20 Fenchurch Street, Criticisms, Solar glare problem
Spot temperature readings at street-level including up to 91 °C (196 °F) and 117 °C (243 °F) were observed during summer 2013, when the reflection of a beam of light up to six times brighter than direct sunlight shining onto the streets beneath damaged parked vehicles, including one on Eastcheap whose owner was paid £946 by the developers for repairs to melted bodywork. Temperatures in direct line with the reflection became so intense that City A.M. reporter Jim Waterson managed to fry an egg in a pan set out on the ground. The reflection also burned or scorched the doormat of a shop in the affected area. The media responded by dubbing the building the "Walkie-Scorchie" and "Fryscraper".


20 Fenchurch Street, Criticisms, Solar glare problem
In September 2013, the developers stated that the City of London Corporation had approved plans to erect temporary screening on the streets to prevent similar incidents, and that they were also "evaluating longer-term solutions to ensure the issue cannot recur in future". In 2014, a permanent awning was installed on the south side of the higher floors of the tower.


20 Fenchurch Street, Criticisms, Solar glare problem
The building's architect, Rafael Viñoly, also designed the Vdara hotel in Las Vegas which has a similar sunlight reflection problem that some employees called the "Vdara death ray". The glass has since been covered with a non-reflective film.


20 Fenchurch Street, Criticisms, Solar glare problem
In an interview with The Guardian, Viñoly said that horizontal louvre windows on the south side that had been intended to prevent this problem were removed at some point during the planning process. While he conceded that there had been "a lot of mistakes" with the building, he agreed with the building's developers that the sun was too high in the sky on that particular day. "[I] didn't realise it was going to be so hot," he said, suggesting that global warming was at fault. "When I first came to London years ago, it wasn't like this ... Now you have all these sunny days."


20 Fenchurch Street, Criticisms, Sky garden
The Sky Garden, which was described as a large, free, public viewing space at the top of the building, was part of the justification for the planners allowing such a vast office block to be built on the edge of a conservation area. Computer visualisations shown to the planners included a glade of full-height trees, but the garden as constructed has a slope with ferns and succulents instead.


20 Fenchurch Street, Criticisms, Sky garden
Free access to the public is provided in 90-minute slots until 18:00, after which the garden is available only to paying customers of the catering facilities.


20 Fenchurch Street, Criticisms, Sky garden
The Garden has been criticised for these restrictions, and for its extent and quality failing to meet pre-construction expectations. Oliver Wainwright, architecture critic of The Guardian, described it as "a meagre pair of rockeries, in a space designed with all the finesse of a departure lounge".


20 Fenchurch Street, Criticisms, Sky garden
The City of London Corporation's former chief planner, Peter Rees, who approved the structure, said: "I think calling it a sky garden is perhaps misleading. If people [are] expecting to visit it as an alternative to Kew, then they will be disappointed." In July 2015 it was reported that planners are to consider a landscape architect's alterations to the layout, following claims it is not consistent with illustrations submitted with the original planning application. The 'sky garden' was a key feature in sealing approval for the building, which is situated outside the main cluster of skyscrapers in the City.


20 Fenchurch Street, Criticisms, Wind tunnel effect
In July 2015, the building was criticized for having an unexpected impact on wind strength at street-level. The City of London Corporation received an increased number of complaints about draughts around 20 Fenchurch Street following its completion. The Corporation's head of design, Gwyn Richards, said: "The wind outcome at street level experienced post-construction on a number of projects differs somewhat to the conditions we were expecting from the one outlined in the planning application wind assessments."


20 Fenchurch Street, Tenancy
In June 2012 the insurer Markel Corporation signed a tenancy agreement with the developers to move into 20 Fenchurch Street upon its completion. Markel, previously based on Leadenhall Street, was the first confirmed tenant of the new tower and occupies the 25th to 27th floors.


20 Fenchurch Street, Tenancy
Another insurance company, Kiln Group, announced in September 2012 that it had agreed to become the building's second tenant and Ascot Underwriting followed in November 2012. Other insurance companies that have taken space in the building include RSA Group, Tokio Marine, CNA Financial, Allied World, Liberty Mutual's European operations, and Harry Townsend Corp.


20 Fenchurch Street, Tenancy
As of 2017, the ground floor is let for retail and the office space is fully let.


20 Fingers
20 Fingers is the name of an American production team consisting of producers and DJs Carlos "Charlie Babie" Rosario, Manfred "Manny" Mohr, J.J. Flores and Onofrio Lollino. They were popular in the mid-1990s for producing a series of pop, dance and rap songs, many of which were distinguished by their humorous or risqué lyrics.


20 Fingers, Musical career, 1993–94: Formation and "Short Dick Man"
Originally consisting of producers and DJ's Carlos "Charlie Babie" Rosario and Manfred "Manny" Mohr, the two later received help by friends Jonathan "JJ" Flores and Onofrio Lollino, who did some of their remixes. The artist name comes from the band members simply both having twenty fingers on their hands together.


20 Fingers, Musical career, 1993–94: Formation and "Short Dick Man"
On August 31, 1994, the group released their first single "Short Dick Man", featuring vocalist and rapper Gillette on Zoo Entertainment/SOS Records from their debut album On The Attack and More, which was controversial. The tune was a global success, particularly in France where it was a number one hit for three weeks. It peaked the top 5 in several European countries such as Italy and Germany also reached the top ten in other countries, including Austria, Belgium, New Zealand and Australia. It also reached number 14 in the U.S. and was considered a club success there.


20 Fingers, Musical career, 1993–94: Formation and "Short Dick Man"
The single, which involved a woman mocking the size of a man's penis, was also released in a clean version replacing the words "short dick" with "short short", which was also released under the censored title "Short Short Man" in the UK and several other countries. This new version, remixed by Strike, reached #11, whereas the original only reached #21 in the UK Singles Chart in 1994.


20 Fingers, Musical career, 1993–94: Formation and "Short Dick Man"
Mohr told the Los Angeles Times that the point of the song was to attract attention. "We figured there were all these songs by men bashing women and treating women like sex objects. So we decided a song that turned the tables on men might attract some attention". According to Gillette, the point of the song is to "strike back at all the women-bashing songs in pop, especially in rap". The music video images Gillette singing "Short Dick Man" or "Short Short Man" on a beach alternate with those of a brawny man performing a photo session.


20 Fingers, Musical career, 1994–95: On the Attack and More and "Lick It"
20 Fingers released their debut studio album On the Attack and More in Poland and Germany. All eleven songs on this album were recorded with Gillette on guest vocals, except one song, the second single called "Lick It", which featured vocals of singer Roula. Their second single was another success in Europe and in clubs all around the world, which reached #48 in the same chart.


20 Fingers, Musical career, 1994–95: On the Attack and More and "Lick It"
In many other selected countries such as Brazil, Canada, Scandinavia, Australia, Japan, Portugal, Chile, South Korea or the U.S., the album has been released as Gillette's solo debut album with a similar front cover art, retitled On the Attack, the same eleven song track list with Gillette and excluding the eleventh song "Lick It". The duo scored another hit with their third and fourth singles "Mr. Personality" and "You're a Dog" with moderate success respectively, both with Gillette on featured vocals. In Germany and Poland, the two latter mentioned single releases were still credited under "20 Fingers feat. Gillette", while in the other countries as "Gillette". 20 Fingers also produced Max-A-Million's debut album Take Your Time.


20 Fingers, Musical career, 1994–95: On the Attack and More and "Lick It"
In 1995, the group released their second self-titled studio album, 20 Fingers worldwide (or retitled simply as L'Album in France), which unlike the first album had the peculiarity of featuring different vocalists for almost every song. Next to all new original material, this album also consisted of three previously released 20 Fingers singles ("Short Dick Man", "Lick It", a remix of "Mr. Personality" called "Ugly") and two previously released Max-A-Million-produced singles "Take Your Time" and "Fat Boy". Other songs from their album were released as singles, credited only under the name of the featured vocalist, such as Nerada's "Position #9", Dania's "She Won't Know", Rochelle's "Praying for an Angel" and "Holding on to Love" or A' Lisa B's "I'm in Love".


