...Ye Who Enter Here, Plot
In San Juan, not knowing of the potential danger, Mack is lowered down to the city. He touches a symbol on the ground, and it starts glowing, causing great pain for him. The team pulls Mack back up, but he is overcome with rage, his eyes turn red, and he attacks them. Morse manages to subdue him, and he falls back down the shaft to the city. Coulson then orders the entrance be blocked off.


...Ye Who Enter Here, Plot
In an end tag, Agent 33 tells Hydra leader Daniel Whitehall that Ward let the other S.H.I.E.L.D. agents go, and Whitehall tells her to rectify this mistake.


...Ye Who Enter Here, Production, Development
In November 2014, Marvel announced that the ninth episode of the season would be titled "...Ye Who Enter Here", to be written by Paul Zbyszewski, with Billy Gierhart directing.


...Ye Who Enter Here, Production, Writing
Explaining Skye's nightmare at the beginning of the episode, executive producer Maurissa Tancharoen stated, "She's having some gut feelings and they are manifesting in her dreams. Are the dreams foreshadowing something? Perhaps." Executive producer Jed Whedon added, "Mainly, they serve to show how afraid she is of all of this. In the audience's mind, there's a little bit of a sense of not obsession, but her interest in this lifelong journey of finding her parents. All of this is tied together emotionally."


...Ye Who Enter Here, Production, Writing
Going on to explain Skye's mindset when she hugs Coulson before he leaves for the city, Tancharoen said, "When we first met Skye, she's always been someone who goes off of instinct and impulse. Through the course of this season, in her training with May, she's toned that down and learned how to be an agent, suppressed emotion and been there for the fight first. It's a nice moment that brings us back to the old Skye and the heart of her relationship with Coulson, which will always have elements of a father–daughter relationship. For some reason, she feels more concerned than usual about this mission, so she gives him a hug. It's just a nice way to see that she's that old Skye that acts on impulse and wants to show she cares."


...Ye Who Enter Here, Production, Casting
In November 2014, Marvel revealed that main cast members Clark Gregg, Ming-Na Wen, Brett Dalton, Chloe Bennet, Iain De Caestecker, Elizabeth Henstridge, and Nick Blood would star as Phil Coulson, Melinda May, Grant Ward, Skye, Leo Fitz, Jemma Simmons, and Lance Hunter, respectively. It was also revealed that the guest cast for the episode would include B. J. Britt as Antoine Triplett, Adrianne Palicki as Bobbi Morse, Henry Simmons as Alphonso "Mack" Mackenzie, Ruth Negga as Raina, Patton Oswalt as Billy and Sam Koenig, Reed Diamond as Daniel Whitehall, Jeffrey Corbett as Chad, and Brittnee Garza as Cashier. However, Corbett and Garza did not receive guest star credit in the episode. Britt, Palicki, Simmons, Negga, Oswalt, and Diamond all reprise their roles from earlier in the series. Ming-Na Wen also portrays Agent 33.


...Ye Who Enter Here, Production, Marvel Cinematic Universe tie-ins
Raina reveals in the episode that the alien corpse seen in the first season episode "T.A.H.I.T.I." is that of a Kree. Other members of that species play significant roles in the 2014 film Guardians of the Galaxy. Asked whether this counts as the series' tie-in to Guardians, Whedon stated "It is a very far away other galaxy, so it's a little bit harder to have one of them walk into our set, so a direct tie-in is a little bit more challenging, but it's all one universe, so there's always opportunity for more. ... In Guardians, we saw parts in our universe that we hadn't explored yet, so it shows we're a part of that too."


...Ye Who Enter Here, Release, Broadcast
"...Ye Who Enter Here" was first aired in the United States on ABC on December 2, 2014. It was aired alongside the US broadcast in Canada on CTV.


...Ye Who Enter Here, Release, Home media
The episode began streaming on Netflix on June 11, 2015, and was released along with the rest of the second season on September 18, 2015, on Blu-ray and DVD.


...Ye Who Enter Here, Reception, Ratings
In the United States the episode received a 1.8/5 percent share among adults between the ages of 18 and 49, meaning that it was seen by 1.8 percent of all households, and 5 percent of all of those watching television at the time of the broadcast. It was watched by 5.36 million viewers. The Canadian broadcast gained 2.20 million viewers, the second highest for that day, and the sixth highest for the week.


...Ye Who Enter Here, Reception, Critical response
Nerdist's Joseph McCabe criticized the "terrible cliffhanger", but said "I'll take awkward cliffhangers tacked onto jet-propelled episodes any day over the boring consistency of S.H.I.E.L.D. 's freshman year." Oliver Sava graded the episode a 'B+' for The A.V. Club,  calling the Fitz and Simmons scenes "The major character work this week", and on which saying "Elizabeth Henstridge and Iain De Caestecker's chemistry really solidified the relationship between the characters, which makes their breakup all the more painful."


...Ye Who Enter Here, Reception, Critical response
Sava was critical of Gierhart's directing and Bennet's acting for the opening dream sequence, but felt that they "both fare better when it comes to the waking world, particularly the action sequence[s]", which he felt made good use of close-quarter situations.


...Ye Who Enter Here, Reception, Critical response
Eric Goldman of IGN scored the episode a 7.9 out of 10, indicating a "Good" episode, praising the Fitz and Simmons interactions, saying "Fitz telling Simmons he no longer will work in the lab was given added weight by Iain De Caestecker and Elizabeth Henstridge, with the latter providing some heartbreaking emotions and tears on her face over the situation." He was critical of the Koenig brothers humor, which he found "forced", and lamented the lack of Kyle MacLachlan's "The Doctor", "even as he was talked about a lot."


...Ye Who Enter Here, Reception, Critical response
Kevin Fitzpatrick at Screen Crush felt "it was important that the series stick the landing on the final two episodes of season 2's front half, and while we expect the story threads to pay off more handsomely next week, "Ye Who Enter Here" ended up feeling a little lighter for it ... If nothing else, the brisk pace and impressive action choreography throughout the hour kept things humming along nicely enough". He was pleased that Fitz and Simmons talked about their feelings, but said "it seems almost as though "Ye


...Ye Who Enter Here, Reception, Critical response
Who Enter Here" wasn't quite ready to deal with any actual ramifications of the feelings gap between the pair".


...Ye Who Enter Here, Reception, Critical response
He ultimately said "Memorable moments like Koenig's umbrella cloak or Skye's extended fight with Agent 33 offer acceptable substitute for whatever cards the showrunners hold back until next week, and Ward's latest betrayal offered some intriguing wrinkles in hour that boiled down to little more than 'get to hidden city, or at least tease cryptically.'" James Hunt, writing for Den of Geek, stated "the series finally feels like it has some direction, rather than just momentum", and was pleased with Ward's actions at the end of the episode, saying "This episode did do one thing I didn't expect, though, and that's make Ward seem like a believable villain.


...Ye Who Enter Here, Reception, Critical response
The scene where he entered the plane worked because he had the power, and they respected it." Alan Sepinwall of HitFix called the episode "another solid, engaging installment, and a good set-up for whatever's coming next week." "[E]ven with all the characters and bits of business to deal with, the episode never felt overcrowded or rushed, and was able to focus on the character element that's made season 2 such a huge improvement over season 1." He particularly praised Palicki, and the way Raina's exposition scenes did not come across as "massive exposition dump[s]".


...a milicija trenira strogoću! (i druge pjesmice za djecu)
...a milicija trenira strogoću! (i druge pjesmice za djecu) (trans. ...and Militsiya Trains Strictness (and Other Songs for Children)) is a children's music album recorded by Yugoslav child singer Ratimir Boršić "Rača" and Yugoslav rock band Bijelo Dugme, released in 1983.


...a milicija trenira strogoću! (i druge pjesmice za djecu), Background
The lyrics for the album were written by poet Duško Trifunović, with the music by Bijelo Dugme leader Goran Bregović. It was initially planned for Seid Memić "Vajta" to sing the vocals, but eventually, vocals were recorded by the eleven-year-old Ratimir Boršić. The album was released under Ratimir Boršić Rača & Bijelo Dugme moniker. The album cover was designed by Bijelo Dugme's old collaborator Dragan S. Stefanović.


...a milicija trenira strogoću! (i druge pjesmice za djecu), Track listing
All songs written by Duško Trifunović (lyrics) and Goran Bregović (music).


...a milicija trenira strogoću! (i druge pjesmice za djecu), Reception
The album was well received by the critics, who pointed up that Bregović and Trifunović do not consider their audience "mentally immature".


...a milicija trenira strogoću! (i druge pjesmice za djecu), Legacy
The title track was often performed by Bijelo Dugme in concert, and a live version of it appears on the band's live albums Mramor, kamen i željezo (1987) and Turneja 2005: Sarajevo, Zagreb, Beograd (2005).


...a nastal chaos
...a nastal chaos is the debut album by Czech hip hop group Chaozz, released in 1996. It was certified platinum in the Czech Republic and gold in Slovakia, selling just under 50,000 copies. Music videos were made for "Televize", "Policijeee", "Planeta opic" and "Nejhorsi den v mym zivote"


...and Roses and Roses
"...and Roses and Roses" is a song written by Dorival Caymmi with English lyrics by Ray Gilbert, and performed by Andy Williams. The song reached #4 on the U.S. adult contemporary chart and #36 on the Billboard chart in 1965.


...and Roses and Roses
Astrud Gilberto covered the song on her 1965 album, The Astrud Gilberto Album.


...and proud of it!
...and proud of it! is the fifth and final album released by singer J.J. Jackson, and is also his third album recorded in the United Kingdom. The album was released by Perception Records in 1970.


...and proud of it!, History and critical reception
...and proud of it! was recorded during the latter part of 1970. While produced by Jackson's longtime producer Lew Futterman, the album was largely a project of keyboardist , later associated with The Strawbs, among other bands,  and trombonist , who had developed his reputation as a jazz musician, with Kenny Ball and his Jazzmen. Jackson's own writing contributions to the album were comparatively minor, though he continued to be credited as arranger, as was the case with all of Jackson's previous albums and most of Jackson's singles.


...and proud of it!, History and critical reception
Bennett had worked with Jackson on his previous album, J.J. Jackson's Dilemma, released earlier in 1970. ...and proud of it! included other musicians from those earlier sessions, though key band members Dick Morrissey, Terry Smith and Dave Quincy were absent. The three had left to co-found the band If, at the suggestion of Jackson producer Lew Futterman, who also became the group's manager.


...and proud of it!, History and critical reception
Parren and Bennett, along with Terry Smith and Dick Morrissey, had also worked with Jackson earlier in 1970 on To Seek a New Home, an album by Brother Jack McDuff, recorded in England at Island Studios, where ...and proud of it! was also recorded. Jackson had previously worked and recorded with McDuff when the two were in America.


...and proud of it!, History and critical reception
The single from the album was "Nobody's Gonne Help you (Less'n You Help Yourself)", with "Help Me Get My Grits", from the British version of J.J. Jackson's Dilemma, as the B-side.


...and the Bass Is Queen
... And The Bass Is Queen. is the debut studio album by Nigerian neo-soul singer-songwriter Lindsey Abudei. It was released on July 5, 2016 and serves as the follow-up to her 8-track debut EP, Brown (2013).


