin was a rather dark, industrial place to work." Despite the dark atmosphere, Visconti particularly had an exciting time creating the album, saying, "It was one of my last great adventures in making albums."


"Heroes" (David Bowie album), Recording and production
Most of the album was recorded with the same personnel as its predecessor Low, with Alomar, George Murray and Dennis Davis as the core band. Bowie played piano, having gotten significantly more experience playing the instrument during his time with Pop. An addition to the lineup was guitarist Robert Fripp, formerly of the band King Crimson, who was recruited at Eno's suggestion. The guitarist recalled: "I got a phone call [from Brian Eno] when I was living in New York in July 1977. He said that he and David were recording in Berlin and passed me over.


"Heroes" (David Bowie album), Recording and production
David said, 'Would you be interested in playing some hairy rock 'n' roll guitar?' I said, 'Well, I haven't really played for three years – but, if you're prepared to take a risk, so will I.' Shortly afterward, a first-class ticket on Lufthansa arrived." Upon his arrival to the studio, Fripp sat down and recorded lead guitar parts for tracks he had never heard before. He also received little guidance from Bowie, who had yet to write lyrics or melodies. Fripp completed all his guitar parts in three days.


"Heroes" (David Bowie album), Recording and production
Fripp's playing received significant praise from Visconti and Eno, who were impressed with Fripp's ability to play for songs he had never heard before with such "virtuosity". According to biographer Nicholas Pegg, Fripp was not Bowie's first choice. Michael Rother of the German band Neu! had originally been approached to contribute, but shortly before the sessions began, he was contacted by an unknown person and informed that Bowie had changed his mind, although later interviews with Bowie suggested otherwise.


"Heroes" (David Bowie album), Recording and production
While producing other Bowie records, Visconti found that new ideas were flowing at a consistent basis and because of this, sometimes they tended to be forgotten. In order to counteract this, he kept a two-track tape running at all times. Murray recalled: "Tony had the insight to see what was happening in rehearsals so he just switched on the tape machines and let them run." Visconti himself later recalled: "It came in handy so many times...because we'd get lost.


"Heroes" (David Bowie album), Recording and production
We'd start with an idea then go in the wrong direction, and after an hour we'd say 'How did this start again?'" During the sessions for Low, Visconti became frustrated with the lack of studio staff present at the Château. At Hansa however, he was assisted by in-house engineer Eduard Meyer, whom Visconti recalled was critical in maintaining a positive atmosphere. Likewise, the mood during the "Heroes" was brighter and more optimistic than the sessions for Low. Bowie in particular was in a healthier state of mind. He and Visconti would travel around Berlin frequently and one on such occasion, they met Antonia Maass, a local jazz singer who would go on to provide backing vocals on "Heroes".


"Heroes" (David Bowie album), Recording and production
According to biographer Thomas Jerome Seabrook, the recording process for "Heroes" began at a very quick pace, following along from the Low's process, with the basic backing tracks for side one being completed in just two days. Working the same way he did on Low, Visconti fed Davis's drums through his Eventide H910 Harmonizer, giving it what Seabrook calls a "distinctive, high-tech sheen"; Davis also added congas and timpani to his set to take advantage of the large studio space.


"Heroes" (David Bowie album), Recording and production
Visconti gave high praise to Davis, calling him "one of the best drummers I've ever worked with," further calling Alomar and Murray "amazing musicians...you'd just throw a few chord changes at them and they'd run with it." In an interview with NME later in the year, Eno said the initial phase of recording was "all done in a very casual kind of way." Bowie gave "very brief instruction", then the band would play. Hesitant at first, Eno found the process surprisingly effective, with most tracks being done in one take. Eno stated, "We did second takes, but they weren't nearly as good."


"Heroes" (David Bowie album), Recording and production
Overall, Eno has a much greater role on "Heroes" than he had for Low, being credited as co-author on four of the ten songs, leading Seabrook to call it the "truer" collaboration. Eno himself stated "We both worked on all the pieces all the time." Eno would act as "assistant director" to Bowie, giving feedback to the musicians and suggesting new – and unusual – ways to approach the tracks. One of these ways was the employment of Eno's Oblique Strategies cards. According to O'Leary, these cards were "part-fortune cookie, part-Monopoly 'Chance' cards", intended to spark creative ideas. Although these cards were used greatly throughout the Lodger sessions, Eno and Bowie only used them on "Heroes" when creating the instrumentals, including on "V-2 Schneider", "Sense of Doubt" and "Moss Garden".


"Heroes" (David Bowie album), Recording and production
Following the initial sessions in July, recording for "Heroes" became more sporadic, with overdubs, vocals and mixing lasting until August. Like its predecessor, lyrics weren't written or recorded until all but Bowie and Visconti departed. Seabrook characterises this stage of recording as "sporadic bursts of inspiration surrounded by longer stretches of contemplation." When making The Idiot and Lust for Life with Iggy Pop, Bowie became fascinated with Pop's ability to improvise lyrics while standing at the microphone. For "Heroes", he decided to use the same method.


"Heroes" (David Bowie album), Recording and production
Visconti later attested: "He'd never have a clue what he'd sing about until he actually walked in front of the microphone." Bowie usually completed his vocals in only one or two takes; Visconti provided backing vocals in the same fashion. The final mixes were done at Mountain Studios in Montreux, Switzerland, a studio that would become one of Bowie's mainstays. An engineer at Mountain, Dave Richards, would also become one of his regulars. Richards' assistant was Eugene Chaplin, the son of silent film star Charlie Chaplin.


"Heroes" (David Bowie album), Music and lyrics
As the second release of the Berlin Trilogy, the music on "Heroes" expands on the material found on its predecessor Low. The songs have been described by Consequence of Sound as art rock and experimental rock, while also further continuing Bowie's work in the electronic and ambient genres. Like its predecessor, the songs on "Heroes" emphasise tone and atmosphere rather than guitar-based rock. However, the songs have been described as more positive in both tone and atmosphere than the songs of its predecessor. Visconti would describe the album as "a very positive version of Low." Biographer Paul Trynka writes that the record evokes "both past and future." It also follows the same structure as its predecessor, with side one featuring more conventional tracks, and side two featuring mostly instrumental tracks.


"Heroes" (David Bowie album), Music and lyrics
Author Peter Doggett writes that whereas Low featured lyrics of autobiographical nature, the lyrics of "Heroes" were "oblique and often deliberately evasive", and were sung with an "astonishing[ly]" amount of passion. Visconti recalled that lyrics were made up on the spot, with Bowie sometimes ad-libbing entire songs, singing "at the top of his lungs". Songs of this instance included "Joe the Lion", a tribute to American artist Chris Burden, who was known for his outlandish publicity stunts, and "Blackout", which references the New York City blackout of 1977.