20 Fingers, Musical career, 1994–95: On the Attack and More and "Lick It"
The fact that all previous 20 Fingers singles, whether in their original or remixed form, are included on this album, it has been sometimes considered a compilation album and has been released under the title The Best of 20 Fingers in Asia. Their fifth single "Sex Machine" featuring singer Katrina (Roxanne Dawn) as well as Camille Alvey was released in 1995, which was another club hit but did not sell as well as its predecessors.


20 Fingers, Musical career, 1994–95: On the Attack and More and "Lick It"
Max-A-Million's follow up third and fourth singles "Sexual Healing" and "Everybody's Groovin'" were also produced by 20 Fingers.


20 Fingers, Musical career, 1996–99: Group hiatus and remixes
A "Megamix" of their first three hits was also released as a single in France only, titled "Megamix Explosion". Since 1996, no single releases had been released under the 20 Fingers artist name and the group went on hiatus but continued producing music and pursuing solo careers. Babie remixed songs from Donna Lori, Soundmaster T and Natalie Hagan under the names "Charlie" and "Charlie Babie", while Mohr wrote songs for other artists. In 1996, 20 Fingers produced Gillette's second solo album Shake Your Money Maker and its three single releases "Do Fries Go with That Shake? ", "Bounce" and "Shake Your Money Maker" in 1996 and 1997. The album and the three singles didn't chart well. In 1996, Mohr and Babie wrote and produced the single "Push, Push" for Katrina.


20 Fingers, Musical career, 2000–present: Various productions
In 2000, Babie continued remixing songs from Destiny's Child, band members Beyoncé and Kelly Rowland, and Anastacia under the names "CB2000" and "Charlie's Nu Soul". Mohr and Babie wrote the song "Someone to Love Me" for singer La Rissa. In 2000, Mohr and Babie wrote and produced the song "Sex Tonight" from Gilette's third solo album Did I Say That, which was the first and only release out of the album and became a minor club hit in the U.S. In 2002 and 2003, Mohr and Babie wrote and produced the singles "Someone to Love" and "Gifted" for singers Angelina and Eyra Gail.


20 Fingers, Artistry, Musical style
Musically 20 Fingers are known for their monoton and heavy beats, sounds and melodies. They mix dance with hip hop, pop, rock and Europop, which was popular in Europe, Oceania and South America in the 1990s. Lyrically, the group do not always follow a traditional verse-chorus structure such as in "Short Dick Man" or "Putang Ina Mo" (Tagalog for lit.


20 Fingers, Artistry, Musical style
"Your Mother is a Whore") with minimalistic vocals and often use simple repeatings such as "Bum, ba da da da da" ("Lick It"), "Barara bum bum bum" ("Sex Machine"), "Eeny, weeny, teeny, weeny" or "Don't, Don't, Don't, Do Do, Don't, Don't, Don't" ("Short Dick Man"), "Ay nako, putang ina mo! "/"Ina mo, ina mo, ina mo, ina mo" ("Putang Ina Mo") which led the songs to high recognition.


20 Fingers, Artistry, Musical style
The lyrics were distinguished by their humorous or risque lyrics, often sexually explicit including moaning, such as in their singles and "Position #9", similar to fellow Europop groups as E-Rotic, which often led to the songs becoming controversial. The first single "Short Dick Man", which involves a woman mocking the size of a man's penis, was later released in a clean version replacing the word "dick" with "short", with also a retitled censored title "Short Short Man". "Lick It" also had both edited and unedited versions released as well – the reason why 20 Fingers releases often had a Parental Advisory warning label. Their lyrics are sung in English, Spanish and Tagalog ("Putang Ina Mo").


20 Fingers (album)
20 Fingers is the self-titled second and final studio album of American music group 20 Fingers. It has been released on October 24, 1995, under Zoo Entertainment/SOS Records, six months after the release of their debut album On the Attack and More.


20 Fingers (album), Background
In 1995, the group released their self-titled second studio album, called "20 Fingers" worldwide. The album has unlike the first studio album, where only two vocalists, Gillette on eleven tracks and Roula on one track, the peculiarity of featuring different vocalists for almost every song. In France, the album was released under the name L'album with an altered cover art and track list. Their first single, fifth overall, "Sex Machine" featuring Katrina (Roxanne Dawn) was released in 1995, which was another club hit but did not sell as well as its predecessors.


20 Fingers (album), Background
It was the only single released of this album credited as "20 Fingers featuring Katrina", while further single releases were only credited under the name of the featured vocalist, such as Nerada's "Position #9", Dania's "She Won't Know", Rochelle's "Praying for an Angel" and "Holding on to Love" or A' Lisa B's "I'm in Love" with the addition "A 20 Fingers Production".


20 Fingers (album), Background
Next to all new original material, some versions of this album also consist of three previously released 20 Fingers singles "Short Dick Man" and "Lick It", the remix of "Mr. Personality" called "Ugly" and the two previously released Max-A-Million singles "Take Your Time" and "Fat Boy" produced by 20 Fingers. In Fact that all previous 20 Fingers singles, in original or remixed form, are included on these album versions, they have been considered a compilation album and released under the title "The Best of 20 Fingers" in Asia.


20 Fingers (film)
20 Angosht, released in English-speaking markets as 20 Fingers, is a 2004 Iranian film directed by Mania Akbari. It stars the director herself and producer Bijan Daneshmand as a couple (or possibly different couples) discussing their relationship and arguing in seven vignettes shot in several long takes on a DV camera.


20 Fingers (film)
The film deals with controversial topics such as divorce and homosexuality and has not yet received permission to be shown uncut in its native country. It has achieved mild international success, winning Best Digital Film at the 61st Venice International Film Festival in 2004, where it premiered.


20 Forthlin Road
20 Forthlin Road is a National Trust property in Allerton in south Liverpool, Merseyside, England. It is the house in which Paul McCartney lived for several years before he rose to fame with the Beatles, and it is labelled by the National Trust as "the birthplace of the Beatles". It was also the home of his brother Mike and  the birthplace of the trio the Scaffold, of which Mike was a member.


20 Forthlin Road, History
The house was built in 1949 and owned by the local authority, and the McCartney family moved into it in 1955 when Paul was at secondary school.


20 Forthlin Road, History
In 1965, Paul bought his father Jim a house in Heswall, a wealthy part of the Wirral.


20 Forthlin Road, History
The house has been in the ownership of the National Trust since 1995. The Trust markets the house as "the birthplace of the Beatles", since this is the place where the Beatles composed and rehearsed their earliest songs.


20 Forthlin Road, History
Unlike Lennon's childhood home Mendips, 20 Forthlin Road does not have an English Heritage blue plaque and is currently ineligible to receive one. English Heritage issue a plaque once the figure has "been dead for 20 years, or [has] passed the centenary of their birth".


20 Forthlin Road, History
In February 2012, both this house and Lennon's childhood home at 251 Menlove Avenue were Grade II listed by Historic England.


20 Forthlin Road, History
The home was featured in an edition of Carpool Karaoke, which aired on the 22 June 2018, episode of The Late Late Show with James Corden. Corden visited there with Paul McCartney, who said it was his first visit to the home since he moved away in his late teens.


20 Frith Street
20 Frith Street is a building in the Soho district of London. It is located on the east side of Frith Street, close to the junction with Old Compton Street. The building which currently occupies the site of 20 Frith Street was built in 1858 by William Cooze to replace a house which dated from c1725, which itself may have replaced an even earlier building.