...and the Bass Is Queen, Critical reception
The album garnered relatively positive ratings among music critics. Joey Akan of Pulse Nigeria described the album as a "singer-songwriter's album". He rated the album 4 out of 5 stars and praised its overall production. In the same vein, Wilfred Okiche of 360 Nobs was impressed with the album's input and Abudei's songwriting skills, stating, "... And the bass is Queen is very relatable. Abudei's song writing is a refreshing break from the norm, simple with a hint of mystery that does not encroach into fake deep territory,[...]The finish is of international standard and the record can easily find life beyond the shores of Nigeria if marketed as such."


...art
...art is the third studio album from the Australian rock band, Regurgitator, released in August 1999. The album was recorded in Byron Bay and was the final album with drummer Martin Lee. ...art peaked at number 2 on the ARIA Charts and was certified gold.


...aus dem Bauch
...aus dem Bauch (...from the Belly) is the second studio album by German recording artist Max Mutzke. It was released by Rare Records and Warner Music Group on 8 June 2007 in German-speaking Europe.


...bez półPRĄDU...halfPLUGGED...
...bez półPRĄDU...halfPLUGGED... is a live album of Polish progressive rock group Quidam, released 2006. It was recorded at Teatr Miejski, Inowrocław, 29 May 2006.


...bez półPRĄDU...halfPLUGGED..., Track listing
All tracks written by Florek, Kossowicz, Meller, Wróblewski, and Ziólkowski, except where noted.


...denn die Musik und die Liebe in Tirol
...denn die Musik und die Liebe in Tirol is a 1963 West German musical comedy film directed by Werner Jacobs and starring Vivi Bach, Claus Biederstaedt and Hannelore Auer.


...e vennero in quattro per uccidere Sartana!
...e vennero in quattro per uccidere Sartana! is an Italian 1969 Spaghetti Western film directed by Demofilo Fidani.


...e vennero in quattro per uccidere Sartana!, Release
...e vennero in quattro per uccidere Sartana! is not an official release in the Sartana film series. It was released in 1969 along with Fidani's other "Sartana" film Shadow of Sartana... Shadow of your Death. The film was re-issued three years after its release in 1972 with the title Beyond the Frontiers of Hate with a director credited as in promotions and advertising as Alessandro Santini. Thomas Weisser commented on the reissue in his book on Spaghetti Westerns, stating that most of the reissues of the film have no credits at all.


...e vennero in quattro per uccidere Sartana!, Reception
In a retrospective review, Weisser commented that Jeff Cameron "sleepwalks" through the film and declared that director Demofilo was a "cherished industry hack."


...explosante-fixe...
...explosante-fixe... (French: ...exploding-fixed...) is a piece of music composed by Pierre Boulez. Initially conceived in 1971 as a memorial for Igor Stravinsky, who died in April of that year, Boulez composed several different versions of the work between 1972 and 1993, culminating in a piece for solo MIDI-flute and chamber orchestra.


...explosante-fixe..., Title
The title of the work is taken from the concluding line of the first chapter of André Breton's L'amour fou (1937): "La beauté convulsive sera érotique-voilée, explosante-fixe, magique-circonstancielle, ou ne sera pas" (Convulsive beauty will be erotic-veiled, exploding-fixed, magical-circumstantial, or it will not be at all).


...explosante-fixe..., History
The first version of ...explosante-fixe... (1971–1972) is a one-page aleatoric work in seven parts entitled, according to one report, Originel and Transitoires II–VII, though the manuscript score (published as two pages of music and twelve pages of instructions) bears the title in the composer's hand [... Explosante-fixe ...], and the indications "Originel" and "Transitoires II–VII" are the names of the groups into which the work is divided.


...explosante-fixe..., History
The seven parts each represent one member of a seven-note row found in the "Originel" section: E♭, G, D, A♭, B♭, A, E, an emblem of the Stravinsky memorial for which it was composed (the note E♭ sustained at the beginning is pronounced Es in German, cognate with the letter S for "Stravinsky"). The pitches of this row were later used also in Rituel. In this original form, the instruments were not indicated, though a possible scoring for two violins, two flutes, two clarinets, and harp is suggested. Like most of the other pieces in the Stravinsky memorial, this reflects the instrumentation of two brief commemorative works Stravinsky wrote in 1959: the Epitaphium for flute, clarinet, and harp, and the Double Canon (in memory of Dufy) for string quartet.


...explosante-fixe..., History
In the two subsequent years, Boulez developed ...explosante-fixe... into a work for solo flute, accompanied by clarinet, trumpet, harp, vibraphone, violin, viola, cello and electronics. Performances of this version made use of a recently created device known as the Halaphone. According to inventor Hans Peter Haller, the Halaphone is capable of "projecting sounds in various directions and at various speeds at will, projecting sound from point to point, making it move in circles around a hall, or making it move diagonally across a hall."


...explosante-fixe..., History
Boulez, however, was ultimately unsatisfied with the electronics.


...explosante-fixe..., History
There were actually two main variants, a "preliminary" version based on the bare bones of the outline score and scored for a trio of violin, clarinet, and trumpet, first performed by the London Sinfonietta in St John's, Smith Square in June 1972, and a longer, more sophisticated, and seemingly definitive form for septet, premiered in New York on 5 January 1973 and subsequently revised several times, for performances in Rome on 13 May 1973, at the Promenade Concerts in London in August 1973, at the Donaueschinger Musiktage on 21 October 1973 (by which time it had become an octet) and at the Théâtre d'Orsay in Paris as part of the Festival d'Automne 1974, where it created a sensation.


...explosante-fixe..., History
These revisions involved changes in the order of sections and rewriting six of the eight instrumental parts. In all, there are four different versions for the flute, three versions each for the viola and cello, two versions each for the trumpet, violin, and clarinet, but only one version each for the vibraphone and harp, which differ from one version to the next only in the ordering of their constituent parts. Boulez withdrew the materials for both versions, primarily because of his dissatisfaction with the all-too-audible failure of the electronics, and in particular the computer tape that was intended to direct the conductorless 1973 Proms version, but also as an acknowledgement that the scoring really required a symphony orchestra.


...explosante-fixe..., History
The next version of ...explosante-fixe..., for vibraphone and electronics, was not composed until 1986. In the intervening years, parts of the original material appeared in other works by Boulez, specifically Rituel (1975) and Mémoriale (1985).


...explosante-fixe..., History
Between 1991 and 1993, while at IRCAM, Boulez composed a new version of ...explosante-fixe..., for solo MIDI-flute with live electronics, two "shadow" flutes and a chamber orchestra. This version premiered in Turin, Italy at Settembre Musica Festival on 13 September 1993, in a performance by the Ensemble InterContemporain.


...from Hell
...from Hell is a one-hour ITV documentary shown in the United Kingdom on a semi-regular basis. It discusses and shows real-life footage of the experiences that people (mainly the British public) have witnessed on the subject of programme. For example, Weddings from Hell.


...from Hell
The programme began on 14 July 1997 with Neighbours from Hell. This was originally a one-off documentary to compete against the BBC with their current boom of docusoaps including Airport and The Cruise. This was soon followed up with the popular Holidays from Hell. The two aforementioned programmes are the most well known of the series.


...from Hell
The documentary was originally best noted for its dramatic 'flame-filled' title sequence, indicating a situation that could have originated literally 'from hell'.


...from Hell
It is narrated mainly by ex-Fawlty Towers actor, Andrew Sachs although others have included Ross Kemp and Fiona Foster.


...from Hell, Versions
These programmes first aired on ITV Network and some are often broadcast each year. They are occasionally repeated on ITV2. American versions of the show were shown on The Learning Channel in 2001 and 2002.


...from the "Hungry i"
...from the "Hungry i" is the Kingston Trio's first live album, released in 1959. It was recorded in 1958 at the San Francisco club hungry i shortly after the release of their debut album The Kingston Trio. It was awarded an RIAA gold album on October 24, 1960, and presented to the group in 1961.


...from the "Hungry i", History
What producer Voyle Gilmore heard when he first saw the Kingston Trio at The Purple Onion in 1958 persuaded him to sign the group to Capitol Records. ...from the "Hungry i" was released in order to expose the record buying public to what live audiences experienced at a Trio performance. This appeal was successfully conveyed with this live album, indicated by its number 2 chart position and receiving a gold album award. The Trio was a carefully rehearsed act, the jokes and introductions to songs planned, delivered and also graded by their manager Frank Werber. Gilmore recorded two nights of the group's twenty-seven-day engagement at the club.


...from the "Hungry i", History
In 1964, the hungry i would also be the location for the recording of the final album for Capitol (Back in Town) by the John Stewart  Trio.


...from the "Hungry i", Reception
The album was awarded an RIAA gold album on October 24, 1960.


...from the "Hungry i", Reception
In his Allmusic review, critic Ronnie D. Lankford Jr. notes the intensity of the trio's performances and the audience reactions. Lankford writes their first live album "captures the band live, singing vibrant versions of "Tic, Tic" and "They Call the Wind Maria." Because of the acoustic arrangements and professionalism of the band, this live performance easily matches the quality of the group's studio work."


...ing
...ing (Korean: 아이엔지) is a 2003 South Korean film starring Im Soo-jung, Kim Rae-won and Lee Mi-sook and directed by Lee Eon-hee. The title refers to the present continuous tense in English. Part of the movie  were shot in Saipan.


...ing, Plot
Min-ah (Im Soo-jung) is a young woman who has become reserved and aloof to the world as a result of her chronic illness and deformed hand. The film quietly portrays the unconventional, yet endearing relationship between Min-ah and her mother Mi-sook (Lee Mi-sook), as well as Min-ah's development as she is befriended by the high-spirited and carefree photographer Young-jae (Kim Rae-won) who moves into their apartment complex.


...ing, Remake
A 2012 Chinese remake titled First Time (第一次) starred Angelababy, Mark Chao and Jiang Shan.


...instore
...instore was a chain of retail stores in the United Kingdom, selling a range of products and principally concentrating on value homeware items.


...instore
The company was headquartered in Huddersfield, West Yorkshire but did not have a store in the town: the nearest was 5 miles (8.0 km) away at Ravensthorpe Shopping Park, Dewsbury. The company had over 5,000 employees.


...instore, Instore plc's corporate history
Instore plc, formerly Brown & Jackson plc, was the parent company of "...instore", operating 340 stores across the United Kingdom, also including Poundstretcher and Ponden Mill branded sites.


...instore, Instore plc's corporate history
The ...instore name was created as part of a major rebranding of the existing, value led Poundstretcher business that had been trading since 1981. In September 2002, the company concluded a programme of rebranding half its Poundstretcher stores as "...instore" in an attempt to reposition the business as a more mid market retailer.


...instore, Instore plc's corporate history
Trading subsidiaries What Everyone Wants, Your More Stores and the Famous Brunswick Shoe Warehouse were also disposed of at this time. In 2004 Brown & Jackson sold its Polish retail business, which operated since 1999, to South African Pepkor. In July 2005 the company adopted the name of Instore plc, replacing the previous Brown & Jackson plc name.