"Heroes" (David Bowie album), Music and lyrics
Like the second side of Low, the imagery of the Berlin Wall dominates "Heroes" throughout; a kiss between Visconti and Maass at the foot of the Wall inspired a lyric for the title track. Bowie's vocal for "'Heroes'" goes from calm and playful to a near-scream, a style he called "Bowie histrionics". Musically, Fripp's guitar feedback dominates throughout, while the bass pulsates and Eno synthesisers blends in the background. Bowie explained the song is about "facing reality and standing up to it" and finding joyness in life. Buckley particularly highlights the lyric "We can be heroes, just for one day" as "an acknowledgment that the future didn't belong to him anymore, [but] to everyone".


"Heroes" (David Bowie album), Music and lyrics
"Sons of the Silent Age" was the only song written before the sessions began and was originally intended to be the album's title track. The lyrics are influenced by the works of Jacques Brel and follow several characters that are, in O'Leary's words, "part-homo superior/part-Bewlay Brothers". Musically, the song is noted by biographers as different than the rest of the songs on the album, in that the themes present reflect ideals from the previous decade rather than the contemporary, while O'Leary likens its sound more to that of Hunky Dory (1971) than the rest of the album. Biographers also consider the album's closer, "The Secret Life of Arabia", as a precursor to what Bowie would explore on Lodger.


"Heroes" (David Bowie album), Music and lyrics
The instrumentals are described by Buckley as dark and gloomy. "Sense of Doubt" puts a repeating four-note piano motif against a set of synthesisers to paint an image of a barren landscape. Bowie plays the Japanese instrument koto on "Moss Garden" which, together with synths, evoke a sound resembling aeroplanes flying overhead; Bowie further emphasises his fascination with Japan by stating he's "under Japanese influence" in "Blackout". The track segues into "Neuköln", which is named after a district in Berlin of the same name. The track uses sound to capture the feeling of despair and desperation that the Turkish immigrants who lived there experienced.


"Heroes" (David Bowie album), Music and lyrics
The majority of Low was influenced by Krautrock bands such as Tangerine Dream, Kraftwerk and Neu! Earlier in 1977, Kraftwerk name-checked both Bowie and Iggy Pop on the title track of Trans-Europe Express, which was Kraftwerk's response to the title track of Station to Station. Although the influence of Kraftwerk and Harmonia are less prominent on "Heroes" in favour of Edgar Froese, Bowie paid tribute by naming the album after Neu! 's track "Hero" from their album Neu! ' 75, while "V-2 Schneider" is inspired by and named after Kraftwerk's Florian Schneider.


"Heroes" (David Bowie album), Music and lyrics
However, many British listeners assumed "V-2" was a reference to the type of rockets used by the German army in World War II. "V-2 Schneider" is also notable for having an off-beat saxophone part played by Bowie, who began the take on the wrong beat but decided he liked it better and kept it as is.


"Heroes" (David Bowie album), Artwork and release
The cover photo was taken by Japanese photographer Masayoshi Sukita. Like the artwork for Iggy Pop's The Idiot, the cover is a nod to German artist Erich Heckel's paintings Roquairol and Young Man. Pegg describes Bowie's pose as "a wild-eyed Bowie locked in a rigid pose of serio-comic agitation, raising a flat palm as though he has just mimetically lifted the final mask of artifice from his face."


"Heroes" (David Bowie album), Artwork and release
In an interview with Charles Shaar Murray of NME, Bowie said that the quotation marks in the title "indicate a dimension of irony about the word 'heroes' or about the whole concept of heroism". Visconti would later state that the album was "heroic" in that it was a very positive period of Bowie's life and during the making of the album, everyone felt like heroes. Regarding the title, Bowie said, "I thought I'd pick on the only narrative song to use as the title," quipping he could have titled it The Sons of Silent Ages.


"Heroes" (David Bowie album), Artwork and release
The title track was chosen as the lead single and released on 23 September 1977, with fellow album track "V-2 Schneider" as the B-side and the catalogue number RCA PB 1121. It was released in a shortened edited form in the hopes of more airplay, but Buckley believes this edit results in the song losing some of its "dramatic appeal". It was supported by a music video, shot in Paris and directed by Nick Ferguson, that features Bowie in the same jacket on the album cover against a backdrop of white light.


"Heroes" (David Bowie album), Artwork and release
For the German and French releases of the single, titled "'Helden'" and "'Héros'", respectively, Bowie re-recorded his vocals in both languages, with lyrics translated by Antonia Maass for the German release. Despite the song's later mass acclaim, it was initially a failure, peaking at number 24 on the UK Singles Chart and failing to chart in the US. Pegg and Chris O'Leary note that it wasn't until Bowie's Live Aid performance in 1985 did the song become recognised as a classic. Bowie later remarked in 2003: "This is a strange phenomenon that happens with my songs Stateside. Many of the crowd favourites were never radio or chart hits, and '"Heroes"' tops them all."


"Heroes" (David Bowie album), Artwork and release
I didn't promote Low at all and some people thought my heart wasn't in it. This time, I wanted to put everything into pushing the new album. I believe in the last two albums, you see, more than anything I've done before. I mean, I look back on a lot of my earlier work and, although there's much that I appreciate about it, there's not a great deal that I actually like... There's a lot more heart and emotion in Low and, especially, the new album.


"Heroes" (David Bowie album), Artwork and release
– David Bowie discussing his extensive promotion of "Heroes", 1977


"Heroes" (David Bowie album), Artwork and release
"Heroes" was released on 14 October 1977 by RCA Records, with the catalogue number RCA PL 12522. Its release came four months after the Clash's debut album and two weeks before the Sex Pistols' Never Mind the Bollocks, two influential records in the punk rock movement. Buckley notes Bowie's 1974 album Diamond Dogs as an influence on punk, as well as Bowie himself, in terms of both music and fashion. RCA marketed "Heroes" with the slogan "There's Old Wave. There's New Wave. And there's David Bowie ..."


"Heroes" (David Bowie album), Artwork and release
Trynka praises the slogan as "a masterful piece of positioning that allowed David to remain aloof from a punk movement that, like glam before it, would turn into a parody of itself." Unlike Low, Bowie promoted "Heroes" extensively, conducting numerous interviews and performing on various television programmes, including Marc, Bing Crosby's Merrie Olde Christmas (where he recorded "Peace on Earth/Little Drummer Boy" with Crosby), and Top of the Pops (where he performed the title track).


"Heroes" (David Bowie album), Artwork and release
The album was a commercial success in the UK, peaking at number 3 on the UK Albums Chart and remained on the chart for 33 weeks. It fared less favourably in the US, where it peaked at number 35 on the Billboard Top LPs & Tape chart, spending 19 weeks on the chart. Doggett writes that the album ended a string of eight top 20 albums in the US, becoming his worst-selling album there since 1971's Hunky Dory.


"Heroes" (David Bowie album), Artwork and release
RCA released "Beauty and the Beast" as the second single on 6 January 1978, with "Sense of Doubt" as the B-side and the catalogue number RCA 1190. It became a minor success in the UK, peaking at number 39 on the UK Singles Chart, staying on the chart for three weeks. NME editors Roy Carr and Charles Shaar Murray remarked that its "jarring, threatening edge...obviously put off a great many of the floating singles buyers attracted by the intoxicating romanticism of its immediate predecessor". The single was released in the US and Spain on a 12" promo and in a five-minute extended form, which failed to chart despite having "Fame" as the B-side.