20 Frith Street
When the house was built in around 1725 there were fewer houses in the street (which for a period was named Thrift Street), because the north end was taken up by Monmouth House. At the time, the grounds of Monmouth House (now demolished) extended from the south side of Soho Square to Queen Street (now Bateman Street); and so during some of the eighteenth century the house's address was 15 Thrift Street. The most famous inhabitant at this address was Wolfgang Mozart, who lived there aged eight from September 1764 during his grand tour of Europe with his father and his sister.


20 Frith Street
The site gained its current address of No. 20 Frith Street some time after 1773 when Monmouth House was pulled down, and more houses began to be built on its former grounds at the north end of the street. The eighteenth-century building at No. 20 was demolished and rebuilt in 1858, and since 1930 it has served as the stage door entrance for the Prince Edward Theatre situated on Old Compton Street. A blue plaque commemorates Mozart's stay.


20 Frith Street, History
The house which formerly occupied the present site of No. 20 was built in about 1725–6, when it was occupied by Lewis Aubert, a wine merchant.


20 Frith Street, History
The 18th-century house was described in the 1966 Survey of London:


20 Frith Street, History
"Quite apart from its association with Mozart, it is of interest as one of the best early eighteenth-century fronts known to have existed in the street. Built of brick, it was four storeys high and three windows wide, although the fourth storey may have been a later addition. The windows had segmental gauged arches and the jambs were probably dressed with red brick, while within the openings were slightly recessed boxframes. There was no bandcourse between the second and third storeys, but above the latter was a moulded brick cornice returned at either end. A shop front had been inserted in the ground storey in the early or mid nineteenth century."


20 Frith Street, History
The 1725 building was pulled down in 1858 and rebuilt with a similar brick façade, shown in a photograph from The Musical Standard, 3 Oct. 1908.


20 Frith Street, History, Wolfgang Mozart
The eight-year-old Wolfgang Mozart stayed here with his father Leopold Mozart and his sister Nannerl in 1764–5, during a well-publicised European musical tour. The Mozarts were lodgers of Thomas Williamson, a maker of corsets or stays. During Mozart's stay, the address of the building was 15 Thrift Street. More houses were built after 1773 at the north end of the street (whose name reverted to Frith Street), resulting in the current address of 20 Frith Street. See below, §Numbering changes in Frith Street.


20 Frith Street, History, Wolfgang Mozart
The Mozart family had removed from No. 180 Ebury Street, probably directly to No. 15 Thrift Street, on 25 September 1764. The young Mozart gave daily afternoon public recitals, and published his Opus 3 (Violin Sonatas, KV 10–15) from that address. His father had the music engraved, and sold the music at the lodgings. Mozart dedicated the set to Queen Charlotte, whose music teacher was Johann Christian Bach. Bach befriended the young Mozart, whose sonatas shows Bach's influence. It seems likely that he was a visitor to the house.


20 Frith Street, History, Wolfgang Mozart
It is possible that Mozart also wrote the Symphony No. 4 in D major, K. 19, here, as well as the concert aria for tenor Va, dal furor portata, K. 21/19c, and the short motet for chorus, God is our Refuge, K. 20. The London Sketchbook, K.15 also dates from this period. The Mozart family was still in Frith Street on 30 May, leaving London in July.


20 Frith Street, History, Jean Baptiste Troye
The miniaturist Jean-Baptiste Troye exhibited dioramas (scale models of landscapes) at No. 20 in the early 1800s. His exhibitions consisted of "the most beautiful models and reliefs of countries, cities, mountains, &c. celebrated either for natural beauty or historical occurrences associated with them."


20 Frith Street, History, Jean Baptiste Troye
Troye was the pupil or (assistant) of the geologist and chemist Charles-François Exchaquet, who made the first accurate relief models (in wood) of the Mont Blanc chain, a part of Valais and the St. Gotthard group. A model of Mont Blanc which is (or was) in the possession of the Swiss Alpine Club may partly be Troye's work.


20 Frith Street, History, Jean Baptiste Troye
Exchacquet's models, like Troye's, were realistically painted with glaciers made of spath (i.e. spar) and the models were about 1.40m x 40 cm (about 4' 6" by 1' 6"). One of Exchaquet's models still existed in 1920, having been presented to the museum of Görlitz by Baron de Gersdorf. (Baron von Gersdorff from Saxony, possibly?). Gersdorf authenticated the first ascent of Mont Blanc by Jacques Balmat and physician Michel-Gabriel Paccard in 1786. Exchaquet was also the director of mines and foundries at Servoz in Haut-Faucigny, where attempts were made to emulate the success of the English steel-makers who, however, were using the very best imported Swedish Oregrounds iron.


20 Frith Street, History, Jean Baptiste Troye
In 1816 Troye co-authored with one S. Glover A Description of the Inundation of the Valley of Bagnes in Swisserland. [ sic] Troye published an account of Mont Blanc and his models in 1819. There is a picture of either Troye's or Exchaquet's highly detailed work in Seylaz 1935, p. 193.


20 Frith Street, History, Jean Baptiste Troye
There is a fine plaster medallion of William Thomas Brande, attributed to J. B. Troye c1820, in the National Portrait Gallery.


20 Frith Street, History, Jean Baptiste Troye
Jean Baptiste Troye's son was the artist Edward Troye, America's foremost 19th-century horse painter, whose influences were George Stubbs and John Sartorius. Born in Lausanne in 1808, he studied art in England for a number of years before moving to the United States.


20 Frith Street, History, Jean Baptiste Troye
A bookseller, Thomas King junior, lived at No. 20 from 1820 to 1822


20 Frith Street, History, Jean Baptiste Troye
John Green, aged 16, was found guilty in October 1820, of stealing 15 lbs. of lead, value 8s., the goods of Thomas Matthews Redaway, and fixed to a certain dwelling-house of his. No . 20, Frith-street, Soho. He was transported for seven years. A certain felon named John Green was transported to Australia on board the Morley and arrived in Newcastle, New South Wales on the Elizabeth Henrietta on 14 March 1821.


20 Frith Street, History, Jean Baptiste Troye
Frederick Rothenburg, late of No, 20, Frith-Street appeared on 13 July 1827 at the Court for Relief of Insolvent Debtors, Portugal Street, Lincoln's Inn Fields, as did Augustus Armand, formerly of No. 20, Frith-Street, assistant to a Jeweller, on 13 November. In 1828 John Pike and James Clark upholders and furniture warehousemen were insured by the Sun Fire Office (now RSA Insurance Group) as was William Landon, gent., in 1830. A fire started "at 9½ p.m." on 18 September 1839 next door at No. 19, a bookbinder's. The back workshops were burned out and three adjoining buildings were damaged.


20 Frith Street, History, William Cooze
William Whitley Cooze (c1794 – 1866), a house decorator, plumber and glazier had his business at No. 20. A business partnership with William H. Penley was dissolved in 1841. In 1844 he was selling "Improved Marble papers" (i.e. wallpaper), and calling himself 'Marine Decorator to her Majesty'. The first royal yacht to be powered by steam, HMY Victoria and Albert, was launched the previous year.


20 Frith Street, History, William Cooze
In 1847 John Penny, aged 30, was indicted for stealing 12 feet of lead-pipe, value 10s. ; the property of "William Witley Coorze", his master for four years; and Richard Garrett, aged 27, for feloniously receiving the same, knowing it to have been stolen. Penny was sentenced to three months after a plea for leniency, and Garrett received a year in prison. John Green (see above) got seven years in Australia for a similar crime in 1820. In 1851 Cooze was employing 15 men in his house-decorating business. The original house at 20 Frith Street (dating from around 1725) was demolished and rebuilt in 1858. Cooze was declared bankrupt on 16 April 1866 and died shortly afterward.