...instore, Instore plc's corporate history
In 2006, a new chief executive concluded that the re branding was not working and from 2007, new stores were opened as Poundstretcher stores. In January 2008, the company acquired 33 Ponden Mill stores under license from the administrators of the company, along with some rights to the Coloroll brand.


...instore, Instore plc's corporate history
The company continued to operate both ...instore and Poundstretcher brands, but as of 2009, has reverted its core estate to the Poundstretcher brand.


...instore, Instore plc's corporate history, Poundstretcher
Established in 1981 by Paul Appell and Stephen Fearnley, Poundstretcher had grown to a business consisting of 338 stores by 2004. Roughly half of the stores were converted to the ...instore format by the end of 2002, and the Poundstretcher business began to marketed jointly with ...instore outlets, sharing the same offers and slogan. By 2009, the company had deemed the rebranding exercise a failure, and ...instore shops were expected to revert to the Poundstretcher fascia.


...instore, Instore plc's corporate history, Poundstretcher
A new Poundstretcher Extra format was developed for larger stores.


...instore, Instore plc's corporate history, Poundstretcher
After selling Poundstretcher, Mr. Appell and Mr. Fearnley became involved in a failing retail business, United News Shops, which they managed to revitalise. Growing to become the largest convenience store and cafeteria business servicing British hospitals, United News Shops was sold to WH Smith in March 2008.


...instore, Profit warnings
During December 2006, the company issued a warning that its profits for the year would be likely to be well below expectations. This was blamed on difficulties experienced at the Huddersfield distribution centre following the introduction of a new software system and poor trading conditions. The company later reported that it was making progress in overcoming the problems it had experienced, and that sales growth for the six week period ending 13 January 2007 was 4.6%.


...instore, Profit warnings
In May 2007, Peter Burdon, former chief executive of Thorntons, was installed as chief executive. In July 2008, the company rejected a £11.4 million cash offer for the business, arguing that the chain is being undervalued. The bid was made by Seaham Investments, who already control 30.6% of the company. In January 2009, a trading notice issued following the Christmas trading period was of a disappointment to the company, in which they said sales were not as expected.


...instore, Profit warnings
Later in the month, the final year periods profits were announced at a £4 to 5 million pound loss.


...ish (audio drama)
...ish is a Big Finish Productions audio drama based on the long-running British science fiction television series Doctor Who.


...ish (audio drama), Plot
The Sixth Doctor and Peri attend a conference of lexicographers at a college where an unfortunate murder has occurred. The victim was a perfectionist linguist compiling the galaxy's biggest dictionary, and also a personal friend of The Doctor, but the only suspect is her holographic assistant, named Book, who is also a repository for every word in the English language.


...ish (audio drama), Plot
The Omniverbum is the mythical longest word in existence. According to records, no one who has found the Omniverbum, or its sentient affix "Ish", has lived to tell of it. Except one. Book found the Ish on an obscure world and accidentally brought back to the college as per his programming. But now it's escaped, and is out to cause havoc on the speech centers of the human brain unless The Doctor can stop it.


...ish (audio drama), Plot
Peri is in a different kind of danger. Swiftly falling in with a so-called "word anarchist" named Warren, she might come face to face with the slowly degenerating Book, who is distraught and unhinged over his master's death by possibly his own hands. Distraught and unhinged enough to kill her....


...och stora havet
... och stora havet ("...and the Great Ocean") is the debut studio album by Swedish pop singer Jakob Hellman. It was released on February 13, 1989 by EMI.


...och stora havet, Overview
The album was recorded in 1988 in EMI's studio in Skärmarbrink, Stockholm, and was produced by Dan Sundquist. During the recording, Sundquist worked in parallel on an album by Freda', which had higher priority than the low-budget Hellman album. Sundquist and Hellman also had differing ideas about the sound of the album. Hellman wished to retain the more primitive feel of the 1987 demo that served as the basis of the record, while Sundquist was aiming for more of a pure pop production. Sundquist eventually got what he wanted.


...och stora havet, Overview
... och stora havet was initially pressed in an edition of 5,000 copies. Once the song "Vara vänner" became a hit, the album was certified gold in the summer of 1989. The album was followed by a tour where Hellman was accompanied by musicians from Eldkvarn, Reeperbahn and Wilmer X.


...och stora havet, Overview
Lyrically, the album is tinged with a longing to get away. The songs also capture a sense of being young, impatient, misunderstood, and angst-ridden.


...och stora havet, Overview
The album was released in a remastered edition on CD on June 17, 1998. Nöjesguiden named ...och stora havet the best Swedish album of the century. It is also among the titles in the book Tusen svenska klassiker ("A Thousand Swedish Classics", 2009).


...och stora havet, Track listing
All tracks are written by Jakob Hellman, unless otherwise specified.


...on Television
...on Television or ...on TV, is a long-running late night television programme on ITV. The programme, which was made first by LWT and then Granada Productions, featured a number of clips from unusual or (often unintentionally) amusing television programmes and commercials from around the world.


...on Television
The show was first presented by TV critic and journalist Clive James between 1982 and 1988, before returning in 1997–98 and by celebrity chef Keith Floyd in 1989. Chris Tarrant took over as host initially from 1990 to 1996 and then again from 1998 until its demise in 2006. On Christmas Day 2020, the show was revived for a one-off special with Jeremy Clarkson as host. Another episode with Clarkson aired in April 2021, with a series of three being broadcast after Who Wants to Be a Millionaire? in July 2021.


...on Television, Early years
The show first began in 1982, hosted by the Australian television critic and satirist Clive James. The series showed funny and bizarre clips from TV shows and adverts from around the world, most notably from the Far Eastern countries of Japan and Korea. The series popularised the Japanese show Endurance which followed numerous contestants as they underwent painful tasks around the world.


...on Television, Early years
After James joined the BBC in 1988, celebrity chef Keith Floyd was brought in for a six-episode series in 1989 before Chris Tarrant took over in 1990.


...on Television, Later years
For its tenth anniversary in 1992, Tarrant presented a compilation series entitled Tarrant's Ten Years of Television (later 10 Years on TV), which showed clips from the past five series and specials. It also included extra footage that was deemed unsuitable for transmission in the original show.


...on Television, Later years
In 1997, Clive James returned as host for two series, produced by Watchmaker Productions for Carlton Television, in 1997 and 1998. The series was axed due to poor ratings.


...on Television, Later years, Tarrant on TV
The show continued to show bizarre clips from all over the world. But they now often included nudity, strong language, and crude or dark humour. Examples include a Japanese crying contest, a Japanese contraception advert, a profane North Korean propaganda film, and an advert showing eggs being fired from the bottom. Tarrant on TV also began to cover more violent and unusual programming such as the Jerry Springer Show or The Man Show.


...on Television, Later years, Tarrant on TV
With a different presenter, the format was also altered to include a special guest. On 4 April 1992, Mel Brooks appeared on the show. The show's content focused on different types of humour in Sweden, America and Israel. However the celebrity guest format was dropped by LWT because it was deemed too expensive to pay for cinematic clips and a guest star each week.


...on Television, Later years, Tarrant on TV
The last series of Tarrant on TV was in 2005, with a special broadcast in October 2006. The theme tune between 1996 and 2006 was Syd Dale's "The Penthouse Suite".


...on Television, Later years, It's Clarkson on TV
On Christmas Day 2020, a revival of the show was broadcast, with Jeremy Clarkson hosting a review of the year's television. A second episode was broadcast on 2 April 2021 with a series following in July 2021. Now produced for ITV by Expectation Entertainment, the series has moved away from featuring as many foreign television clips (such as Japanese game show Endurance) as its predecessors, with British dramas such as White House Farm, Quiz and Des critiqued alongside English-language shows on streaming services, such as Love is Blind and Selling Sunset.


...on Television, Transmissions
No full series was aired between 1985 and 1988, in 1991, 1992, 1994 and 1997; however special episodes were often broadcast.


...vous aiment
...Vous aiment is the third album by the French rock group Les Wampas, released in 1990.


...with Love
...with Love is the second studio album from Irish singer-songwriter, Mary Byrne. The album was released on 25 November 2011 in Ireland, and 5 March 2012 in the UK. The album was produced by Phil Coulter. The album peaked to number 10 on the Irish Albums Chart.


...with Love, Background
On 13 September 2011, it was announced that Mary Byrne had asked to end her record deal with Sony, and asked to switch to Universal. It was later announced that she had started working on a second album, produced by Phil Coulter, to be released in Ireland by Universal Music Ireland, and in the UK by Decca UK. On 2 November, Mary Byrne stated on her Facebook page that her new album was to be released in Ireland on 25 November. Her management team later announced that the album would be released the following year in March for the UK.


...with Love, Promotion
She appeared on The Late Late Show the day of Ireland release, and talked to Ryan Tubridy after performing a song on the album called 'Thank God That This Was My Life' written for her by Phil Coulter. Mary is due to have a concert featuring her latest songs from the album with Phil Coulter in the Olympia Theatre on 8 May 2012. The public demand on ticket sales was so overwhelming, 5 extra nights were added, evidently resulting in a total of a 6 night residency that ended on 13 May.


...y no se lo tragó la tierra
...y no se lo tragó la tierra is Tomás Rivera 1971 novel, most recently translated to English as ... And the Earth Did Not Devour Him. It is made up of fourteen short stories and thirteen vignettes. The novel presents stories that center around a community of South Texan Mexican American migrant farm workers during the late 1940s and early 1950s. The novel begins with the short story "A Lost Year", in which an unnamed male protagonist cannot seem to remember what occurred during the previous year.


...y no se lo tragó la tierra
The stories and vignettes that follow are fragmented, lack chronology and lack consistency in characters. The last short story, "Under the House", ties all of these stories together by presenting them as the memories of the male protagonist, who seems to become empowered by the act of remembering. The novel won the Premio Quinto Sol prize for literature in 1970 and has since been adapted into a movie.


...y no se lo tragó la tierra, Background, Background and publication
Rivera said he had trouble getting his works published at first, and said some of his manuscripts were probably rejected because he was Chicano. Rivera sent manuscripts everywhere and he said he received "thousands" of rejections before winning the Quinto Sol award and publishing his novel the subsequent year.


...y no se lo tragó la tierra, Background, Editions
Rivera, Tomás (1971) ...y no se lo tragó la tierra/... And the Earth Did Not Part. Trans by Herminio Rios, Berkeley: Quinto Sol.


...y no se lo tragó la tierra, Background, Editions
Rivera, Tomás (1977) ...y no se lo tragó la tierra/... And the Earth Did Not Part. Trans by Herminio Rios, Berkeley: Justa Publications.


...y no se lo tragó la tierra, Background, Editions
Rivera, Tomás (1987) ...y no se lo tragó la tierra/ ... And the Earth Did Not Devour Him (English and Spanish edition). Translated by Evangelina Vigil-Piñón. Houston: Arte Publico Press.


...y no se lo tragó la tierra, Background, Editions
Rivera, Tomás (1992) ...y no se lo tragó la tierra/ ... And the Earth Did Not Devour Him (English and Spanish edition). Translated by Evangelina Vigil-Piñón. Houston: Arte Publico Press.