"Heroes" (David Bowie album), Critical reception
On release, "Heroes" received very positive reviews from music critics. Allan Jones of Melody Maker named it "album of the year", calling it and its predecessor "among the most adventurous and notably challenging records yet thrust upon the rock audience." Angus MacKinnon of NME also named it the magazine's "album of the year", calling it Bowie's "most moving performance in years" and commended the artist's growing maturity.


"Heroes" (David Bowie album), Critical reception
Kris Needs of ZigZag magazine further praised the record, noting that Bowie appeared to be continuing the musical explorations of Low, while at the same time, allowing listeners time to "catch up with Low." Needs ultimately described the album as "a strange, cold sometimes impenetrable album, but Bowie makes all these unlikely ingredients work." Writing in Hit Parader, American musician and author Patti Smith praised it as "a cryptic product of a high order of intelligence."


"Heroes" (David Bowie album), Critical reception
The record was not without its detractors. Tim Lott of Record Mirror gave the album a more mixed assessment, calling it "disjointed" and criticised the instrumentals on side two as having less "continuity" than the ones found on Low. Lott further considered Bowie's vocals "hollow" and the lyrics "opaque". Overall, although he felt it was intriguing, he stated: "As an album, "Heroes" stuns for just [the title] track. The rest is clever, but not brilliant and you expect no less from Bowie. In that sense it's a disappointment, a come-down from Low."


"Heroes" (David Bowie album), Critical reception
In the US, a reviewer for Billboard also gave a mixed assessment, calling it an "extension" of both "Bowie's cosmic rock vision" and Low, and overall felt the record was "a musical excursion into a realm only Bowie himself can define." In the Los Angeles Times, Robert Hillburn lamented the way Bowie's "fluctuating pop interests caused him to shift from style to style faster than his ability to master them."


"Heroes" (David Bowie album), Critical reception
Some reviewers commented on Eno's contributions, including Bart Testa of Rolling Stone, who highlighted Eno's involvement. He contended that after Bowie's "auteurist exploitation" of the former on Low, "Heroes" "prompts a much more enthusiastic reading of the collaboration, which here takes the form of a union of Bowie's dramatic instincts and Eno's unshakable sonic serenity". The Village Voice critic Robert Christgau was less receptive to Eno's contributions, particularly the second side's instrumentals, saying that they are "interesting background" but "merely noteworthy as foreground, admirably rather than attractively ragged", in comparison to "their counterparts on Low". In the Voice's annual Pazz & Jop critics poll, "Heroes" finished 21st in the voting for 1977's top album.


"Heroes" (David Bowie album), Critical reception
Retrospective reviews continue to be positive, with many reviewers praising Bowie's growth as an artist and Fripp's contributions. Stephen Thomas Erlewine of AllMusic praised the album, noting the growing artistic maturity compared to its predecessor. He further praised the addition of Fripp, stating that his guitar adds a greater "musical foundation" to the electronic sound. He ultimately writes: "The difference between Low and "Heroes" [essentially] lies in the details, but the record is equally challenging and groundbreaking." Ryan Dombal of Pitchfork similarly praised the record, calling Bowie's vocal performances some of his finest and highlighted Fripp as the standout.


"Heroes" (David Bowie album), Critical reception
In a review in which he commended the entire Berlin Trilogy, Dombal identified "Heroes" as the album that indicated the most artistic growth for Bowie, after turning 30 and escaping years of drug addiction. Many reviewers and biographers have particularly highlighted the title track as one of Bowie's finest, with some considering it his greatest song.


"Heroes" (David Bowie album), Aftermath
Upon completion of his promotional appearances for "Heroes", Bowie flew to New York to record narration for an adaptation of Sergei Prokofiev's classical composition Peter and the Wolf, which was released as an album in May 1978. Bowie later said that it was a Christmas present for his son, Duncan Jones, then 7 years old. Afterwards, Bowie returned to Switzerland, where he was approached by director David Hemmings to appear in his upcoming film Just a Gigolo.


"Heroes" (David Bowie album), Aftermath
Bowie agreed to the project due to wanting to work with Hemmings, whom he called "a real actor's director", the idea of starring in a film set in pre-Holocaust Berlin, and after learning actress Marlene Dietrich would be coming out of her almost two-decade-long retirement to star in the film. Shooting began in January 1978 and was troublesome: Bowie filed for divorce during shooting and Dietrich refused to leave her Paris apartment. Thus, the two never met and their scenes were shot separately and spliced together for the finished product. Released in February 1979, Just a Gigolo was panned by both critics and audiences. Bowie himself was critical of the film, calling it "my 32 Elvis Presley movies rolled into one" in an interview with NME.


"Heroes" (David Bowie album), Aftermath
After filming his scenes for Just a Gigolo in February 1978, Bowie began rehearsals for an upcoming tour. The Isolar II world tour, also known as "the Stage tour", lasted from March to the end of the year. Songs from both Low and "Heroes" made up the majority of the shows, while Ziggy Stardust-era songs and other hits from 1973 to 1976 were played.


"Heroes" (David Bowie album), Aftermath
By now Bowie had broken his drug addiction; Buckley writes that the tour was "Bowie's first tour for five years in which he had probably not anaesthetised himself with copious quantities of cocaine before taking the stage. ... Without the oblivion that drugs had brought, he was now in a healthy enough mental condition to want to make friends." Performances from the tour were released on the live album Stage in September the same year, and again from a different venue in 2018 on Welcome to the Blackout.


"Heroes" (David Bowie album), Influence and legacy
Although "Heroes" was the best-received work of the Berlin Trilogy on release, in subsequent decades critical and public opinion has typically fallen in favour of Low as the more ground-breaking record owing to its daring experimental achievements. Pegg writes that the album is rather seen as an extension or refinement of its predecessor's achievements rather than a "definitive new work". Seabrook notes that Low had the advantage of being released first and seen as "the greatest and canniest musical move" of Bowie's entire career. However, he writes that compared to other records released in 1977, "Heroes" still "sounds like a blast from the future". "Heroes" has nonetheless been regarded as one of Bowie's best and most influential works.


"Heroes" (David Bowie album), Influence and legacy
In a 2013 readers' poll for Rolling Stone, "Heroes" was voted Bowie's eighth best album. Five years later, the writers of Consequence of Sound ranked "Heroes" as Bowie's fifth-greatest album, stating that "The weary 'optimism' of "Heroes" is mesmerizing. Even on its gloomiest tracks, there's this upbeat, impassioned impression that everything's okay, even just for one day." In 2020, Brian Kay of Classic Rock History ranked "Heroes", along with Low and Lodger, as Bowie's seventh greatest work, calling the trilogy a "fascinating chapter" in Bowie's life.