20 Frith Street, History, Soho Club for Working Girls
The Soho Club for Working Girls met at the rear of 20 Frith Street between 1880 and 1884. The club was established by the Hon. Maude Stanley in order to improve the lives of young women workers in London and provincial towns. The Soho Club began in a very humble way in three small rooms at No. 5 Porter Street, Newport Market. There were forty-four members, and an average attendance of fourteen every evening.


20 Frith Street, History, Soho Club for Working Girls
The premises, after a few months, proved too small, and a workshop at the back of 20 Frith Street was secured, at a rental of £50 a year. This building served until 1884, when Miss Stanley purchased, aided by her many benevolent friends, the "commodious and beautiful building" at 59 Greek Street at a cost, for the freehold, building and furnishing, of £7,200. The club eventually grew into London Youth (Federation of London Youth Clubs).


20 Frith Street, History, Soho Club for Working Girls
Wells & Co., wholesale tea dealers, had their offices at No. 20 in 1895.


20 Frith Street, History, Soho Club for Working Girls
According to one source No. 20 was also occupied in 1895 by Messrs. Osborne, Garratt, & Co., who sold razors and hair-curling tongs. The company's usual address seems to have been at 51 Frith Street, however.


20 Frith Street, History, Joseph Menchen
Joseph Menchen, an American inventor and theatrical lighting designer with his own profitable electrical equipment business, arrived in London in late 1911 or early 1912. Menchen was one of the first film projectionists, having shown films at Tony Pastor's New York vaudeville theatre from 1896–1899 with an Acres kineopticon. It seems possible that Menchen was connected with a business whose address was at 20 Frith Street from 1912, the National Bioscope Electric Theatre.


20 Frith Street, History, Joseph Menchen
On a previous visit to Europe in 1908 he had opened a London branch of his Joseph Menchen's Electrical Company at 341 Walworth Road, which was also the address of an Electric Theatre cinema owned by Joseph Jay Bamberger, previously a New York stockbroker. The building in Frith Street continued as a nameless 'cinematograph theatre' in 1914, managed by Antonio Agosti.


20 Frith Street, History, Joseph Menchen
Menchen was also involved in negotiations to produce a film of The Miracle, a spectacular stage production by Max Reinhardt of Karl Vollmoeller's play which ran for three months from December 1911 at Olympia. Menchen shot his film on location in Austria in October 1912, and The Miracle received its première at the Royal Opera House in Covent Garden in December 1912. The film, which was his own personal project, was as much of a success as the stage production, running to full houses all over the UK until Easter 1913.


20 Frith Street, History, Joseph Menchen
From March 1914 20 Frith Street was the registered address of the Menchen Film Company Ltd. He formed the firm at the same time as he was preparing to sell his lease on his main film business (the Studios Menchen in the Paris suburb of Epinay-sur-Seine) where he had half-finished one or more films based on the Arsene Lupin detective novels by Maurice Leblanc.


20 Frith Street, History, Joseph Menchen
He was planning to stay in France, but as the invading German army neared Paris at the start of the First World War Menchen fled in his  automobile with many cans of film and was evacuated to England on board the USS Tennessee. During the war Menchen, probably quite annoyed with the Germans, designed an experimental flame-thrower tank for the British Army, and 20 Frith Street appears as his address on a patent application for a more portable device.


20 Frith Street, History, Joseph Menchen
There were two businesses at 20 Frith Street in 1915: the Cinema Auction Mart and Exchange (agents for theatre property), and the American Export Co. The latter firm imported Schacht 40 h.p. trucks from the US which were sold under the "Patricia" name. Gustav A. Schacht, the vice-president of the G.A. Schacht Motor Truck Company, was Menchen's brother-in-law.


20 Frith Street, History, Joseph Menchen
In a similar enterprise Frank J. Godsol (or Goldsoll), an associate of Menchen's from the film world, was importing Pierce-Arrow trucks into France for the French Ministry of Munitions in 1915: Godsoll was falsely accused of profiteering by the US government in 1916 and briefly imprisoned in the US from March to July 1916. Godsol was chairman of Goldwyn Pictures (later MGM) from 1919 to 1924.


20 Frith Street, History, Joseph Menchen
Menchen returned to the US in February 1917 (one reason why his firm failed to make any returns from 1916 on), and the Menchen Film Co. was wound up by notice in the London Gazette 10 Jan 1920.


20 Frith Street, History, Joseph Menchen
The Samson Film Company had its offices at No. 20 in 1917.


20 Frith Street, History, Prince Edward Theatre
The rear of the building is close to the back of the Prince Edward Theatre on Old Crompton Street. After the theatre's construction in 1930 the Frith Street address served as the theatre's spacious dressing room wing and its rear stage door, which function it still fulfils in 2012.


20 Frith Street, Numbering changes in Frith Street
The numbering in Frith Street seems to have altered more than once, but the change of address from No. 15 to No. 20 appears to be chiefly due to the building of more houses on the site of Monmouth House after it was demolished in 1773. Historical sources mentioning '20 Frith Street' around or before this date may refer to the premises of the current No. 25.


20 Frith Street, Numbering changes in Frith Street
Monmouth House was originally planned by the rebellious Duke of Monmouth in 1681–2, but lengthy delays meant that it wasn't completely finished (to designs by Robert Archer) until March 1719. The original grounds occupied the block between Soho Square and Queen Street (now Bateman Street), and the final plans for finishing Monmouth House allocated space for five new houses on the east side of Frith Street starting in the middle of the block, to replace the old stables. These new properties (the current Nos. 6–10) were numbered 1–5. The first two of these, Nos. 1 & 2, (currently 6 & 7) were completed in 1718 and the numbering continued on the south side of Queen Street (now Bateman Street) with 6 (presently No. 11).


20 Frith Street, Numbering changes in Frith Street
It was during this period when Mozart stayed in No. 15 that the street was temporarily called Thrift Street, a possible corruption of the name of Robert Frith who laid out Soho Square in 1681. Some sources say that the street's original name was indeed Thrift Street.


20 Frith Street, Numbering changes in Frith Street
After Monmouth House was pulled down in 1773, five more houses were built right at the north (Soho Square) end of the street. This ultimately resulted in Nos. 1–5 Frith Street being renumbered 6–10, and No. 15 becoming No. 20. The Hospital for Women at 30 Soho Square (at the junction of Frith Street) gradually acquired the first four houses in Frith Street in 1852, 1882 and two in 1909, with the result that No. 5 is the first 'proper' address in Frith Street.


20 GOTO 10
20 GOTO 10 was an art gallery in operation from 2008 to 2012, founded by Christopher Abad in San Francisco, California, United States.


20 GOTO 10, History
Its name is a reference to the traditional looping 'Hello world' program written by beginner programmers. It featured both traditional and "hacker" art, with an emphasis on technology as art, or exhibits which make the potentially criminal or unethical aspects of computer security accessible to the public.


20 GOTO 10, History
It received more prominent vlog, blog, and print news coverage when Kevin Olson displayed the first ever American showing of ANSI art in a physical art gallery. Jason Scott Sadofsky, creator of the BBS Documentary expressed interest in the custom LCD scrollers based on a Parallax chipset with a custom ANSI scroller to VGA output written in SPIN made solely for the ANSI gallery show.


20 GOTO 10, History
The gallery was located at 679 Geary Street in San Francisco, and was defunct at this location as of Summer 2012.


20 Golden Greats (Buddy Holly & The Crickets album)
20 Golden Greats (also known as Buddy Holly Lives) is a greatest hits album by Buddy Holly & the Crickets first released in the United Kingdom by EMI on February 17, 1978. The songs on the UK release were licensed to EMI by MCA Records, who released the album in North America. The album is now out of print.