...y no se lo tragó la tierra, Background, Editions
Rivera, Tomás (2012) ...y no se lo tragó la tierra. Edition and Introduction by Julio Ramos and Gustavo Buenrostro, Buenos Aires: Ediciones Corregidor.


...y no se lo tragó la tierra, Main themes, Social change
Many of the short stories in Rivera's novel reveal harrowing conditions that Mexican American migrant workers faced, and thus could be seen as a work that calls for social change to provide better working conditions for Mexican American migrant workers. In the short story "The Children Couldn't Wait", for example, a little migrant worker boy is shot to death by the farm boss for taking what the boss thought was too many breaks to drink water.


...y no se lo tragó la tierra, Main themes, Social change
Additionally, in "The Little Burnt Victims", two small children of migrant workers are burned to death in an accidental fire when they are left alone in their house. The parents were discouraged from bringing their children to the fields with them and thus had been forced to leave them at home alone. In this way, problems with working conditions for migrant workers are made clear in many of the stories. Furthermore, in "It's That It Hurts", the difficulty of getting a quality education for migrant farm worker children is stressed.


...y no se lo tragó la tierra, Main themes, Social change
In the story, a boy gets in trouble for hitting another student back, and knows that he will be expelled. The other boys at school call him "Mex" and make fun of him, and the principal justifies expelling him by saying, "...they could care less if I expel him...they need him in the fields". The racism the boy faces at school—both from children and adults—therefore hinders his ability to get a quality education. The stories thus expose dire conditions for Mexican American migrant workers and may be seen as a work that calls for structural changes to occur.


...y no se lo tragó la tierra, Main themes, Disillusionment with Mexican American folk Catholicism
In many of the novel's short stories, the young male protagonist becomes disillusioned with aspects of Folk Catholicism. In "A Silvery Night", for instance, the boy decides that he will call the devil late at night, but the devil never shows up, even after the boy curses him. He therefore realizes that there is no devil. Similarly, in the short story "... And the Earth Did Not Devour Him", the boy—angry that his close kin are suffering even though they are good people—curses God, but nothing happens to him as a consequence.


...y no se lo tragó la tierra, Main themes, Disillusionment with Mexican American folk Catholicism
In fact, the next day his father and brother are getting over his sickness and the weather is less harsh for working. The developments in these two short stories and in others, as well, point to an overall theme in the novel of a sense of disillusionment with religion. The protagonist seems to embrace rationalist, individualist thinking.


...y no se lo tragó la tierra, Main themes, Community building
However, in a chapter in his book Dancing with the Devil, José E. Limón argues that the novel does not in fact celebrate the protagonist's rationalist individualist thinking, and in fact associates him with the devil. Limón makes the point that in order for the boy in the novel to embrace rationality, he must put down and deem backwards his Mexican American culture's folk Catholicism. The boy therefore may be portrayed as the "real" devil in the story.


...y no se lo tragó la tierra, Main themes, Community building
In fact, Limón points out that in "Silvery Night", the boy actually puts on a devil's mask, and that in the story "... And the Earth Did Not Devour Him", the mother says she is afraid that the devil's blood runs through the boy already. Limón therefore suggests that the novel argues for the importance of a communal identity rather than an individualist one.


...y no se lo tragó la tierra, Main themes, Community building
This argument is supported by the fact that the novel brings together a myriad of voices from the Mexican American migrant worker community through the male protagonist's remembering and retelling of the stories, and by the fact that in the last short story the boy states that, "I would like to see all of the people together. And then, it I had great big arms, I could embrace them all."


...y no se lo tragó la tierra, Latin American edition
Julio Ramos and Gustavo Buenrostro edited the first Latin American edition of Tomás Rivera's novel ...y no se lo tragó la tierra (1971). Ramos and Buenrostro's edition of Tierra inaugurated a collection of Mexican Literature in Argentina. In their extensive introduction, Ramos and Buenrostro argue that Rivera's outstanding fictionalization of memory resists the tendency to aestheticize and heroize the figure of the farm worker; which was a common practice of social realism during the decades of 1930 and 1940. In their introduction, Ramos and Buenrostro coin the notion of "lenguas sin estado (languages without state)".


...y no se lo tragó la tierra, Latin American edition
They also establish a connection between Tomás Rivera, Juan Rulfo, Octavio Paz, and other literatures from the Borderlands. Additionally, the Latin American edition of Tierra includes numerous unpublished materials that show the relationship between Rivera and the editors of the foundational publishing house Quinto Sol. These materials also illustrate the genesis of the novel.


...you
... you is the second studio album by German pop singer Sasha, released by Warner Music on 2 May 2000 in German-speaking Europe, chiefly produced by Grant Michael B. and Pomez di Lorenzo.


...you
Following the Europe-wide breakthrough success of his debut album Dedicated to..., ...you charted noticeably lower in most international territories. It however manifested Sasha's success throughout German-speaking Europe where it reached higher peak positions than its predecessor on the album charts in Austria, Germany and Switzerland, and was eventually certified double gold by the IFPI. Altogether the album produced three singles, of which only lead single "Let Me Be the One" reached the top 20.


...à la Fumée
...à la Fumée (...Into Smoke) is a symphonic composition by Kaija Saariaho written in 1990, at the age of 38. It is a sequel to her 1989-90 work Du Cristal..., and starts where it ends, with a violoncello solo long trill sul ponticello. Both compositions form the title From Glass Into Smoke, inspired by Henri Atlan's 1979 essay Entre le cristal et la fumée: Essai sur l'organisation de vivant. Unlike Du Cristal..., ...à la Fumée features two soloists, a flute and a cello, which are distorted electronically. Lasting circa 18 minutes, it was premiered in Helsinki on 20 March 1991 by flutist Petri Alanko, cellist Anssi Karttunen and the Finnish Radio Symphony conducted by Esa-Pekka Salonen.


...à la campagne
...à la campagne is a French film directed by Manuel Poirier, released 5 April 1995.


..Cuz a D.U. Party Don't Stop!
.. Cuz a D.U. Party Don't Stop! is the sixth and final studio album released by the rap group Digital Underground. The album was released on May 20, 2008, ten years after the group's fifth studio effort, Who Got the Gravy?, and two months after the group disbanded.


.007
".007" (originally subtitled "The Story of an American Locomotive") is a short story by Rudyard Kipling. It is a story in which steam locomotives are characters (".007" is the serial number of the protagonist), somewhat like the later, better-known tales of The Railway Series by Wilbert Awdry and his son.


.007, Publication
The story first appeared in Scribner's Magazine in August 1897, and was collected with other Kipling stories in The Day's Work (1898).


.007, Plot
The locomotives themselves have personalities and talk in a manner reminiscent of what in real life would be the manner of the men who operate them. Human beings appear in the story only as seen from the perspective of the engines. The story relates a sort of rite of passage. A fast goods train was derailed by hitting a shoat (young pig) which got on the track, and ended up in a farm field. .007, a "sensitive", new, youthful engine performs in a heroic and manly way pulling the breakdown train, winning him the respect of his fellow engines. At the conclusion, the highest-ranking engine Purple Emperor, a "superb six-wheel-coupled racing-locomotive, who hauled the pride and glory of the road, the millionaires' south-bound express" inducts him into a fraternal organisation:


.007, Themes
".007" is one of a number of stories and poems that Kipling wrote about engines, engineers, and machines. A social history of technology notes Kipling was a pioneer in "establish[ing] the world of work as an appropriate subject for literature" and says,


.007, Themes
Some contemporary reviewers felt he went too far in this story. In a long essay in MacMillan's magazine, "an admirer"—who, judging from his comment on bicycles and horses, does not feel the same way about machines as Kipling—complained,


.007, The 007 connection
The story is sometimes mentioned speculatively as one of many possible inspirations for 007, the code number of Ian Fleming's fictional detective James Bond, but no connection is known.


.07%
".07%" is the nineteenth episode in the first season of the NBC superhero drama series Heroes. It is the first episode which includes a narration read by someone other than Sendhil Ramamurthy (Mohinder Suresh), in this case by Malcolm McDowell (Mr. Linderman). The title is a reference to information in this episode in which it is revealed the bomb will wipe out .07% of the world's population.


.07%, Plot
Nathan Petrelli and Mr. Linderman discuss Nathan's future and the prophesied explosion. Linderman explains how he is looking to provide humanity  with a "pathway to a more permanent peace." Nathan is horrified to learn that this plan involves using his brother Peter as the catalyst for an explosion that will kill a majority of the people in New York City. Linderman states that, even if half the population of New York City was killed in the blast, it would only represent less than .07% of the world's population, an acceptable loss.


.07%, Plot
Claire Bennet is still in shock from having learned that Angela Petrelli is not only her grandmother, but has known of her existence all along, even when Nathan thought she was dead after the fire. Angela strongly implies that she was a former hero and has powers. She informs Claire that it is not safe for her to be in New York City right now. She tells Claire that the two of them will soon be leaving for Paris until after the events that are coming play themselves out.


.07%, Plot
Peter manages to halt Sylar's telekinetic attack, healing his forehead and flinging Sylar across the room with telekinesis. Mohinder, who is pinned to the ceiling by Sylar's telekinesis, falls to the floor when Sylar's concentration is broken. Sylar is soon back on his feet and about to attack Peter when Peter becomes invisible, to Sylar's surprise. Sylar uses his telekinesis to fling shattered glass in all directions across the room. One of the shards stops in mid-air, dripping blood. Peter reappears, and we see that it is embedded in the back of his skull. He falls to the floor, lifeless.


.07%, Plot
In desperation, Mohinder pushes Sylar against a wall with the rolling bulletin board, knocking him unconscious and giving Mohinder time to escape with Peter. Later, Sylar revives to find that Mohinder has destroyed the notes on the bulletin board and the computer containing the list of "heroes." Sylar is enraged, until he finds a torn book cover front fold over sleeve of 9th Wonders! with Isaac Mendez's name and address on it.


.07%, Plot
Mohinder arrives at Angela Petrelli's house, informing her that Peter is dead. He lays Peter's corpse on a chaise longue and Nathan arrives and immediately comes to Peter's side, clutching him and weeping. Nathan says "He wasn't supposed to die this way. ", referencing the atomic prediction. Claire comes down the stairs to find Peter lying in the lounge, dead. She finds the glass shard and pulls it out of his head, allowing Peter to revive instantaneously, and then decides to call it even, as since Peter had saved her life previously, she felt she owed him.


.07%, Plot
Remembering that Isaac told them that the "brain man" was in jail, Hiro thinks that Isaac might still be alive and know what to do. They enter his studio where they find newspaper clippings strung together by string all over the apartment, which Hiro supposes is a timeline of the events of everything that happened. The episode ends with Hiro coming face-to-face with his future self.


.07%, Narration, Beginning
People think I collect art. What I really collect are lives fixed in paint. A perfect moment capturing an entire existence made immortal. A monster's fight to survive, and live to kill again. A mother willing to fracture her own soul to protect her child. Youth struggle for innocence despite life's cruelty. The double-edged lies needed to sustain a double-edged life. A wandering hero's pure joy at success. And his darkest hour when all the world seems lost. All perfect moments frozen in time. Alone each tells a single story. Together... they can tell the future.