"Heroes" (David Bowie album), Influence and legacy
In 2013, NME ranked the album 329th in their list of the 500 Greatest Albums of All Time. Based on "Heroes"' appearances in professional rankings and listings, the aggregate website Acclaimed Music lists it as 11th most acclaimed album of 1977, the 81st most acclaimed album of the 1970s and the 253rd most acclaimed album in history.


"Heroes" (David Bowie album), Influence and legacy
An early instance of the album's enduring influence is John Lennon's comment in 1980 that, when making his album Double Fantasy, his ambition was to "do something as good as "Heroes"." In 1990, after hiring Eno to produce Achtung Baby (1991), the Irish rock band U2 chose to record it at Hansa by the Wall in Berlin in honor of "Heroes" being recorded there. Other artists inspired by "Heroes" include Andy McCluskey of Orchestral Manoeuvres in the Dark, who referred to the "unconscious influence" of Bowie on his singing style, Vince Clarke, who called it a "rebellion inspiration", Ian Astbury of the Cult and Robyn Hitchcock.


"Heroes" (David Bowie album), Influence and legacy
In 1997, American composer Philip Glass adapted the album into a classical suite, titled "Heroes" Symphony. A follow-up to his earlier 1992 adaptation of Low, titled "Low" Symphony, the piece is separated into six movements, each named after tracks on "Heroes". Like its predecessor, Glass acknowledged Eno's contributions as equal to Bowie's on the original album and credited the movements to the two equally. Unlike the "Low" Symphony, the "Heroes" Symphony was developed into a ballet by American choreographer Twyla Tharp. Both the ballet and Symphony were greeted with acclaim.


"Heroes" (David Bowie album), Influence and legacy
Bowie and Glass remained in contact with each other until 2003 and discussed making a third symphony, which never came to fruition. After Bowie's death in 2016, Glass stated the two had talked about adapting Lodger for the third symphony, which adapted as his 12th symphony in 2019. Glass described Low and "Heroes" as "part of the new classics of our time".


"Heroes" (David Bowie album), Influence and legacy
The cover of Bowie's 2013 album, The Next Day, is an altered and obscured version of the "Heroes" cover. This version has the word "'Heroes'" crossed out and Bowie's face obscured by an opaque white box reading "The Next Day". Designer Jonathan Barnbrook explained that Bowie had a feeling of isolation when making "Heroes" and he wanted to recapture that feeling for The Next Day.


"Heroes" (David Bowie album), Influence and legacy
He further emphasised: "We tried out every single Bowie cover there's been, but it ended up as "Heroes" because it's such an iconic album, and the image on the front has the right kind of distance... The Next Day, in combination with the "Heroes" image, and what the album is saying about somebody who's looking back at his age...it just felt appropriate."


"Heroes" (David Bowie album), Reissues
"Heroes" was first released on CD by RCA Records in the mid-1980s. It was reissued in 1991 by Rykodisc with two bonus tracks, including the outtake "Abdulmajid". A further CD release in 1999 by EMI/Virgin, without bonus tracks, featured 24-bit digitally remastered sound.


"Heroes" (David Bowie album), Reissues
In 2017, the album was remastered for the A New Career in a New Town (1977–1982) box set released by Parlophone that September. It was released in CD, vinyl, and digital formats, as part of this compilation and then separately in February 2018. A volume shift in the 2017 remaster of the title track received ire from fans and critics, but Parlophone proceeded to describe it as intentional and unalterable, because of damages in the original master tapes.


"Heroes" (David Bowie album), Reissues
After the critical voices would not lessen, a statement was released on the official Bowie website announcing corrected replacement disks for the "Heroes" CD and LP; the replacement disc offer lasted until June 2018. The amended remaster featured on the replacement discs was also used for the standalone CD and LP release of "Heroes" in February 2018.


"Heroes" (David Bowie album), Track listing
All tracks are written by David Bowie, except where noted.


"Heroes" (David Bowie song)
"'Heroes'" is a song by English singer-songwriter David Bowie. It was co-written by Bowie and Brian Eno, produced by Bowie and Tony Visconti, and recorded in July and August 1977 at Hansa Studio by the Wall. It was released on 23 September 1977 as the lead single from his 12th studio album of the same name, backed with the song "V-2 Schneider". A product of Bowie's "Berlin" period, the track was not a huge hit in the United Kingdom or the United States after its release, but it has since become one of his signature songs. In January 2016, following Bowie's death, the song reached a new peak of number 12 in the UK Singles Chart. "'Heroes'" has been cited as Bowie's second-most covered song after "Rebel Rebel".


"Heroes" (David Bowie song)
Inspired by the sight of Bowie's producer-engineer Tony Visconti embracing his lover by the Berlin Wall, the song tells the story of two lovers, one from East and one from West Berlin. Bowie's performance of "'Heroes'" on 6 June 1987, at the German Reichstag in West Berlin has been considered a catalyst to the later fall of the Berlin Wall. Following his death in January 2016, the German government thanked Bowie for "helping to bring down the Wall", adding "you are now among Heroes".


"Heroes" (David Bowie song)
"'Heroes'" has received numerous accolades since its release, including inclusion on lists of the greatest songs of all time; Rolling Stone named the song the 46th greatest ever, and NME named it the 15th greatest. Bowie scholar David Buckley has written that "'Heroes'" "is perhaps pop's definitive statement of the potential triumph of the human spirit over adversity".


"Heroes" (David Bowie song), Title and lyrics
The song title is a reference to the 1975 track "Hero" by German krautrock band Neu!, whom Bowie and Eno admired. It was one of the early tracks recorded during the album sessions, but remained an instrumental until towards the end of production. The quotation marks in the title of the song, a deliberate affectation, were designed to impart an ironic quality on the otherwise romantic or triumphant words and music.


"Heroes" (David Bowie song), Title and lyrics
Producer Tony Visconti took credit for inspiring the image of the lovers kissing "by the wall", when he and backing vocalist Antonia Maass (Maaß) embraced in front of Bowie as he looked out of the Hansa Studio window. Bowie claimed that the protagonists were based on an anonymous young couple, but Visconti, who was married to Mary Hopkin at the time, contends that Bowie was protecting him and his affair with Maass. Bowie confirmed this in 2003, over two decades after Visconti and Hopkin's eventual divorce.


"Heroes" (David Bowie song), Music
Bowie said that the "plodding tempo and rhythm" were inspired by the Velvet Underground song "I'm Waiting for the Man".


"Heroes" (David Bowie song), Music
Richard Buskin of Sound on Sound described "'Heroes'" as a "highly experimental piece of art rock". The music, co-written by Bowie and Eno, is in a two-chord progression (D–G), with a "brief excursion to familiar chords" in the key of G. Biographer David Buckley likens it to a Wall of Sound production, a forceful and noisy arrangement of guitars, percussion and synthesizers. Eno said the song always "sounded grand and heroic" and that he had "that very word – heroes – in my mind" even before Bowie wrote the lyrics.