20 Golden Greats (Buddy Holly & The Crickets album)
The album became an instant success in the UK, being certified platinum by the British Phonographic Industry two months after the album's release and topping the UK Albums Chart for three weeks. It was also Buddy Holly's first number 1 album on the chart. The album was somewhat less successful in the United States peaking at number 55 on the Billboard 200, but ended up crossing over to the Country Albums chart, and was certified gold by the Recording Industry Association of America in 1983. In 2003, it was ranked number 92 on Rolling Stone magazine's list of The 500 Greatest Albums of All Time, maintaining the ranking in the 2012 update and dropping to number 166 in the 2020 reboot of the list.


20 Golden Greats (Creedence Clearwater Revival album)
20 Golden Greats was a compilation album of hits by Creedence Clearwater Revival released on the Fantasy record label in Australia and New Zealand in 1979. The album spent 2 weeks at the top of the Australian album charts in 1980.


20 Golden Greats (Diana Ross album)
"20 Golden Greats" is a compilation album by Diana Ross, released on the Motown label in Europe in 1979. Although Ross had scored 22 single hits in the UK since leaving The Supremes in 1970, the album only contained the 18 solo tracks that had charted for Ross in the UK, together with the two tracks that had charted in partnership with Marvin Gaye. Both the hit singles Ease on Down (with Michael Jackson) and Pops, We Love You (with Marvin Gaye, Smokey Robinson and Stevie Wonder) were excluded in favour of solo hits.


20 Golden Greats (Diana Ross album)
By the time the album was released, Ross had already scored her 23rd post-Supremes hit single (her 19th solo) with It's My House, which was thus not included. The album was released just two years after the 20 Golden Greats compilation featuring 18 of her 21 UK hits with The Supremes. The album was certified Platinum in the U.K for sales in excess of 300,000 copies.


20 Golden Greats (Diana Ross album)
The album was released for the international market and became the singer's best charting album in the UK since another greatest hits collection (released in 1976) also peaked at #2. Due to the large number of tracks included and the time limitations of the vinyl album format the running time of several titles were changed and were either slightly edited or had fade-out ends. The 20 Golden Greats album remains unreleased on CD.


20 Golden Greats (Nat King Cole album)
20 Golden Greats is a greatest hits album by Nat King Cole. It was released by Capitol Records in 1978 and reached number one on the UK Albums Chart, where it was a posthumous number one.


20 Golden Greats (The Beach Boys album)
20 Golden Greats is a 1976 greatest hits album by the Beach Boys that was released in the UK by EMI's newly created TV advertising division. It became the second biggest selling album of the year, spending a total of 86 weeks on the UK Albums Chart and peaking at number one in July 1976, where it remained for 10 weeks.


20 Golden Greats (The Beach Boys album), Track listing
Tracklist corresponds to the original LP release. The 1987 CD reissue has some small differences, most notably the replacement of various Duophonic mixes with mono versions.


20 Golden Greats (The Beach Boys album), Chart and certifications, Certifications
* Sales figures based on certification alone.^ Shipments figures based on certification alone.


20 Golden Greats (The Shadows album)
20 Golden Greats is a compilation album by UK band The Shadows. It was released in 1977. The album was in UK charts for 43 weeks, where it gained number 1 position for 6 weeks


20 Golden Greats (The Shadows album)
The album was retitled 20 Greatest Hits for release in the Netherlands in 1980, where it reached number 2 on the album chart.


20 Good Reasons
"20 Good Reasons" was the first single from Thirsty Merc's second album Slideshows. It was released on 17 March 2007 and is to date the band's highest charting single, reaching number four on the Australian Singles Chart and number seventeen on the New Zealand Singles Chart. The song was nominated for 'Song of the Year' at the 2008 APRA awards. The single was also the number one most added track to radio across Australia in March 2007.


20 Good Reasons, Music video
The music video for "20 Good Reasons" features the band playing in what appears to be a gritty warehouse of some kind. Intercut with the band scenes, the clip features a few couples going through various relationship troubles, echoing the story told by the song. The music video was a MySpace feature video for Australian visitors in April 2007 in preparation and for promotion of the forthcoming full-length album Slideshows. Thistlethwayte wrote the song when arriving in New York City once. He notes he did not write it asking a question about what love or relationships are about, however wrote it saying as a statement, but with the question as to why relationships are often troubled or "lost within all the hysteria".


20 Good Reasons, Lost promotion
The song was used in the Seven Network's advertising for the hit television series, Lost - specifically its third season, which aired in 2007.


20 Grandes Éxitos (Los Fabulosos Cadillacs album)
20 Grandes Exitos (English: 20 Big Hits) is the second Compilation album by Argentine rock and ska band Los Fabulosos Cadillacs, released in 1998. It is a two-CDs set covering 8 years and 6 albums plus a never-released song "Igual a Quien"


20 Grandes Éxitos (Los Fabulosos Cadillacs album), Reception
The Allmusic review by Stephen Thomas Erlewine awarded the album 4 stars stating "20 Grandes Exitos is an excellent collection of newly-recorded versions of Los Fabulosos Cadillacs' best and best-known songs that should serve as a good introduction for the curious. ".


20 Granite Creek
20 Granite Creek is the rock band Moby Grape's fifth album. After recording their last album for Columbia Records, Truly Fine Citizen, the band went on hiatus until 1971 when they reunited with Skip Spence and Bob Mosley and recorded this reunion album for Reprise Records; their only album for the label. David Rubinson, who produced most of the band's Columbia albums, was back as producer here, as well as serving as the band's manager.. The album title refers to an address near Santa Cruz, CA but there is no record that any band member ever lived there. The rights to this album are now owned by the band after previous manager, Matthew Katz, lost them when the band successfully sued him in 2007.


20 Granite Creek, Critical reception
Reviewing for Rolling Stone in 1971, music critic Richard Meltzer found the album remarkable and said that it "proves that without an audience and with all the members of the original Grape aboard ship they can outdo Truly Fine Citizen with their eyes closed."


20 Granite Creek, Critical reception
By contrast, Robert Christgau of The Village Voice found it drab and marred by kotos, but warmed to the album over time; in Christgau's Record Guide: Rock Albums of the Seventies (1981), he said Moby Grape sounds intense and hopeful for a band in decline: "You can hear the country undertone now, but you can also hear why you missed it—at their most lyrical these guys never lay back, and lyricism is something they're usually rocking too hard to bother with, though their compact forms guarantee poetic justice."


20 Greatest Hits (Beatles album)
20 Greatest Hits is a compilation album featuring a selection of songs by The Beatles that were number one singles in the UK and US. It was released on 11 October 1982 in the United States and 18 October in the United Kingdom and marked the 20th anniversary of The Beatles' first record release, "Love Me Do", in the UK in October 1962.


20 Greatest Hits (Beatles album)
20 Greatest Hits was the last Beatles album to be released with variations between the U.S. and UK versions (some Beatles hits in the US were not released as singles in the UK, such as "Eight Days a Week" and "Yesterday"). There is an extremely rare 8 track tape version of this album, which approximately 10 to 15 copies still exist today. Legend has it that Capitol Records decided to pull the plug on the release at the last minute, as 8 tracks were not selling well in late 1982, and all copies were to be destroyed. However, there were a few that survived.


20 Greatest Hits (Beatles album), Releases, UK edition
The UK version of the album comprised all 19 tracks from the 17 Beatles singles to top the UK Singles Chart (including both sides of the double A-sides "Day Tripper"/"We Can Work It Out" and "Yellow Submarine"/"Eleanor Rigby") plus the Beatles' first chart hit "Love Me Do", which peaked at number 17 in the UK.


20 Greatest Hits (Beatles album), Releases, UK edition
The songs were presented in their original stereo mixes except for "Love Me Do" and "She Loves You", which used the Duophonic versions – the last time a new Beatles release would use such mixes.