.07%, Ratings
In the 18-49 demographic, ".07%" earned a 5.3/13 ratings share. This episode was watched by 11.96 million viewers.


.07%, Awards
Malcolm McDowell submitted this episode for consideration of his work in the category of "Outstanding Guest Actor in a Drama Series" for the 59th Primetime Emmy Awards.


.14-222
The .14-222 is a wildcat cartridge that was created in 1985 by Helmut W. Sakschek. It uses a .222 Remington case necked down to accept a .14 caliber bullet.


.17 Ackley Bee
The .17 Ackley Bee is a wildcat centerfire rifle cartridge named after its designer, P.O. Ackley, and is a .218 Bee case necked down to .17 caliber with a squarer shoulder and less body taper. Being a rimmed case it was popular with single shot rifles such as the Martini Cadet and Low Wall Winchester. The caliber is well suited to varmint hunting particularly where minimal pelt damage is required.


.17 Bumble Bee
.17 Bumble Bee is a  Wildcat cartridge designed for Varmint hunting sometime in the mid-20th century. The cartridges' bullet is 4mm in diameter, and it has been criticized for its low velocities, and ineffective use in killing varmints.


.17 CCM
The .17 CCM (Cooper Centerfire Magnum) is a cartridge. It is a necked down version of the .22 CCM. This cartridge was introduced in 1992 and was originally designed by Mike Hill. Dan Cooper (President of Cooper Arms) further refined the cartridge and chambering to put it into production in the Cooper Model 38 action.


.17 CCM
The .17 CCM is designed specifically for varmint and small game hunting. Its major benefits are low noise, accuracy and minimal barrel temperature, which makes it a perfect cartridge for prairie dogs. It has an effective range of around 300 yards, but like any other .17 caliber it is sensitive to the wind out past 100 yards.


.17 HM2
The .17 Hornady Mach 2, or .17 HM2, is a rimfire cartridge introduced in 2004 by the ammunition manufacturer Hornady, following the successful launch in 2002 of the .17 HMR. The .17 HM2 is based on the .22 Long Rifle "Stinger" case, necked down to .17 caliber (4.5 mm) and using a bullet weighing less than half the weight of a typical .22 Long Rifle bullet.


.17 HM2, Performance
The weight of the bullet is a key part of achieving the very high velocity for a rimfire round. It weighs only 17 grains (1.10 g) vs 30-40 grains (1.94-2.59 g) of a typical .22 LR bullet. The .17 HM2 may or may not live up to its "Mach 2" name, depending on geographic location and conditions, with velocities out of a rifle of 2,100 ft/s (640 m/s). The velocity is nearly double that of a standard .22 LR, which results in a much flatter trajectory out to its 175-yard (160 m) effective range.


.17 HM2, Converting rifles
Since the .17 HM2 is based on the .22 LR, converting most bolt action firearms chambered in .22 LR to .17 HM2 requires only a barrel change. The higher pressure makes conversion of semi-automatic firearms more difficult, as virtually all are blowback designs that are sensitive to pressure changes. Conversion kits have appeared, and they replace the factory bolt or bolt handle with a heavier one to increase the bolt mass and compensate for the higher pressure.


.17 HMR
.17 Hornady Magnum Rimfire, commonly known as the .17 HMR, is a rimfire rifle cartridge developed by Littleman Mitchell in 2002. It was developed  by necking down a .22 Magnum case to take a  .17 caliber (4.5 mm) projectile. Commonly loaded with a 17 grain (1.1 g) projectile, it can deliver muzzle velocities in excess of 775 m/s (2,650 ft/s).


.17 HMR, Development
The .17 HMR round is similar to rounds developed by dedicated rimfire wildcatters who worked to create a rimfire cartridge with an exceptionally flat trajectory. These wildcatters were seeking to match the ballistics of the obsolete 5mm Remington Rimfire Magnum, which was made from 1970 to 1974, and was to that point the fastest rimfire cartridge ever produced. With 5 mm diameter barrels and bullets being virtually unavailable at the time (the 5mm RMR was the last commercial 5 mm round until the 2004 release of the centerfire .204 Ruger), the commercially available .17 caliber became their bullet of choice.


.17 HMR, Development
The .22 Winchester Magnum Rimfire  was the logical parent case, rather than 5mm RMR (with its unique case head size, which requires a significantly different bolt and magazine), because it was commonly available, and it is a far larger and stronger case than the next largest, the .22 Long Rifle. The .17 caliber wildcats not only met, but far exceeded the 5mm RMR's velocities and flat trajectory. The accuracy of these cartridges was also quite good. However, the downrange energy of the 5mm RMR is superior to both .22 WMR and .17 HMR, so there is still potential in the 5mm rimfire for wildcatters.


.17 HMR, Development
Hornady, in conjunction with Marlin Firearms and Sturm, Ruger & Co. (manufacturers in the rimfire rifle market), followed much the same path. With the .22 WMR case as the starting point, a simple barrel change was sufficient for most .22 WMR firearms to chamber the new cartridge. In 2002, the first rifles and ammunition began appearing on the market. While the ammunition was relatively expensive due to the high-performance .17 caliber bullets used, it was still cheaper than most centerfire ammunition. By 2004, CCI, Federal Cartridge and Remington had each introduced .17 HMR ammunition offerings.


.17 HMR, Availability
Cartridges for .17 HMR come with bullets that weigh 15.5 grains (1.00 g), 17 grains (1.1 g), and 20 grains (1.3 g), and come in designs such as plastic-tipped bullets, hollow points, soft points, and FMJs. The terminal ballistics of the lightweight expanding bullets limit the .17 HMR to small game animals and varmints. .17 HMR ammunition is less common and more expensive than the .22 caliber rimfire rounds, but this is changing as the popularity of .17 HMR rifles gathers momentum.


.17 HMR, Availability
A growing number of companies offer .17 HMR ammunition. CCI Ammunition loads all of the .17 HMR ammunition for the CCI, Federal Cartridge, Hornady, and Remington brands. However, the ammunition is loaded with different bullets to different specifications. Ammunition is also available from Winchester, PMC and Sellier & Bellot.


.17 HMR, Availability
Examples of bolt-action or lever-action rifles that are chambered for (or have variants chambered for) .17 HMR include Armscor M1700, CZ 452, Ruger Model 96, Savage 93, Marlin 917 and Steyr Scout.


.17 HMR, Availability
Citing safety concerns about the round's use in semi-automatic firearms, Remington issued a product safety warning and recall notice.


.17 HMR, .17 Hornady Mach 2
Following the success of the .17 HMR, the .17 Hornady Mach 2 was introduced in early 2004. The .17 HM2 is based on the .22 LR (slightly shorter in case length) case necked down to .17 caliber using the same bullet as the HMR but at a velocity of approximately 2,100 feet per second (640 m/s) in the 17-grain (1.1 g) polymer tip loading.


.17 Hornet
The .17 Hornet is a .17 caliber centerfire rifle cartridge originally offered as a "wildcat cartridge" developed by P.O. Ackley in the early 1950s. He created this non-factory (wildcat) offering by simply necking-down the .22 Hornet to .17 caliber and fire-forming the resized cases in his new chamber design. The result was a small quiet cartridge capable of high velocity. Ackley mentions it as one of the most balanced of the .17 cartridges of his time; likely, this is still true.


.17 Hornet
Sixty years later, the Hornady Manufacturing Company (Grand Island, Nebraska, US) turned Ackley's idea into a commercial product with a similar cartridge; the .17 Hornady Hornet uses a 20 grain (1.3 gram) "Superformance" V-max projectile with a published velocity of 3,650fps (1,113 metres/second).


.17 Hornet
However, the new standardized ammunition and brass is not built to exactly the same dimensional specifications as the original wildcat or the dimensions listed on this page. Hornady's standard has a shorter body with less taper and shorter overall case length while the overall loaded length remains that of the original .22 Hornet (in order to fit the standard Hornet magazines). Shooters using the .17 Hornady Hornet in a .17 Ackley Hornet chamber experience the bullet jumping to the rifling and losing some of the inherent accuracy for which the cartridge has been known.


.17 Hornet
It has been reported the .17 Hornady Hornet uses a thicker rim than the original Hornet case. However, the ninth edition of the Hornady Handbook of Cartridge Reloading shows them to be the same (.065 inches); measuring the rims of actual factory cases shows the Hornady handbook to be correct. Moreover, Ackley's Pocket Manual for Shooters and Reloaders shows the rim thickness for his wildcat to range between .069" and .063" which is consistent with the Hornady handbook. Both cartridges head-space on this rim.


.17 Hornet
While the Ackley cartridge uses a 30-degree shoulder angle and the Hornady is 25 degrees, its longer shoulder is accommodated by Ackley's longer case body. Fireforming moves the Hornady's shoulder forward at the expense of neck length.


.17 Hornet
There is another size issue: according to Ackley's manual, his wildcat cartridge is only .289" over the shoulder while the Hornady factory round measures .294". This is the reason the Hornady's case capacity is almost identical to that of the Ackley's. Since there is five-thousandths less taper in the case body, the new .17 Hornady Hornet cases may not fit an Ackley chamber without full-length resizing.


.17 Hornet
Existing rifles chambered for the Ackley wildcat can have their barrels set back one turn and rechambered to the new .17 Hornady Hornet which meets the Sporting Arms and Ammunition Manufacturers' Institute (SAAMI) standard for the .17 Hornet. This fixes the bullet jump issue and improves ammunition availability with little risk of diminished performance.


.17 Mach IV
The .17 Mach IV is a wildcat centerfire rifle cartridge, based on the .221 Remington Fireball case, necked down to fire a 0.172 inches (4.4 mm) bullet. The cartridge was introduced in 1962 by Vern O’Brien. The cartridge offered an easy case conversion and good ballistics, but could not compete against the .17 Remington.


.17 Mach IV
The name, Mach IV, comes from the claim that the bullets can reach 4,000 ft/s (1,200 m/s). Due to the relatively small case capacity, even small variations in powder of 0.5 gr (0.032 g) can lead to the difference between a safe and dangerously over pressure load.


.17 Mach IV
The .17 Mach IV became very popular with varmint hunters, so much so that in 2007, Remington introduced its own very similar version, the .17 Remington Fireball.


.17 PMC/Aguila
The .17 PMC/Aguila or .17 High Standard is a rimfire cartridge formed by necking down the .22 Long Rifle casing to accept a .172" diameter bullet. This cartridge was developed in 2003 by firearms maker High Standard and ammunition maker Aguila and introduced in 2004. The introduction was ill-timed, however, coming in the middle of the introduction of two major new .17 Rimfires from Hornady, which took over the .17 caliber rimfire market.


.17 PMC/Aguila
The .17 Aguila can be shot in a rifle that is chambered for .17 HM2.


.17 Remington
The .17 Remington was introduced in 1971 by Remington Arms Company for their model 700 rifles.


.17 Remington, Overview
It is based on the .223 Remington case necked down to .172 in (4.37 mm), with the shoulder moved back. It was designed exclusively as a varmint round, though it is suitable for smaller predators. There are those such as P.O. Ackley who used it on much larger game, but such use is not typical.