"Heroes" (David Bowie song), Music
The backing track consists of a conventional arrangement of piano, bass guitar, rhythm guitar and drums. The other parts consist of synthesiser parts by Eno using an EMS VCS3 to produce detuned low-frequency drones, with the beat frequencies from the three oscillators, producing a juddering effect. In addition, King Crimson guitarist Robert Fripp generated an unusual sustained sound by allowing his guitar to feedback and sitting at different positions in the room to alter the pitch of the feedback. Visconti mixed out Dennis Davis' kick drum, stating that the track "seemed to plod" with it but had a more energetic feel without it.


"Heroes" (David Bowie song), Music, Vocal gating progression
Bowie's vocal was recorded after most of the session musicians had departed Berlin, with a "multi-latch" system devised by Visconti that creatively misused gating, a recording technique to control volume. Three microphones were used to capture the vocal, with one microphone nine inches from Bowie, one 20 feet away, and one 50 feet away. Each microphone was muted as the next one was triggered. As the music built, Bowie was forced to sing at increased volumes to overcome the gating effect, leading to an increasingly impassioned vocal performance as the song progresses. Jay Hodgson writes,


"Heroes" (David Bowie song), Music, Vocal gating progression
Bowie's performance thus grows in intensity precisely as ever more ambience infuses his delivery until, by the final verse, he has to shout just to be heard ... The more Bowie shouts just to be heard, in fact, the further back in the mix Visconti's multi-latch system pushes his vocal tracks, creating a stark metaphor for the situation of Bowie's doomed lovers.


"Heroes" (David Bowie song), Release
"'Heroes'" was released in a variety of languages and lengths ("a collector's wet dream" in the words of NME editors Roy Carr and Charles Shaar Murray). In contrast to the bewildering audio situation, the video (directed by Nick Ferguson) was a stark and simple affair, the singer captured performing the song in what appeared to be a single take with multiple cameras, swaying in front of a spotlight that created a monotone and near-silhouette effect.


"Heroes" (David Bowie song), Release
"'Heroes'" was released on 23 September 1977 as the lead single of Bowie's 12th studio album of the same name by RCA Records (as RCA / PB 11121), with a length of 3:32, and with fellow album track "V-2 Schneider" as the B-side. It subsequently appeared, with a longer length of 6:07, as the third track, between "Joe the Lion" and "Sons of the Silent Age", on the album in October the same year. Another 12" single, containing both the single and album versions, was released in the US by RCA (as RCA / JD-11151) the same year.


"Heroes" (David Bowie song), Release
The German and French versions, titled "'Helden'" and "'Héros'", respectively, was released by RCA (RCA / PC-9821). Despite a large promotional push, including Bowie's first live Top of the Pops appearance since 1973, "'Heroes'" reached only number 24 in the UK charts, and failed to make the US Billboard Hot 100. In Italy, the song was certified gold by the Federation of the Italian Music Industry.


"Heroes" (David Bowie song), Release
Bowie filmed a promotional music video for the track in 1977. Directed by Nick Ferguson and shot in Paris, it features numerous shots of Bowie against a backdrop of white light and wearing the same bomber-jacket he wore on the "Heroes" album cover. Pegg believes the effect is similar to Liza Minnelli's performance of "Maybe This Time" in the 1972 film Cabaret.


"Heroes" (David Bowie song), Reception and legacy
Writing for NME on its release, Charlie Gillett slated the record, saying: "Well he had a pretty good run for our money, for a guy who was no singer. But I think his time has been and gone, and this just sounds weary. Then again, maybe the ponderous heavy riff will be absorbed on the radio, and the monotonous feel may just be hypnotic enough to drag people into buying it. I hope not." Despite this poor review it featured at number 6 in the NME's end of year critics poll for 1977.


"Heroes" (David Bowie song), Reception and legacy
Later assessments were more favourable. In February 1999, Q magazine listed "'Heroes'" as one of the 100 greatest singles of all time as voted by the readers. In March 2005, the same magazine placed it at number 56 in its list of the 100 Greatest Guitar Tracks. In 2004, Rolling Stone rated "'Heroes'" number 46 in its list of The 500 Greatest Songs of All Time, and was re-ranked at number 23 on the 2021 list. It was included in 2008's The Pitchfork Media 500: Our Guide to the Greatest Songs from Punk to the Present. John J. Miller of National Review rated "'Heroes'" number 21 on a list of "the 50 greatest conservative rock songs" due to its anti-Soviet political context. It has also become a gay anthem. Uncut placed "'Heroes'" at number 1 in its 30 greatest Bowie songs in 2008.


"Heroes" (David Bowie song), Reception and legacy
Moby has said that "'Heroes'" is one of his favourite songs ever written, calling it "inevitable" that his music would be influenced by the song, and Dave Gahan, the lead singer of Depeche Mode, was hired into the band when band founder Vince Clarke heard him singing "'Heroes'" at a jam session.


"Heroes" (David Bowie song), Track listing
All tracks written by David Bowie and Brian Eno, except where noted.


"Heroes" (David Bowie song), Cover versions, The Wallflowers version
American rock band the Wallflowers recorded a version of the song for the soundtrack to the 1998 monster film Godzilla. This version peaked at number 10 on the US Billboard Modern Rock Tracks chart in 1998, as well as number 27 on the Billboard Hot 100 Airplay chart and number 23 on the Billboard Top 40 Mainstream chart. In Canada, the single topped the RPM Alternative 30 for six weeks and reached number 13 on the RPM Top Singles chart. British duo Dom and Nic directed the song's music video.


"Heroes" (David Bowie song), Cover versions, The Wallflowers version, Critical reception
In May 1998, Billboard editor Larry Flick reviewed the song, writing that the cover "beautifully illuminates the heart-tugging quality of the lyrics" but noting that Wallflowers lead singer Jakob Dylan failed to replicate the "irony and edge" of Bowie's version. Reviewing the Godzilla soundtrack on AllMusic, Stephen Thomas Erlewine said the cover was respectful to the original.


"Heroes" (David Bowie song), Cover versions, The Wallflowers version, Personnel
Credits are lifted from the Australian CD single liner notes.


"Holy..."
"Holy...!" (for example "Holy cow! ", "Holy mackerel!" or "Holy smoke!") is an exclamation of surprise used mostly in English-speaking countries.


"Holy..."
Robin of the Batman TV series is noted for his many catchphrase "Holy..." exclamations. The lines in the 1960s TV series were uttered by Burt Ward who played Robin, who delivered the exclamations in a nasal voice. Many of the camp quips are directly related to the plot; for example, "Holy Graf Zeppelin!" is uttered by Robin upon seeing an aerial balloon. In his cameo on the Arrowverse crossover "Crisis on Infinite Earths", Burt Ward exclaims, "Holy crimson skies of death!" while Earth-66 experiences red skies due to the incoming antimatter wave.


"Holy...", Analysis
According to New York wellness expert Scott A. Morofsky, Robin would "inevitably refer to an intense experience with a loud, 'Holy... Batman, what do we do now?'". Bradley J. Ricca, comic book scholar at Case Western Reserve University, suggests that: "Robin exists as a media entity inextricably linked with Batman and shares nearly as much ubiquity in American culture". He considers Robin's famous "Holy..." catchphrases to have been grossly overused in the series, popularizing it in the American vernacular. Cartoons such as The Super Friends continued to make use of Robin and his catchphrases, "spouting 'Holy' in front of every noun imaginable" and Robin's exclamations still remain closely associated with his character in popular culture.