20 Greatest Hits (Beatles album), Releases, UK edition
Although many documentaries state that the first number 1 of The Beatles in England was "Please Please Me", the track does not appear in this collection, and also does not appear in the compilation 1.


20 Greatest Hits (Beatles album), Releases, US edition
For the US LP, catalogue number SV 12245, a five-minute edited version of "Hey Jude" was used due to time constraints.


20 Greatest Hits (Beatles album), Releases, US edition
The American version of this LP was also released in other countries, although the track list does not reflect the local number ones. For instance, in Canada "Can't Buy Me Love" only reached No. 3 on the CHUM singles charts, and the Canadian No. 1 hits "All My Loving" and "This Boy" are omitted.


20 Greatest Hits (Beatles album), Releases, US edition
The New Zealand version was the same as the American one although originally EMI (NZ) was going to issue the UK version. The covers were printed in New Zealand but the inner sleeve was imported from the U.S.


20 Greatest Hits (Beatles album), Releases, US edition
The original issues of this album accidentally indicates the running time of "Yesterday" as being 1:04 in length. Later issues have the correct 2:04 running time.


20 Greatest Hits (Beatles album), Releases, US edition
The album featured the first US appearance of "I Want to Hold Your Hand" and "I Feel Fine" in true stereo.


20 Greatest Hits (Beatles album), Releases, Other versions
In 1979 and 1980, a similar album called 20 Golden Hits was issued in many countries outside Britain and the U.S.


20 Greatest Hits (Beatles album), Releases, Other versions
In Australia, a 23-track alternate version of this album, with bonus EP, was issued titled The Number Ones, released in 1983.


20 Greatest Hits (Beatles album), Releases, Other versions
This single-disc compilation was supplanted by the later single-CD album 1 with all 27 of the 28 Beatles songs that were number one on either side of the Atlantic including George Harrison's "Something" that was absent from the original collection. Harrison's "For You Blue", the B-Side of "The Long and Winding Road," which was also charted in the top spot by Billboard, was not included on that album.


20 Greatest Hits (Beatles album), Track listing, US edition
Note: On the US Cassette (EMI-Capitol C4-12245) "Penny Lane" is track 13, but appears at the end of Side 1, rather than the beginning of Side 2. On the original United States LP and Canadian cassette versions of the album "Hey Jude" was edited 5:09 due to time constraints. The United States cassette edition contains the full version of the song.


20 Greatest Hits (Glen Campbell album)
20 Greatest Hits contains single and album tracks recorded by Glen Campbell between 1965 and 1993.


20 Greatest Hits (Kenny Rogers album)
20 Greatest Hits is a compilation album by Kenny Rogers released by Liberty Records in 1983.


20 Greatest Hits (Kenny Rogers album), Overview
20 Greatest Hits marks Rogers' third compilation album as a solo artist. This compilation covers the entire span of Rogers' glorious chart run through the late 1970s and early 1980s.


20 Greatest Hits (Kenny Rogers album), Overview
Among the 20 tracks on the album is Rogers' early smash hit "Lucille", which made Rogers a world-famous solo superstar. "The Gambler" – Rogers' chart-topping story song – also makes an appearance. The single that first appeared on Rogers' first solo Greatest Hits collection in 1980, "Lady" also makes it onto the album, as does "Love Lifted Me" from 1976 (his first solo single in ten years following his split with The First Edition).


20 Greatest Hits (Kenny Rogers album), Overview
Also included are popular duets with Sheena Easton ("We've Got Tonight"), Kim Carnes ("Don't Fall in Love with a Dreamer"), and Dottie West ("Till I Can Make It on My Own").


20 Greatest Hits (Kenny Rogers album), Overview
Based on hit singles from the Billboard charts, this is the strongest Kenny Rogers single disc compilation album released. Another version came in 1987 (see below). It was also re-released on CD in 1994.


20 Greatest Hits (Kenny Rogers album), Reissue
In 1987, Liberty issued a new disc featuring five additional tracks, covering Rogers' newest hits up to that point. The new tracks are the last five, including the title single "Love Is What We Make It" and "Sweet Music Man", the latter penned by Rogers himself.


20 Greatest Hits (Simon & Garfunkel album)
20 Greatest Hits is the third compilation album of greatest hits by Simon & Garfunkel, released in Australia and Asia in August 1991.


20 Greatest Hits (The Dubliners album)
20 Greatest Hits is an album by The Dubliners re-released on 7 January 2013. The album charted at No.100 in the Irish Album Charts.


20 Greatest Hits (Tom Jones album)
20 Greatest Hits (subtitled The Tenth Anniversary Album) is a 1975 compilation album by Tom Jones. As the subtitle suggests, it had been ten years since Jones' first hit, "It's Not Unusual" in 1965. With a copyright date of 1974, the album was released in the UK on 28 February 1975. It reached No.1 on the charts in March for four consecutive weeks and was certified Gold, becoming his biggest album to that point.


20 Greatest Hits (Tom Jones album)
Half of the album's 20 tracks were top 10 hits, including two number ones.


20 High Street, Nantwich
20 High Street is a grade-II-listed Georgian building in Nantwich, Cheshire, England, which dates from the late 18th century. It stands on the west side of the High Street (at ). In the 18th century, the building was used as an inn and a venue for cock-fighting; it later became a private house and subsequently a shop. The site is believed to have been near the town's Norman castle.


20 High Street, Nantwich
The town contains many other Georgian listed buildings, most of which were built as town houses; good examples include 9 Mill Street, Dysart Buildings on Monks Lane, and Townwell House and number 83 on Welsh Row. Number 20 is one of the few examples on the High Street, which is known for its many Elizabethan timber-framed buildings, including Regent and Warwick House and the grade-I-listed Crown Inn, which both stand near number 20.


20 High Street, Nantwich, History
The present building is thought to stand near the site of the Norman Nantwich Castle. Built before 1180, the castle is believed to have been located on slightly elevated ground between the River Weaver and the modern High Street and Castle Street, probably in the vicinity of number 20 and the Crown Inn. The castle was last recorded in 1462.


20 High Street, Nantwich, History
The existing building dates from the late 18th century. It was formerly the Griffin Inn, which was the town's cock-fighting venue in the 18th century. In the late 19th century the building was a private residence. In the early 20th century it was Densem's, a men's outfitter's. It has been a branch of The Edinburgh Woollen Mill since at least 2000.


20 High Street, Nantwich, Description
In red brick with stone dressings, the building has two storeys with an attic. The single shallow gable is finished as a pediment and has a stone cornice decorated with modillions. The prominent Venetian window on the first floor has narrow flanking pilasters, and there is also a lunette (semicircular) window to the pediment; both windows have stone surrounds. The ground floor has a modern shop front.


20 Hits Special Collection, Vol. 1
20 Hits Special Collection, Vol. 1 is a greatest hits album by American country music singer and songwriter Hank Williams, Jr. This album was released on November 7, 1995, on the Curb Records label.


20 Hours in America
"20 Hours in America" is the two-part fourth season premiere of The West Wing.


20 Hours in America, Plot
The episode opens with President Josiah Bartlet giving a speech in Indiana during his re-election campaign, while Toby and Josh converse in a field with a farmer named Cathy (played by Amy Adams). They realize that the Presidential motorcade that was transporting them between campaign stops has gone without them, leaving them, along with Donna who was sent to fetch them, stranded. Much of the episode deals with the trio's attempts to get home; however, their journey is delayed by several mishaps (Cathy's truck runs out of biodiesel, they miss their plane due to confusion over Indiana's time zones, they board the wrong train, etc.)