.17 Remington, Overview
Extremely high initial velocity (over 4000 ft/s 1200 m/s), flat trajectory and very low recoil are the .17 Remington's primary attributes. It has a maximum effective range of about 440 yards (400 m) on prairie dog-sized animals, but the small bullet's poor ballistic coefficients and sectional densities mean it is highly susceptible to crosswinds at such distances.


.17 Remington, Overview
The smaller .172 bullet typically has a much lower ballistic coefficient than other typical varmint calibers, such as that of the .223 Remington. Because of this, the .172 bullet loses velocity slightly sooner and is more sensitive to wind; but by no means does this render the cartridge useless. The advantages of this cartridge are low recoil, flat trajectory, and minimal entrance wounds. The tiny entrance wound and usual lack of exit wound on coyote-sized animals make it an ideal round for fur bearing animals from which the hunter intends to collect a pelt.


.17 Remington, Overview
A significant disadvantage is the rapid rate at which such a small-caliber rifle barrel can accumulate gilding metal fouling, which is very detrimental to accuracy and may also eventually result in increasing pressures caused by the fouling's constriction of the bore. Many .17 Remington shooters have reported optimum accuracy when the bore is cleaned after every 10 - 20 shots, though more modern metallurgy used in both barrels and bullets has largely mitigated the fouling issue.


.17 Remington, Overview
The .17 Remington is also one of the few cartridges in which powder charge weight is often greater than bullet weight. Though this condition has been known to degrade accuracy, the .17 Remington is noted for exceptional accuracy. This reputation for accuracy is due in no small part to the fact that only good quality bolt action and single shot rifles have been so chambered from the factory.


.17 Remington, Gallery
.17 Remington Fireball cartridge next to a .17 Remington cartridge


.17 Remington, Gallery
Left to right - .223 Rem, .17 Rem, .17 Fireball


.17 Remington Fireball
The .17 Remington Fireball was created in 2007 by Remington Arms Company as a response to the popular wildcat round, the .17 Mach IV. Factory loads drive a 20 grain (1.3 g) bullet around 4,000 ft/s (1,219 m/s). Velocity is close to the .17 Remington but with significantly less powder, and therefore less heat and fouling. Both are important issues to high-volume shooters such as varmint hunters.


.17 Remington Fireball, Overview
It is based on the .221 Remington Fireball necked down to accept a .17 caliber bullet and is very similar to the .17 Mach IV. Reports on this cartridge show mild recoil, high velocity, with minimal report (noise).


.17 Remington Fireball, Gallery
.17 Remington Fireball cartridge next to a .221 Remington Fireball cartridge, its parent case.


.17 Remington Fireball, Gallery
.17 Remington Fireball cartridge next to a .17 Remington cartridge.


.17 Remington Fireball, Gallery
Left to right - .223 Rem, .17 Rem, .17 Fireball cartridges.


.17 Rimfire
.17 Rimfire may refer to a number of different cartridges or firearms that use them. The cartridges all use rimfire cases and fire .17 inch (4.5 mm) bullets. While .17 caliber airguns generally use .177 inch projectiles (4.50 mm), .17 caliber firearms, both rimfire and centerfire, generally measure .172 inch (4.37 mm).


.17 Winchester Super Magnum
.17 Winchester Super Magnum, is a rimfire rifle cartridge developed by the ammunition company Winchester in 2012. It descended from the .27 caliber nail-gun blank by necking down the blank case to take a .17 caliber (4.5 mm) bullet. Initial loadings were with a 20-grain bullet, delivering muzzle velocities around 3,000 ft/s .


.17 Winchester Super Magnum, Development
Winchester, in conjunction with Savage, introduced this cartridge at the 2013 SHOT Show.


.17 Winchester Super Magnum, Development
The brass case for this round is roughly 50% thicker than the 17 HMR, and the max average internal pressure is 33,000 psi, compared to the 17 HMR's 26,000 psi.


.17 Winchester Super Magnum, Factory ammunition
Factory ammunition is available from Winchester, Federal, American Eagle, and more recently, Hornady.


.17 Winchester Super Magnum, Factory ammunition
Hornady 17 Win Super Mag and Federal Ammunition American Eagle 17 Win. Super Magnum cartridges are currently only available with 20-grain polymer-tipped projectiles rated at 3,000 FPS at the muzzle.


.17 Winchester Super Magnum, Factory ammunition
Several options from Winchester are available, including Varmint HV 17 Winchester Super Magnum with a 20-grain polymer-tipped projectile rated at 3,000 FPS, Varmint HE 17 Winchester Super Magnum with a 25-grain polymer-tipped projectile rated at 2,600 fps, and Varmint-X 17 Winchester Super Magnum which is available with a lead-free 15-grain polymer tipped projectile, rated at 3,300 FPS.


.17 Winchester Super Magnum, Firearms
Currently, rifles firing the 17 WSM are the Savage B-Mag bolt action, heavy barrel B-mag target edition. Ruger Model 77/17, Winchester 1885 Low Wall single shot, and the semi-automatic Franklin Armory F-17. The F-17 is the first gas-piston operated rimfire firearm designed to handle the higher pressures of this cartridge. Also recently Jard Inc. joined this list with their J71 17 WSM AR 15 rifle.


.17-223
The .17-223 is a centerfire wildcat rifle cartridge. It is based on the .223 Remington, but the neck is re-sized to accept a .17 caliber bullet.


.177 caliber
.177 caliber or 4.5 mm caliber is the smallest diameter of pellets and BB shots widely used in air guns, and is the only caliber generally accepted for formal target competition. It is also sometimes used for hunting small game,like fowl. As well as in field target competition, where it competes with 5 mm (.20 caliber) and .22 caliber (5.5 mm) rifles.


.177 caliber
Steel BBs are typically slightly smaller than lead BBs at 0.175-inch (4.4 mm) diameter, although the bore diameter of the barrel are the same. Some air guns are designed to accept .177 pellets, .177 lead shot, or .175 steel BBs interchangeably.


.177 caliber, Relationship between caliber and trajectory
If two guns fire pellets of different weights, the gun firing the lighter pellet must fire it at a higher velocity to achieve the same muzzle energy. This is an important consideration in locations where air guns are legally restricted by muzzle energy. Because a .177 pellet is lighter than a larger caliber pellet of similar design, the .177 pellet can be propelled faster and therefore on a flatter trajectory, without exceeding the legal limit on energy. However, because the lighter projectile has a lower ballistic coefficient, it loses its initial energy to air resistance faster than a heavier, slower pellet. Therefore, a heavier pellet (typically of a larger caliber) may be preferred for hunting.


.2 Network
.2 Network (pronounced Dot-Two Network) was the name of a planned television network designed for digital television subchannels (hence the ".2") owned by Guardian Enterprise Group. Announced in 2008, the network never ended up going to air due to financial and technical difficulties.


.2 Network, History
The channel was originally scheduled for launch on December 8, 2008  however, citing the planned 2009 conclusion of US digital TV transition, the launch of .2 Network was delayed until sometime in Spring 2009. Network executives had announced an intention to delay the launch until the channel could reach at least 30% of US households, a milestone which at that time was predicted not to be reached until October 2009, almost a full year behind the original schedule. Ultimately, this milestone was never reached. The network's website, which from 2008 to 2010 had previews and info of the network, was reduced to a logo and telephone number as of mid-2010. As of 2011, plans for the network were "on hold."


.2 Network, History
As of April 2013, the .2 website went offline, and with Sony announcing the fall 2013 launch of the GetTV network featuring the Columbia Pictures and TriStar Pictures film library through digital subchannels on Univision and UniMás stations, all of the network's announced film and television rights (detailed below) are now with other digital subchannel networks.


.2 Network, Programming
.2 Network had licensing agreements with Sony Pictures Entertainment, NBCUniversal, Disney, Hallmark Channel and Screen Media. 2 Network's proposed programming included Gidget, The Flying Nun, and hundreds of blockbuster movies. The .2 network was also to be a source for multiple broadcast premieres, with the prime-time line-up following a movie channel like format. Other programs were to include lifestyle-related, special-interest, and E/I programming, including Animal Rescue and Missing for its affiliated stations.


.2 Network, Programming
After the announcement of .2 Network's plans, similar subchannel networks launched and usurped .2 Network's original programming rights. Antenna TV launched on January 1, 2011, utilizing the Sony Pictures Television library (itself later also used for Sony's own getTV).


.2 Network, Programming
NBC Universal would also later sell rights of its programming to another similar network, Retro Television Network (RTV), but under their new Comcast ownership, removed their programming from RTV in June 2011, then signed a new agreement with MeTV after that to provide them most of the same programming, and launched their own network with library content, Cozi TV, in January 2013.


.2 Network, HDTV
.2 Network had plans to offer a 720p HDTV feed to its affiliates for either the subchannel or as a cable offering, despite some engineers' skepticism at the time of carrying two HDTV channels on one DTV frequency. This has since been rectified, but most digital subchannels not associated with the largest six English-language or two Spanish-language networks continue to carry their signals solely in 480i.


.20 BR
The .20 BR is a centerfire wildcat rifle cartridge. It is based on the .22 BR Remington case necked down to accept a 5.2 millimetres (0.204 in) diameter bullet and maintaining the shoulder angle of 30° and case length of 39 millimetres (1.535 in). The cartridge features a short fat case which is reputed to be both efficient and accurate.


.20 BR
The large powder capacity of the case allows it to propel a 2.6 grams (40 gr) bullet at over 1,200 metres per second (4,000 ft/s), however the cartridge is considered overbore and can be expected to have a relatively short barrel life.


.20 BR
The inherent accuracy of the BR case design and the high performance of the .20 BR has led to it being adopted by varmint hunters and target shooters.


.20 BR
Advantages of this cartridge include; its ability to be chambered in any rifle action which has the .308 Winchester sized bolt face; its short length enables action makers to utilise shorter ports to increase rigidity; and cases are easily formed and loaded.


.20 Tactical
The .20 Tactical is a wildcat centerfire rifle cartridge, based on the .223 Remington case, necked down to fire a 5.2 millimetres (0.204 in) caliber bullet. The .20 Tactical was designed by Todd Kindler and predates the .204 Ruger factory round. The case has approximately 0.2 grams (3 gr) less powder capacity than the popular .204 Ruger. Handloaders can get velocities with 2.1 and 2.6 grams (32 and 40 gr) projectiles that almost match the .204 Ruger. Furthermore, the .20 Tactical is also able to achieve these velocities with less powder than the .204 Ruger by more efficiently using high energy propellants such as Alliant Reloader 7 and Winchester 748. Based on the .223 Remington, a wide selection of brass is available, and can also be formed from .223 casings by use of a forming die.


.20 Tactical
It seems this caliber may stay in the "wildcat" category for some time to come.


.20 VarTarg
The .20 VarTarg is a wildcat centerfire rifle cartridge, based on the .221 Remington Fireball case, necked down to fire a 5.2 millimetres (0.204 in) bullet.


.20 VarTarg
The name VarTarg is a portmanteau of varmint and target.