"Holy...", Analysis
American author David Shields notes how much in contrast Robin's "Holy..." outbursts, his alliteration and assonance, his fast riffs were to the laconic Batman. According to film critics Deborah Cartmell and Imelda Whelehan, Robin's quip "Holey Rusted Metal!" in Batman Forever was an "explicit in-joke". Camp humour, through Robin's exclamations and other circumstances in the Batman series, have led some commentators to speculate on homosexual undertones in the relationship between Batman and Robin. Image Entertainment paid homage to Robin's quips with the title "Batman: Holy Batmania" in a 2004 2-disc DVD release containing four documentaries discussing the sixties TV series. The DVD title is the name of one of the documentaries itself.


"Hope" is the thing with feathers
"Hope' is the thing with feathers" is a lyric poem in ballad meter written by American poet Emily Dickinson, The manuscript of this poem appears in Fascicle 13, which Dickinson compiled around 1861. It is one of 19 poems included in the collection, in addition to the poem "There's a certain Slant of light." With the discovery of Fascicle 13 after Dickinson's death by her sister, Lavinia Dickinson, "'Hope' is the thing with feathers" was subsequently published in 1891 in a collection of her works under the title Poems, which was edited and published by Thomas Wentworth Higginson and Mabel Loomis Todd.


"Hope" is the thing with feathers, History of publication
"'Hope' is the thing with feathers" was first compiled in one of Dickinson's hand-sewn fascicles, which was written during and put together in 1861. In the 1999 edition of The Poems of Emily Dickinson: Reading Edition, R.W. Franklin changed the year of appearance from 1861, where the holograph manuscript exists, to 1862. It is listed in the appendix that poems numbered 272 to 498 were written during this year, which amounted to the third most poems Dickinson wrote in the span of years from 1860 to 1865, at 227.


"Hope" is the thing with feathers, History of publication
The edition that Dickinson included in the fascicle was text B, according to Franklin. No current holograph manuscript exists of the first written version of this selection. "'Hope' is the thing with feathers" first appeared in print in a Poems by Emily Dickinson, second series in 1891. It was published by Roberts Brothers in Boston.


"Hope" is the thing with feathers, History of publication
Upon the original publication, her poems were reassessed and transcribed by Thomas H. Jefferson in 1955. They became the first scholarly collection of Dickinson's work. His transcription of her works from her fascicles was taken from the earliest fair copy of her poetic works. Within the Johnson collection, "'Hope' is the thing with feathers" is poem number 254. Franklin, in his edition of her works, used the last fair copy of her poems. It is marked as number 314 in his collection and can be found under such in the Norton Anthology of Poetry.


"Hope" is the thing with feathers, History of publication, Fascicle 13
Fascicle 13 is the bound edition of her written poetry that contains "'Hope' is the thing with feathers" written in Dickinson's hand. According to the work done by Franklin, there are similarities in the materials used for this fascicle and with Fascicles 11–13, 14, as well as Fascicles 9,11, and 12. Some distinct markers of Fascicle 13 include a woven-style of stationary, with paper that is cream in appearance with a blue rule line on it. It also is decorated in an embossed style that frames the page with "a queen's head above the letter 'L'." To view the holograph manuscript of this in person, the Houghton Library at Harvard University houses it.


"Hope" is the thing with feathers, Analysis
In her analysis of the poem, scholar Helen Vendler, states that the opening foot of the poem is "reversed," adding more color and emphasis on the word "Hope." Dickinson implements the use of iambic meter for the duration of the poem to replicate that continuation of "Hope's song through time." Most of Dickinson's poetry contains quatrains and runs in a hymnal meter, which maintains the rhythm of alternating between four beats and three beats during each stanza. "'Hope' is the thing with feathers" is broken into three stanzas, each set alternating containing alternating lines of iambic tetrameter and iambic trimeter, totaling in twelves lines altogether. In addition, despite Mr. Lin's theorizing, it is not actually about a bird.


"Hope" is the thing with feathers, Analysis, Form
In Victoria N. Morgan's text, Emily Dickinson and Hymnal Culture: Tradition and Experience, she writes that Dickinson's poetry may have been influenced by eighteenth-century hymn culture, such as Isaac Watts, and female hymnal writers, Phoebe Hinsdale Brown and Eliza Lee Follen. Morgan postulates that their works were introduced to Dickinson early in her life when she was attending church regularly. She believes that the "simplicity" of the hymnal form allowed room for Dickinson to make this "an easy target for parody."


"Hope" is the thing with feathers, Analysis, Theme of poem
The poem calls upon the imagery of seafaring adventures with the use of the word "Sea" and "Gale." Dickinson uses the metaphor of "Hope" being likened unto a bird that does not disappear when it encounters hardships or "storms." Vendler writes that Dickinson enjoys "the stimulus of teasing riddles," which is in use as she plays with the idea of "Hope" being a bird. Dickinson makes an allusion to "Hope" being something that does not disappear when the "Gale" and "storm" get worse and its song still sings on despite the intensity of whatever is attempting to unseat it. She also makes note that no matter what the speaker of the poem is doing, "Hope" does not leave even if they offer nothing in return to it.


"Hope" is the thing with feathers, Analysis, Punctuation
Throughout the poem, Dickinson uses dashes liberally, ending nine lines out of twelve with them. In addition to the use of dashes, she employs capitalization of common nouns, such as "Hope," "Bird," and "Extremity." Scholar Ena Jung writes that Dickinson's dashes are among the most "widely contested diacriticals" in contemporary literary discussions. John Lennard, in his Poetry Handbook, states that Dickinson's poems rely heavily her use of dashes, capitalizations of particular words and her line/stanza breaks, with "'Hope' is the thing with feathers" falling into that categorization.


"Hope" is the thing with feathers, Analysis, Punctuation
He continues on stating that her "intense, [and] unexpected play" with her use of capitalization and dashes makes her poetry "memorable." When reading the poem aloud, the dashes create caesura, causing the brief poem to be read in a staccato'd rhythm. Jung claims that the use of Dickinson's dashes in her poetry creates a "visible breath" to the speaker that is delivering the poetry.


"Hope" is the thing with feathers, Analysis, Symbolism
In her poem, Dickinson describes "hope" as a bird, which is being used as a metaphor for the idea of salvation. Dickinson has nine variations of the word "hope," which can be interpreted in multiple ways. Morgan writes that Dickinson often writes about birds when she is describing acts of worship, which coincides with the format of the hymn. Birds in Christian iconography are often represented as a dove. Dickinson uses many illusions to nature in her poems.


"Hope" is the thing with feathers, Analysis, Symbolism
Within this poem, she takes the image of the bird and the violence of weather to create a balance between the destructive and the beneficent. It is also a juxtaposition of the interior world and exterior, with the soul considered "interior" and the storms that attempt to dismantle hope being the "exterior."