20 Hours in America, Plot
As their journey continues and Josh and Toby debate campaign strategy (eventually concluding that the election should be about the voters' everyday concerns, and not about Bartlet vs. Ritchie), the three of them are exposed to the culture of rural Indiana. Josh and Toby remain largely oblivious to the problems of the people around them, until they meet Matt Kelley, an affable man in a bar who is concerned about how he's going to pay for his daughter's college tuition. This sets into motion a storyline that continues across later episodes, as Josh and Toby, inspired by their conversation with Matt, later spearhead an attempt to make tuition tax deductible.


20 Hours in America, Plot
Meanwhile, an exhausted and overworked Sam Seaborn is supposed to be taking the day off for some much-needed sleep, but Josh instead enlists him to staff the President until they return from their escapade in Indiana. Sam is eventually left with a new appreciation for the intelligence Josh must use on a daily basis.


20 Hours in America, Plot
At the White House, the President deals with minor crises both home and abroad:  A dip in the stock market makes the President superstitious about meeting a man who met with President Hoover just before the stock market crash of '29, and the President later receives news that the Qumar Government is to reopen an inquiry into the disappearance of the Defense Minister's plane. Increasingly disturbed, he is nonetheless reassured by Admiral Fitzwallace that they have successfully covered their tracks. Qumar, however, falsely claims that it has found an Israeli Air Force parachute, in an attempt to provoke a military confrontation with Israel through a false flag operation. Fitzwallace and McGarry agree that they cannot exonerate Israel and denounce the false evidence without admitting their own culpability.


20 Hours in America, Plot
Meanwhile, C.J. approaches Charlie about taking over Simon's role as a big brother to a young black man, Anthony, who has started to act up as a way to cope with Simon's death. Charlie is at first unwilling to lend his new-found free time to volunteer, but when Anthony lashes out at C.J., Charlie has a dramatic change of heart.


20 Hours in America, Plot
Later in the episode, a report comes in that two pipe bombs have exploded during a college swim meet, killing 44 people and injuring over 100. Everyone is disturbed by this event, but it inspires Sam to write a powerfully up-lifting speech, which the President delivers to great effect. Part of the content of this speech is actually spoken by Bartlet earlier in the first episode. Bruno Gianelli refers to Sam as a 'freak' for being able to write the most moving portion of the speech during the ride to the event.


20 Hours in America, Plagiarism incident
On May 6, 2006, NBC Sports aired a special program before the Kentucky Derby that plagiarized two passages from the speech that Sam writes for the President following the explosion of the pipe bombs in "20 Hours in America, Part II". The freelance writer responsible for the plagiarism was fired.


20 Hoxton Square
20 Projects, formerly 20 Hoxton Square Projects, was an east London art gallery run by Alex Dellal. Launched in 2007, 20 Projects was a collaborative project space, operating as a platform for emerging contemporary artists, whilst also acting as a creative hub for collaborative and independent projects. The physical location at 20 Hoxton Square is in the former hall of the Catholic Church of St Monica. The building was designed by the London architectural firm DOSarchitects


20 Hrs., 40 Min.
20 Hrs. 40 Min. : Our Flight in the Friendship is a book written by pioneering aviator Amelia Earhart. It was first published in 1928 by G. P. Putnam's Sons, but has continued to be reprinted in periodic new editions. A special "Author's Autograph Edition" of 150 signed and numbered copies was also produced in 1928. Wilmer Stultz was the pilot. Each copy of this special edition contained a miniature silk American flag carried by Earhart in her flight on the Friendship from Boston to Wales.


20 Hrs., 40 Min.
In this book, Earhart writes about her experiences as a passenger in the Friendship, which made her the first woman to cross the Atlantic Ocean by air in 1928 (she later accomplished the feat in a solo flight). Earhart combines actual log entries made during the flight with recollections of her childhood and how she first became interested in aviation.


20 Hrs., 40 Min.
Towards the end of the book, Earhart has a chapter entitled "Women in Aviation." In this chapter she writes,


20 Hrs., 40 Min.
Possibly the feature of aviation which may appeal most to thoughtful women is its potentiality for peace. The term is not merely an airy phrase. Isolation breeds distrust and differences of outlook. Anything which tends to annihilate distance destroys isolation, and brings the world and its peoples closer together. I think aviation has a chance to increase intimacy, understanding, and far-flung friendships thus.


20 Hrs., 40 Min.
20 Hrs. 40 Min. was the first of two books Earhart would write in her lifetime; the other being 1932's The Fun of It. A third book credited to her, Last Flight, was published posthumously and consisted of diary entries from her ill-fated 1937 flight around the world.


20 Hrs., 40 Min.
National Geographic republished the work in 2003 under its National Geographic Adventure Classics imprint.


20 ITK 40 VKT
The 20 ItK 40 VKT or 20 mm dual anti-aircraft cannon model 1940 manufactured by VKT was a Finnish light anti-aircraft gun designed by the Finnish gunsmith Aimo Lahti. As the only multi-barrel 20 mm anti-aircraft gun 20 ItK 40 VKT was the most effective 20 mm air defence weapon used by the Finnish Army during World War II. A total of 174 guns were built, used in training until the 1970s and kept in reserve until 1988. The gun received the nickname Vekotin (gadget) from Finnish soldiers. The nickname was reached by adding to the abbreviation of manufacturer, VKT.


20 ITK 40 VKT, Background
The 20 ItK 40 VKT is a dual anti-aircraft gun designed by Aimo Lahti. The gun barrels and mechanisms are based on the L-39 anti-tank rifle converted from semi-automatic to full automatic fire and with the stock and barrel shroud removed. A prototype L-39 anti-aircraft gun was completed just before the Winter War, but Lahti made some improvements to the design and the mass-production version was designated L-40. Airforce headquarters ordered a series of 50 guns from Valtion Kivääritehdas (VKT, State Rifle Factory) in January 1940 and a further 120 guns in June 1941. Production was delayed, however, and the first guns were finished only in 1943. Of the total number of 174 guns, 155 were produced in 1943 and 19 in 1944. The guns were distributed to units in small batches soon after they were completed.


20 ITK 40 VKT, Design
Unlike the L-39 anti-tank rifle, weapons in the 20 ItK 40 VKT are designed for full-automatic fire and so do not suffer from the similar structural weaknesses as the full-automatic conversion L-39/44 anti-aircraft rifles. The rate of fire for the gun is adjustable, with a maximum cyclic rate of 2 × 700 rounds per minute, and a more commonly used rate of 2 × 360 rounds per minute. The gun is loaded from 20 round magazines, with an empty weight of 5.6 kg and 11–12 kg full, depending on the type of ammunition.


20 ITK 40 VKT, Design
The 20×138B Long Solothurn cartridge used in 20 ItK 40 VKT was also used in the L-39 anti-tank rifle as well as the other 20 mm anti-aircraft guns, the 20 ITK 30 and 20 ITK 35, used by field army units. The gun sight, designed by Osmo Niskanen and manufactured by Strömberg company, was not entirely satisfactory and was more complicated to use than the sight in the German 20 ITK 30. The gun trailer was also problematic, as it was rather frail and offered a ground clearance of only 20 cm. Thus the towing speed was limited to 30–40 km/h and the mobility of the gun was limited. Equipment used with the gun included spare magazines with a transport case, gun tarpaulin, a transport case for the gun sight and a toolkit.


20 ITK 40 VKT, Service use
The 20 ItK 40 VKT was used by Finnish light anti-aircraft batteries in Continuation War and Lapland War along with other 20 mm guns. At the end of the war the 20 ItK 40 VKT was the most numerous field army 20 mm anti-aircraft gun (the 20 mm Madsen was more numerous, but used primarily by navy and coastal artillery or at the home front). The guns made through the war mostly intact.