.20 VarTarg
There is also a .20 VarTarg Turbo based on the .222 Remington


.204 Ruger
The .204 Ruger is a centerfire rifle cartridge developed by Hornady and Ruger. At the time of its introduction in 2004, the .204 Ruger was the second highest velocity commercially produced ammunition and the only centerfire cartridge produced commercially for bullets of .204 inch/5 mm caliber.


.204 Ruger, Characteristics
The 204 Ruger was developed from the .222 Remington Magnum, which has the second largest case capacity in the family that began with the .222 Remington. Only the European 5.6×50mm Magnum is larger, which itself is a lengthened version of the 222 Remington Magnum. The 222 Remington Magnum provides about 5% more usable (below the neck) case capacity than the most popular member of the family, the NATO 5.56×45mm (.223 Remington). To make the 204 Ruger, the 222 Remington Magnum case was necked down to .204 inches (5 mm) and shoulder moved forward and angle increased to 30 degrees.


.204 Ruger, Characteristics
Bullets available in .204 caliber range from 24 to 55 grains (1.55g to 3.56g). The Hornady factory load is listed at 4,225 ft/s (1288 m/s) with a 32-grain (2.1 g) bullet. To achieve these velocities, the factory uses a proprietary powder composition known internally as SMP746, specially formulated by Primex, and not currently (2013) available to handloaders. The propellant features a de-coppering agent that helps prevent fouling. Reloading data from Hornady, using commercially available powders, indicate velocity peaking at just under 4,200 ft/s (1,300 m/s) with the 32-grain (2.1 g) bullet in longer barrels. Many AR-15 rifle manufacturers now offer the .204 Ruger as an alternative chambering alongside the usual 5.56×45mm/.223 Rem.


.204 Ruger, Development
The .204 Ruger was the second Ruger-named cartridge produced by a partnership between Ruger and Hornady, the first being the big bore .480 Ruger revolver cartridge introduced in 2003 for the Super Redhawk. With the backing of a major gunmaker and a major ammunition company, the round was an instant success, with other ammunition makers and firearms makers quickly adding the new chambering. Ruger's initial offerings included the bolt action Model 77 MKII, and the single shot Ruger No. 1, and Hornady offered loadings with 30-and-40-grain (1.9 and 2.6 g) bullets.


.204 Ruger, Development
The .204 Ruger has proven to be a very accurate and efficient cartridge: an early tester reported 1/2 MOA groups at 100 yards (91 m) with the Hornady loads and a Ruger #1 Varmint rifle. This is not surprising, considering that the first cartridge in the family, the .222 Remington, was a top benchrest shooting cartridge for many years after its introduction.


.204 Ruger, Development
The .204 Ruger was intended primarily for varmint rifles, which require bullets with flat trajectories but not much mass or kinetic energy. The .204 was "splitting the difference" between the popular .224 varmint rounds such as the .220 Swift and .22-250 Remington, and the tiny .172 caliber rounds such as the .17 Remington and the .17 HMR. The resulting cartridge provides somewhat higher velocities than any of these, giving a maximum point blank range of more than 270 yards (250 m).


.204 Ruger, Velocity
Ruger's claim to being the velocity king with the .204 was based on two points.


.204 Ruger, Velocity
First, no other high performance .20 caliber cartridge was commercially produced. Second, the ammunition used to achieve the 4225 ft/s was available only from Hornady using a special powder not available to the general public.


.204 Ruger, Velocity
Note that handloaders typically achieve velocities more in the area of 4,100 ft/s (1,200 m/s) using a 32-grain (2.1 g) bullet. Handloads using a 40-grain (2.6 g) bullet in other commercial cartridges such as the .22-250 Remington also achieve velocities similar to those of the .204 Ruger. The advantage of the .204 Ruger is that it achieves these velocities with less powder, less recoil, and less heat than the larger cartridges. The 204 Ruger has a maximum range of approximately 500 yards (460 m). Hornady now offers a 24-grain lead free cartridge that claims 4400 fps from a 26" barrel. However, Hornady's 35 gr NTX .22-250 claims 4450 fps from a 24" barrel.


.218 Bee
The .218 Bee is a .22 caliber centerfire rifle cartridge designed for varmint hunting by Winchester in 1937. The cartridge was originally chambered in the Winchester Model 65 lever-action rifles, which may have ultimately led to its lack of popularity. The cartridge is named for the bore diameter of the barrel in which the cartridge is chambered rather than the usual practice in the United States of having the cartridge's nomenclature reflect in some way the bullet diameter.


.218 Bee, History
The .218 Bee cartridge was designed by Winchester for use in their Model 65 lever-action rifles. Winchester designed the cartridge by necking down the .25-20 Winchester cartridge to accept a .224 diameter bullet. Just as the .32-20 can be considered to be the parent cartridge of the .25-20, it can also be considered the parent cartridge to the .218 Bee. The cartridge was introduced as a commercial cartridge by Winchester in 1937 in their Model 65 lever action rifle, which was also chambered for the .25-20 and .32-20 Winchester cartridges. However, while the .25-20 and the .32-20 Model 65 rifles had 22 inch (560 mm) barrels, the rifles chambered for the Bee sported 24 inch (610 mm) barrels.


.218 Bee, History
While early on the cartridge showed some promise, the cartridge never really caught on, even though it was later chambered by Winchester in the new bolt-action Model 43 rifle and by Sako in their L-46 rifle. There was some question about the accuracy of the .218 Bee as compared to the .222, but that was likely due to the difference of inherent accuracy between the bolt-actions rifles commonly chambered for the .222 and the lever-actions commonly chambered for the .218 Bee. Although not in common use, it is still a very effective cartridge in its class, for small to medium varmints out to about 200 yards (180 m). Production ammunition and rifles are still available from a few manufacturers.


.218 Bee, Performance
In terms of relative performance, the .218 Bee falls between the smaller .22 Hornet, and the larger .222 Remington and the more popular .223 Remington. In terms of short range velocity the .218 works quite well.


.219 Donaldson Wasp
This is the current revision of this page, as edited by Bmeyette (talk | contribs) at 04:18, 1 April 2020. The present address (URL) is a permanent link to this version.


.219 Donaldson Wasp
The .219 Donaldson Wasp cartridge was developed during the late 1930s by Harvey Donaldson, and is derived from the .219 Zipper case. Once popular among match shooters in the 1940s, it has since fallen by the wayside in favor of newer developments. It is, however, held in high regard for its accuracy, and is widely considered the grandfather of benchrest cartridges. Today the round occupies a niche in the falling-block rifle market.


.219 Donaldson Wasp
There are three notable versions of the Wasp. The first, designed in the mid 1930s and today known as the 219 Gipson Wasp, was named after the gunsmith who chambered the first Wasp rifle for Donaldson. This version has a case length measuring 1.625" and was formed from rimless 25 Remington brass.


.219 Donaldson Wasp
Donaldson shifted his experimentation to the 219 Zipper brass soon after the introduction of that cartridge by Winchester in 1937. By approximately 1940, Donaldson had lengthened the body of the Wasp case to increase capacity from around 24 to 28 grains of IMR 3031 powder - to see if velocity could be increased while maintaining accuracy. To Donaldson's delight, the larger case produced both higher velocity and superior accuracy. This development work is detailed in a series of letters written by Donaldson and collectively published in Yours Truly.


.219 Donaldson Wasp
Donaldson later lengthened the neck by about 1/32" so as not to encroach on powder capacity when using a graphite wad behind the bullet. This resulted in a case length of 1.750". This final design is preserved in a drawing on page 224 of Twenty-Two Caliber Varmint Rifles.


.219 Donaldson Wasp
During the 1960s, an even longer version appeared as a result of measurements referenced from the front of the rim instead of the rear. This design has a case length of 1.813" (1.750" plus 0.063" rim thickness). The same error has occurred on a number of other popular wildcats.


.219 Zipper
The .219 Zipper cartridge was created by Winchester Repeating Arms in 1937 to be used in their lever-action Model 64 rifle. It is a 30-30 Winchester cartridge necked down to a .22 caliber bullet. Marlin Firearms also offered their Marlin Model 336 rifle (Marlin 336 Zipper) chambered for the cartridge.


.219 Zipper
While the .219 Zipper was supposed to compete against other varmint cartridges of the time, most lever-action rifles use tubular magazines, which prohibit the use of pointed bullets. This led to problems with accuracy. Winchester stopped producing .219 Zipper ammunition in 1962, Remington Arms stopped production of the cartridge soon afterwards. The .219 Zipper is the parent case of the .219 Donaldson Wasp, and P.O. Ackley created the .219 Zipper Improved in 1937. Leslie Lindahl's Chucker and Super-chucker and "wildcat" case modifications by Hervey Lovell, Lysle Kilbourne, and W. F. Vickery offered similarly superior ballistics in stronger single-shot and bolt actions.


.219 Zipper
Though the flat- or round-nosed slug causes rapid loss of velocity, the .219 Zipper is suitable for small game or varmints, including wolf or coyote, and even deer if loaded with a heavier 55 grain bullet. It works well in guns designed to fire rimmed ammunition, such as rebarreled Lee–Enfields, but not in Mauser-type actions, which are not, although Winchester's Model 70, also a Mauser-type action, had been successfully adapted to semi- and fully-rimmed cartridges, such as the .220 Swift and the .219 Zipper.


.219 Zipper, Note
The ballistics data in the infobox are for maximum loads, as determined by the writers for Accurate Arms. This was based upon the Winchester Model 64 rifle being chambered in .25-35 WCF and .30-30 Winchester rather than SAAMI specifications.


.22 Accelerator
The .22 Accelerator is a special loading of the .30-30, .308, and .30-06 cartridges that is manufactured by Remington.


.22 Accelerator, Description
It consists of a sub-caliber 0.224-inch (5.7 mm) diameter bullet, held in a .30-caliber 7-grain (0.45 g) six-fingered plastic sabot with a hollowed base.


.22 Accelerator, Description
The bullet separates from the sabot approximately 14 inches (360 mm) from the muzzle.


.22 Accelerator, Usage
The cartridge allows for using a large-caliber rifle for varmint shooting, although the accuracy is somewhat diminished.


.22 Accelerator, Usage
The advantage, however, is the extremely high muzzle velocity from factory-loaded ammunition.


.22 BB
.22 BB Cap (Bulleted Breech Cap) also known as the 6mm Flobert, is a variety of .22 caliber rimfire ammunition. Invented by Louis-Nicolas Flobert in 1845, it was the first rimfire metallic cartridge. The .22 BB Cap and .22 CB Cap are interchangeable and are relatively quiet low velocity cartridges, designed for indoor target shooting.


.22 BB, History
Frenchman Louis-Nicolas Flobert invented the first rimfire metallic cartridge in 1845. His cartridge consisted of a percussion cap with a bullet attached to the top. Flobert then made what he called "parlor guns" for this cartridge, as these rifles and pistols were designed to be shot in indoor shooting parlors in large homes. Usually derived in the 6 mm and 9 mm calibres, it is since then called the Flobert cartridge, but it does not contain any powder; the only propellant substance contained in the cartridge is within the percussion cap. In Europe, the .22 BB Cap and .22 CB Cap are both called 6mm Flobert and are considered the same cartridge.