"Hope" is the thing with feathers, Analysis, Symbolism
Due to the riddle-like nature of her poems, as well as the extensive use of her lexicon, "'Hope' is the thing with feathers" can be interpreted through multiple shades of meaning.


"Hope" is the thing with feathers, Critical reception
Dickinson's poems are lauded as mysterious and enigmatic and typically have a volta, or turn in topic, at the end, such as "Because I could not stop for Death." "'Hope' is the thing with feathers," while possessing a similar quality, is considered "childlike" by some critics due to the simplicity of the work. Vendler expands on this idea by stating it is also due to the way that Dickinson constructs her poems in quatrains and hymnal meter, which can be seen as simplistic. Morgan argues that because of Dickinson's "antagonistic relation" she has with nineteenth-century Christianity, the poet gives a "reassessment of spirituality" through this poem by the use of the image of the bird and the Christian conception of "hope."


"Hope" is the thing with feathers, Derivative works
"'Hope' is the thing with feathers" has been adapted to music to be performed by choirs. There are multiple versions of the song. Most notable of the adaptations is the Susan LaBarr version that was written for women's choir and intended to be accompanied by piano. Additional musical adaptations of the poem are also done by ,  and Paul Kelly.


"Hope" is the thing with feathers, Derivative works
Alternative country band, Trailer Bride, titled their final album, Hope Is a Thing with Feathers. The title of the album is a variant of the name of the poem. The title track of the album is an adaptation of the poem written by Dickinson, where she receives a writing credit.


"How's my driving?" sign
A "how's my driving" sign (or "how is my driving" or similar) is a decal posted or painted on a back of a fleet vehicle or other vehicle operated by an employee driver. The decal usually has a phone number or website address and other identifying information so that the public can call and report on the behavior of the vehicle's driver. Depending on the company, the phone number or website is monitored by the vehicle's owner or by a third-party company.


"How's my driving?" sign
Similar programs have also been implemented for vehicles driven by teenagers in hopes of improving the safety of teenage drivers and with drunk drivers. Use of "How's My Driving" regimes for systems other than traffic have been discussed, also in relation to eBay and Wikipedia.


"How's my driving?" sign
The purpose of the decal is to increase traffic safety, as those who know they are driving a vehicle with a decal would want to drive more safely to not draw complaints.


"How's my driving?" sign, Frequency of complaints
About 10% of vehicles bearing this decal become the target of complaints.


"How's my driving?" sign, Frequency of complaints
The most common complaints fielded are tailgating, improper lane changes, speeding, and running red lights, though it has been found that many bored motorists who have cell phones will call in petty complaints. A small percentage of calls are to compliment drivers.


"How's my driving?" sign, Effects
Studies have found that vehicles displaying the decal are involved in 22% fewer accidents and result in a 52% reduction in accident-related costs.


"How's my driving?" sign, Effects
Some insurance companies offer discounts to fleets that display the decal.


"How's my driving?" sign, Effects
Other countries are starting to experiment with similar programs, such as Germany.


"How's my driving?" sign, Effects, Effects of complaints
When a complaint is made, the receptionist who fields the complaint will generally ask for basic information regarding the vehicle and incident, such as the vehicle's description (e.g. a white van), the location of the incident, and the weather of the day.


"How's my driving?" sign, Effects, Effects of complaints
Complaints received by motorists may or may not affect the employment status of the operator of the vehicle. In the worst cases, complaints may result in a reprimand against the operator and possibly termination.


"Hyla" nicefori
Hyla nicefori also known as the Colombian Backpack Frog, is a species of frog in the family Hylidae. It is endemic to the border region between Boyacá and Casanare in Colombia and only known from the holotype. The name format, as used by the American Museum of Natural History's Amphibian Species of the World, indicates that while this species is temporarily kept in the hylid type genus Hyla, it belongs elsewhere in the family and will be reassigned pending a taxonomic resolution. It was originally placed in Cryptobatrachus (backpack frogs), but a later study revealed a number morphological differences showing that it is not in family Hemiphractidae (the family of Cryptobatrachus), instead pointing to it being a hylid frog, perhaps Hyloscirtus.


"Hyla" nicefori
The only known record of the species is the type specimen that was collected in the 1940s and "Hyla" nicefori is rated as data deficient by the IUCN. There has been extensive habitat loss at the type locality, but habitat remains nearby. There have been no recent surveys for frogs in the region because of security problems, although (as of 2017) there were plans of a revisit.


"Hylarana" attigua
"Hylarana" attigua is a species of frog in the family Ranidae, the "true frogs". The exact genus-level placement of this species is uncertain because it was not included in the revision of the genus Hylarana that saw what was then very broadly defined genus split into several distinct genera, with relatively few remaining in Hylarana sensu stricto. It is found in central and south Vietnam, eastern Cambodia, and southern Laos. The specific name attigua is derived from Latin attiguus meaning "neighbor". It refers to the similarity of this species to Indosylvirana milleti. Common name similar frog has been coined for this species.


"Hylarana" attigua, Description
Adult males measure 40–45 mm (1.6–1.8 in) and adult females 55–65 mm (2.2–2.6 in) in snout–vent length. The overall appearance is moderately stocky. The head is longer than it is broad and the snout is obtusely pointed, but rounded and projecting in lateral view. The tympanum is distinct, relatively larger in males than in females. The finger tips bear small discs. The toe discs are also small, but can be slightly larger than the fingers ones. The toes are partially webbed. There are conspicuous, continuous dorsolateral folds. Skin is dorsally granular with small tubercles, with larger tubercles on the sides.


"Hylarana" attigua, Description
In many individuals, both males and females, the tubercles have white, spinose tips. Dorsal coloration is medium brown and may include small darker spots. A dark brown to black narrow band runs from the snout through the eye and the tympanum, becoming less defined in the temporal area. The upper lip has white to yellow stripe. The limbs have dark brown crossbars.


"Hylarana" attigua, Habitat and conservation
This species occurs in wet evergreen forests, typically along streams (including rapids and waterfalls), as well as mixed evergreen and deciduous forests with bamboo, at elevations of 152–1,280 m (499–4,199 ft) above sea level. Reproduction has been reported in standing water. It can be common in parts of its range. It is probably suffering the loss of forest habitats, although it appears to tolerate a degree of habitat modification. It is known from a number of protected areas.


"Hylarana" celebensis
"Hylarana" celebensis is a species of true frog in the family Ranidae. It is native to Sulawesi (Celebes), Indonesia. It is a lowland forest species, also occurring disturbed habitats.


"Hylarana" chitwanensis
"Hylarana" chitwanensis is a species of frog in the family Ranidae endemic to Nepal. Its type locality is in the Chitwan National Park. Earlier reports from India are erroneous although it is likely to occur there.