.22 BB, Description
These rimfires closely resemble a .22 caliber air rifle in power and are often used for indoor shooting and close range pest control. Developed for indoor shooting galleries with special "gallery guns", the .22 BB Cap was the first rimfire cartridge, dating back to 1845. It has no separate propellant charge, relying on the impulse created by the primer alone to fire a round lead ball. This results in a low muzzle velocity of around 700 ft/s (210 m/s) or less. More common is the .22 CB cap, which fires a slightly heavier conical bullet and is available in a variety of cartridge lengths.


.22 BR Remington
The .22 Bench Rest Remington cartridge, commonly referred to as the .22 BR Remington, is a wildcat cartridge commonly used in varmint hunting and benchrest shooting. It is based on the .308×1.5-inch Barnes cartridge, necked down to .22 caliber, lengthened by .020 inches and with the shoulder angle increased to 30°. It was first developed in approximately 1963 by Jim Stekl, and in 1978 Remington standardized the dimensions. It is renowned for its high velocities and excellent accuracy.


.22 CB
The .22 CB cap (conical breech cap) is a more powerful version of the .22 BB cap (aka: 6mm Flobert) rimfire metallic cartridge, which was invented by Louis-Nicolas Flobert in 1845. The .22 BB cap and .22 CB cap are interchangeable and are relatively quiet, low velocity cartridges, designed for indoor target shooting.


.22 CB, History
Designed to be a cross between the .22 BB and .22 Short, and first catalogued in around 1888 (though probably first made before that), it "managed to combine about all the disadvantages... [of both] into one generally useless cartridge", being no more accurate than either while being noisier than the .22 BB cap, and penetrating much deeper, requiring a backstop as strong as for the .22 Short, thereby negating the CB cap's advantages for shooting indoors. American ammunition manufacturers dropped the .22 CB cap in the 1940s.


.22 CB, History
In Europe, the .22 BB cap and .22 CB cap are both called "6mm Flobert" and are considered the same cartridge. In Europe, the cartridge is still used in cheap rifles meant for short-range pest control. Although RWS in Germany, Eley-Kynoch in Britain, and Alcan stopped making the 6mm Flobert in the 1970s, it is still manufactured and sold in some European countries. For example, in the Czech Republic and Slovakia, Flobert guns fall within the same weapon category as air rifles, which are usually unaffected by gun laws. 6mm Flobert ammunition is also used in antique firearms chambered for the .22 Short and the .22 Long, as most modern ammunition has much higher pressure than the old black powder cartridges these guns were chambered for.


.22 CB, Description
The .22 CB cap has a very small propellant charge (usually no gunpowder, just the primer), resulting in a low muzzle velocities of between 350 and 853 feet per second (107 and 260 m/s). Due to their low power, classic CB rounds used in indoor target practice can be trapped by many pellet gun traps since some modern pellet guns exceed the velocity of the CB round (however, this depends on the limits designed in the individual pellet trap). In longer rifle barrels the CB has a very quiet, seemingly non-existent report due to the lack of residual pressure at the muzzle (see Internal ballistics). The CB loses velocity fast in longer barrels, due to the lack of anything other than the primer as a propellant.


.22 CB, Description, Modern rounds
The original .22 CB cap has the same tiny case as the .22 BB cap and the two cartridges are interchangeable. There are now .22 rounds sold as .22 CB Short and .22 CB Long which come in the standard .22 Rimfire cartridge case sizes to allow the rounds to be used in standard magazine-fed firearms which would likely jam with the tiny BB or CB cases. The CCI .22 CB Short and .22 CB Long use the same 29-grain bullet as the regular .22 Short and .22 Long.


.22 CB, Description, Modern rounds
The CCI CB rounds have muzzle velocities of 720 feet per second (ft/s) for an impact energy of 33 foot/pounds (ft-lb). The standard .22 Short and .22 Long fire the same bullet weight at 1,045 ft/s for 70 ft-lb. The CB rounds are relatively quiet for short range target practice, control of small pests, or use in older .22 guns that might not be safe with modern high pressure rounds. For trapping these CB Short and CB Long rounds in indoor target practice, a standard .22 bullet trap is needed. Other modern CB type rounds, such as the .22 Aguila Colibri and .22 Aguila Super Colibri, have bullets in the same weight range as the original CB cap with velocities in the 300 ft/s to 500 ft/s range using the Long case.


.22 CHeetah
The .22 CHeetah (both C and H are upper-case, referring to Carmichel / Huntington) is a .22 wildcat cartridge developed in the 1970s or 1980s by Jim Carmichel and Fred Huntington.


.22 CHeetah
The .22 CHeetah is essentially a Remington .308 BR, modified to fit the .22 caliber. Two custom gunmakers, Shilen Rifle Company and Wichita Engineering, are now making rifles specifically for the cartridge. The cartridge's 50-grain .22-caliber bullets have a muzzle speed upward of 4,300 ft/s (4,250 according to some), and the cartridge is known for its long-range accuracy and velocity. Its high intensity is notoriously hard on barrels, which require constant cleaning.


.22 Eargesplitten Loudenboomer
This humorously named cartridge was developed in the 1960s by P.O. Ackley for Bob Hutton of Guns & Ammo magazine, and was intended solely to exceed 5,000 ft/s (1,500 m/s) muzzle velocity. Ackley's loads only managed 4,600 ft/s (1,400 m/s)(Mach 4.2), firing a 50-grain (3.2 g) bullet. Based on a .378 Weatherby Magnum case, the case is impractically over-capacity for the bore diameter, and so the cartridge remains a curiosity. The advent of new slower-burning smokeless powders may have changed the equation.


.22 Extra Long
The .22 Extra Long is a .22 in (5.6 mm) American rimfire rifle and handgun cartridge.


.22 Extra Long, Description
Introduced around 1880, the .22 Extra Long was used in Remington, Ballard, Wesson, Stevens, and later (1916) models of Winchester's M1902 and M1904 single-shot bolt-action rifles, as well as in Smith & Wesson revolvers.


.22 Extra Long, Description
Using the same 40 gr (2.6 g) outside-lubricated bullet later adapted for the much more common .22 Long Rifle, the Extra Long was loaded with 6 gr (389 mg) of black powder. Originally, it slightly outperformed the .22 LR, but was "not noted for great accuracy", while later smokeless loads achieved about the same muzzle velocity as the .22 LR.


.22 Extra Long, Description
As with the .22 Winchester Automatic and  .22 Remington Automatic, the .22 Extra Long will not chamber correctly in .22 Long Rifle weapons. Because it is very dimensionally-similar, however, the shorter .22 Short, .22 Long, and .22 LR will chamber in weapons designed for it (in the same way .38 Special ammunition can be fired in .357 Magnum weapons, or .44 Special rounds in .44 Magnums).


.22 Extra Long, Description
The power of the .22 Extra Long is comparable to the standard velocity .22 Long Rifle, which is much more commonly chambered and sold.


.22 Extra Long, Description
The .22 Extra Long ceased to be offered commercially in 1935.


.22 Hornet
The .22 Hornet or  5.6×35mmR is a varminting, small-game hunting, survival and competition centerfire rifle cartridge commercially introduced in 1930. It is considerably more powerful than the rimfire .22 WMR and the .17 HMR, achieving higher velocity with a bullet twice the weight of the .17 HMR bullet. The Hornet also differs very significantly from these in that being a centerfire cartridge makes it reloadable, and thus much more versatile. It was the smallest commercially available .22 caliber centerfire cartridge until the introduction of the FN 5.7×28mm.


.22 Hornet
The .22 Hornet fills the gap between such popular varmint/predator cartridges as the .22 WMR and the .223 Remington. In regard to muzzle velocity, muzzle energy and noise, it is well suited to vermin and predator control in relatively built-up areas.


.22 Hornet, History
Prior to the development of the modern .22 Hornet, there was a conceptually similar but physically different cartridge by the same name invented in the 1890s by Reuben Harwood (nicknamed "Iron Ramrod)", sometimes called the ".22 Harwood Hornet" to avoid confusion, as the two rounds are not compatible. Harwood's cartridge was formed by necking down .25-20 Single Shot brass to .22 caliber, and was initially loaded with black powder.


.22 Hornet, History
The modern .22 Hornet's ancestry is generally attributed to experiments done in the 1920s using the black-powder .22 WCF at Springfield Armory. Winchester adopted what had so far been a wildcat cartridge in 1930, producing ammo for a cartridge for which no commercially made guns yet had been built. It was not until 1932 that any company began selling commercially made guns for the cartridge.


.22 Hornet, History
Wildcat variants of the .22 Hornet, such as the .22 K-Hornet (designed by Lysle Kilbourn) and .22 Ackley Improved Hornet, can boost bullet velocity and energy considerably above factory .22 Hornet levels, but performance still falls short of what is deer-legal in the Netherlands or the United Kingdom, although it is legal for deer in some other countries and some American states.


.22 Hornet, Performance
Factory ammunition is widely available from all major manufacturers, generally with bullets weighing 34, 35, 45, or 46 grains (2.2, 2.3, 2.9, or 3.0 g), with bullets invariably either hollow point or soft point. Muzzle velocity typically is in the 2,500 to 3,100 ft/s (760 to 940 m/s) range, and muzzle energy is just over 700 ft·lbf (950 J) for factory ammo fired from a rifle. Velocities and energies are less when Hornet ammunition is fired from short-barreled firearms.


.22 Hornet, Performance
Published handload data from major handloading-product companies shows how versatile the .22 Hornet can be. According to the Hodgdon Powder Company reloading data, the heavier bullets show a serious affinity for Lil'Gun smokeless powder to produce much higher velocities than other powder with heavy bullets in this small case.


.22 Hornet, Applications, Survival
Beginning during World War II, aircrew survival rifles in .22 Hornet were developed and issued by the U.S. military. They were a bolt-action rifle with collapsible stock (M4 Survival Rifle), a break-open rifle/shotgun over-under (M6 Aircrew Survival Weapon), and a takedown bolt-action rifle (AR-5/MA-1). Military survival issue .22 Hornet ammunition was loaded with soft-point expanding jacketed bullets, not complying with the Hague Convention. The United States was the only exception to a complete prohibition of the use of expanding bullets in war, due to its ambiguous policy. However, the cartridge boxes were labeled "Under no circumstances is the ammunition to be used for offensive or defensive measures against enemy personnel. This ammunition is provided for use with your emergency survival rifle for the killing of game for food under emergency survival conditions only."


.22 Hornet, Applications, Competition
The .22 Hornet is a popular cartridge for the Field/Hunter's pistol category in IHMSA and NRA metallic silhouette shooting.


.22 Hornet, Applications, Hunting
Survivalist Mel Tappan on the .22 Hornet: "It is accurate, has virtually no recoil and a light report.... [ I]ts performance limits its use to small game and pests within 150 or 175 yards. It is by no means a reliable deer cartridge, even with handloads."


.22 Hornet, Applications, Hunting
Sam Fadala of GUNS magazine calls it "perfect for mid-range varmints of all stripes," everything from small game, mountain birds (e.g., blue grouse), turkey, javelina, peccaries, coyote, and Australian wild pigs and goats.