"Hylarana" chitwanensis
"Hylarana" chitwanensis is a lowland species, occurring at altitudes less than 500 m (1,600 ft) asl in the Himalayan foothills. Its natural habitats are terai grasslands, bushes and tropical Shorea forests. It is threatened by habitat loss caused by logging and dam construction. The Hylarana is distributed across tropical Australia, Southeast Asia, and Africa.


"Hylarana" garoensis
"Hylarana" garoensis, commonly known as Boulenger's Garo hill frog, is a species of frog in the family Ranidae. It is found in India and possibly Bangladesh. Its natural habitats are subtropical or tropical moist lowland forests, subtropical or tropical moist shrubland, subtropical or tropical high-altitude grassland, and rivers. It is threatened by habitat loss.


"Hylarana" lateralis
"Hylarana" lateralis is a species of frog in the family Ranidae. It is found in Cambodia, Laos, Myanmar, Thailand, and Vietnam. It is commonly known as Kokarit frog, yellow frog or (ambiguously) wood frog.


"Hylarana" lateralis
Placed in Rana when this was still loosely circumscribed, it was since assigned to the "water frog" genus Pelophylax. However, it is not clear whether this is the most appropriate treatment, and the Kokarit Frog might rather belong in Hylarana. The supposed species Rana nigrolineata was recently determined to be a junior synonym of "P." lateralis.


"Hylarana" lateralis, Habitat
Its natural habitats are subtropical or tropical dry forest, subtropical or tropical moist lowland forest, subtropical or tropical dry lowland grassland,  moist shrubland, plantations, swamps, freshwater marshes, intermittent freshwater marshes, ponds, and seasonally flooded or irrigated agricultural land. It is not considered threatened by the IUCN.


"Hylarana" lateralis, Consumption
In parts of Cambodia north and east of the Mekong River, it is collected for human consumption in localities such as Snuol District, Kratie Province.


"Hylarana" latouchii
"Hylarana" latouchii, also known as Kuatun frog, LaTouche's frog, or broad-folded frog, is a species of frog in the family Ranidae. It was formerly placed in genus Rana. The specific name honours the collector of the type series: "Hylarana" latouchii was described by George Albert Boulenger based on three specimens collected by Irish ornithologist John D. La Touche in Guadun village in Wuyishan, Fujian, China.


"Hylarana" latouchii
"Hylarana" latouchii is found in southern and eastern China and Taiwan. Frogs from Taiwan might represent a separate species different from the mainland. Its natural habitats are subtropical or tropical moist lowland forests, moist montane forests, rivers, freshwater marshes, intermittent freshwater marshes, water storage areas, ponds, open excavations, irrigated land, and canals and ditches. It is not considered a threatened species by the IUCN.


"Hylarana" latouchii
"Hylarana" latouchii is a small frog that may grow up to 4 cm (1.6 in) in snout-vent length. Males are smaller (38 mm (1.5 in) SVL) than females (47 mm (1.9 in) SVL). Mean sizes reported for Taiwanese "Hylarana" latouchii are larger, respectively 44 mm (1.7 in) and 55 mm (2.2 in) SVL. "Hylarana" latouchii is reproductively active throughout the year in Taiwan.


"Hylarana" latouchii
Antimicrobial peptides can be isolated from skin of "Hylarana" latouchii.


"Hylarana" margariana
"Hylarana" margariana,  commonly known as the Irrawaddy frog, is a species of true frog in the family Ranidae. It is native to Myanmar and may be present in China.


"Hylarana" montivaga
"Hylarana" montivaga, sometimes known as Langbian Plateau frog or Chantaburi stream frog, is a species of "true frog" in the family Ranidae. Its generic placement is currently unsettled. It is known from the Langbian Plateau in southern-central Vietnam; records from elsewhere (including Thailand) refer to other species.


"Hylarana" montivaga, Habitat and conservation
This species is known from streams in evergreen forests at elevations of 1,500–2,000 m (4,900–6,600 ft) above sea level. It is currently listed as "endangered" by the International Union for Conservation of Nature (ICUN). This is due to agriculture and aquaculture within their habitats, and biological resource use.


"Hylarana" persimilis
"Hylarana" persimilis, commonly known as the Sumatra frog, is a species of true frogs in the family Ranidae. It is native to Aceh, Sumatra, Indonesia. It is only known from the holotype collected from a lakeside.


"I AM" Activity
The "I AM" Movement is the original Ascended Master Teachings religious movement founded in the early 1930s by Guy Ballard (1878–1939) and his wife Edna Anne Wheeler Ballard (1886–1971) in Chicago, Illinois. It is an offshoot of theosophy and a major precursor of several New Age religions including the Church Universal and Triumphant. The movement had up to a million followers in 1938 and is still active today on a smaller scale.


"I AM" Activity
According to the official website of the parent organization, the Saint Germain Foundation, its worldwide headquarters is located in Schaumburg, Illinois, and there are approximately 300 local groups worldwide under several variations of the names "I AM" Sanctuary, "I AM" Temple, and other similar titles. As of 2007, the organization states that its purpose is "spiritual, educational and practical," and that no admission fee is charged for their activities. The term "I AM" is a reference to the ancient Sanskrit mantra "So Ham", meaning "I Am that I Am".


"I AM" Activity, Overview
The movement believes in the existence of a group called the Ascended Masters, a hierarchy of supernatural beings that includes the original Theosophical Masters such as Jesus Christ, El Morya Khan, Maitreya, and in addition several dozen more beyond the original 20 Masters of the Ancient Wisdom of the original Theosophists as described by Helena Petrovna Blavatsky.


"I AM" Activity, Overview
These "Ascended Masters" are believed to be humans who have lived in a succession of reincarnations in physical bodies or cosmic beings (beings originated from the great central sun of light in the beginning of all times). Over time, those who have passed through various “embodiments” became highly advanced souls, are able to move beyond the cycles of "re-embodiments" and karma, and attained their "Ascension", becoming immortal. The Ascended Masters are believed to communicate to humanity through certain trained messengers per Blavatsky, including Guy and Edna Ballard.


"I AM" Activity, Overview
Because Jesus is believed to be one of the Ascended Masters, making the "Christ Light" available to seekers who wish to move out of darkness, many of the members of the "I AM" Activity consider it to be a Christian religion. According to the Los Angeles Magazine, Ballard said he was the re-embodiment of George Washington, an Egyptian priest, and a noted French musician.


"I AM" Activity, Overview
The "I AM" Activity was the continuation of the teachings received by H. P. Blavatsky and William Quan Judge. Ballard was always guided and inspired by the writings of William Quan Judge (1851-1896), who used the pseudonym David Lloyd due to the persecution of his enemies in the Theosophical Society. Then Ballard came in contact with the Mahatma called "Ascended Master" Saint Germain.


"I AM" Activity, Overview
Ballard died in 1939. In 1942 his wife and son were convicted of fraud, a conviction which was overturned in a landmark Supreme Court decision (United States v. Ballard), ruling that the question of whether the Ballards believed their religious claims should not have been submitted to a jury. This event has been known as the determinant for the establishment of the policies regarding freedom of religion or beliefs rights in the United States of America.