20 ITK 40 VKT, Service use
After the war the 20 ItK 40 VKT was considered to be the only still satisfactory 20 mm anti-aircraft gun, although it was recommended to re-design the gun sight. The re-design was realized in 1955 when a new m/55 pendulum ring sight was accepted into service. The same sight was also later used on 20 ITK 30. The 20 ItK 40 VKT was used in training until the 1970s and they were kept in storage as reserve weapons until 1988.


20 Inolvidables (Los Bukis and Los Temerarios album)
20 Inolvidables (Eng. : 20 Unforgettables) is a compilation album released by the Mexican groups Los Bukis and Los Temerarios. This album became the second number-one album for Los Bukis and the fourth for Los Temerarios in the Billboard Top Latin Albums chart.


20 Inolvidables (Los Bukis and Los Temerarios album), Track listing
All tracks performed by Los Bukis were written by Marco Antonio Solís and the tracks performed by Los Temerarios written by Adolfo Angel Alba, unless otherwise noted.


20 Jahre – Live in Frankfurt
20 Jahre – Live in Frankfurt is the fourth live album by German rock band Böhse Onkelz. It was recorded on 3 March 2001 at the Festhalle  Frankfurt. The concert should have taken place on 25 November 2000, the 20th anniversary of the Böhse Onkelz. It had to be moved because singer Kevin Russell had a car accident a few days before the concert.


20 Jahre – Live in Frankfurt
The DVD was the worldwide first live album which supports Dolby Digital Surround EX (6.1).


20 Jazz Funk Greats
20 Jazz Funk Greats is the third studio album by British industrial music group Throbbing Gristle, released in December 1979 by the band's label Industrial Records. It is known for its tongue-in-cheek title and artwork, and has been hailed as the band's best work, with UK magazine Fact naming it the best album of the 1970s, and Pitchfork naming it the best industrial album of all time.


20 Jazz Funk Greats, Recording
20 Jazz Funk Greats is the band's first full studio album, as prior albums contained both live and studio recordings. The production is credited to "Sinclair/Brooks". The album was recorded on a 16-track borrowed from Paul McCartney after Peter Christopherson had worked on artwork for McCartney.


20 Jazz Funk Greats, Recording
The album was produced using electronic musical instruments and effects units, primarily from Roland and Boss.


20 Jazz Funk Greats, Artwork and title
The album's cover photograph was taken at Beachy Head, a chalk headland on the south coast of England known as one of the world's most notorious suicide spots. In a 2012 interview, Cosey explained the album cover and tongue-in-cheek title:


20 Jazz Funk Greats, Artwork and title
We did the cover so it was a pastiche of something you would find in a Woolworth’s bargain bin. We took the photograph at the most famous suicide spot in England, called Beachy Head. So, the picture is not what it seems, it is not so nicey nicey at all, and neither is the music once you take it home and buy it. We had this idea in mind that someone quite innocently would come along to a record store and see [the record] and think they would be getting 20 really good jazz/funk greats, and then they would put it on at home and they would just get decimated.


20 Jazz Funk Greats, Artwork and title
The 1981 issue of the album released on Fetish Records featured an alternate version of the cover art in which an apparently dead and naked male body is seen lying in front of the band. In 2013, Radiohead graphic designer Stanley Donwood selected the artwork as his favourite album cover.


20 Jazz Funk Greats, Critical reception
Reviewing the album for Pitchfork, Drew Daniel praised 20 Jazz Funk Greats as Throbbing Gristle's peak, writing that "it's in the pathos of their promiscuous liasions with the forbidden territory of various forms of 'real music' that this album generates a weirdly gripping power of its own." He continued, "20 Jazz Funk Greats finds the band waking up from D.O.A's dark night of the soul and feeling curiously frisky. Snacking on not only the titular funk and jazz, the band also takes touristic zig zags through exotica, rock and disco", ultimately describing it as a "kitsch detour toward mutant disco".


20 Jazz Funk Greats, Critical reception
AllMusic writer Paul Simpson wrote, "Thoroughly exciting and immeasurably influential, 20 Jazz Funk Greats is easily Throbbing Gristle's crowning achievement, and one of the highlights of the post-punk era." In a retrospective review of Throbbing Gristle's discography for Uncut, Michael Bonner stated that "Musically, it turned away from the precipice; not exactly jazz and funk, but sublimating TG’s noise elements within electronic rhythms and proto-exotica. Album highlight "Hot on the Heels of Love" is convincingly Moroder-esque disco, Cosey breathing sweet nothings amid bubbling synthesisers and whip-crack snare. Elsewhere, P-Orridge mines a lyrical seam of control and domination." Dusted Magazine described the album as "a deliberate attempt to toy with the ideas behind marketing strategy and the purpose of musical genres."


20 Jazz Funk Greats, Critical reception
Pitchfork ranked 20 Jazz Funk Greats at number 91 on its list of the 100 greatest albums of the 1970s. UK magazine Fact named it the best album of the 1970s, writing that "This album is a rupture. It's an open crack into the unpronounceable dimensions into which tumble important streams of 20th century pop, art and underground culture, to seethe around each other, mingling, festering, sprouting new and unpredictable forms which in turn would ooze out to infest vast sections of what comes after."


20 Jazz Funk Greats, Critical reception
In June 2019, Pitchfork named 20 Jazz Funk Greats as the best industrial album of all time.


20 Jazz Funk Greats, Track listing
All tracks are written by Throbbing Gristle (Genesis P-Orridge, Cosey Fanni Tutti, Chris Carter, Peter Christopherson).


20 Jazz Funk Greats, Equipment
Roland equipment used on the album included a SRE-555 Chorus Echo effects unit, SH-7 Synth, CSQ 100 music sequencer, CR-78 CompuRhythm drum machine, System-100M (M-191J) modular synthesizer rack and 100M M-181 electronic keyboard. Boss equipment included a PH-1 phaser effects pedal, DR-55 Dr. Rhythm drum machine, KM-4 mixer, CE-2 Chorus pedal and BF-2 Flanger. Other equipment included a Simmons ClapTrap, Auratone 5C speakers, JVC amplifier, TEAC cassette deck, Seck 6-2 audio mixer and Casio M10 keyboard.


20 July plot
On 20 July 1944, Claus von Stauffenberg and other conspirators attempted to assassinate Adolf Hitler, Führer of Nazi Germany, inside his Wolf's Lair field headquarters near Rastenburg, East Prussia. The name Operation Valkyrie—originally referring to part of the conspiracy—has become associated with the entire event.


20 July plot
The apparent aim of the assassination attempt was to wrest political control of Germany and its armed forces from the Nazi Party (including the SS) and to make peace with the Western Allies as soon as possible. The details of the conspirators' peace initiatives remain unknown, but they would have included unrealistic demands for the confirmation of Germany's extensive annexations of European territory.


20 July plot
The plot was the culmination of efforts by several groups in the German resistance to overthrow the Nazi German government. The failure of the assassination attempt and the intended military coup d'état that was to follow led the Gestapo to arrest more than 7,000 people, 4980 of whom were executed.


20 July plot, Background
Since 1938, there had been groups plotting an overthrow of some kind within the German Army and in the German Military Intelligence Organization. Early leaders of these plots included Major General Hans Oster, Colonel General Ludwig Beck and Field Marshal Erwin von Witzleben. Oster was the deputy head of the Military Intelligence Office. Beck was a former Chief of Staff of the German Army High Command (OKH). Von Witzleben was the former commander of the German 1st Army and the former Commander-in-Chief of the German Army Command in the West. They soon established contacts with several prominent civilians, including Carl Goerdeler, the former mayor of Leipzig, and Helmuth James von Moltke, the great-grandnephew of Moltke the Elder, hero of the Franco-Prussian War.


20 July plot, Background
Groups of military plotters exchanged ideas with civilian, political, and intellectual resistance groups in the Kreisauer Kreis (which met at the von Moltke estate in Kreisau) and in other secret circles. Moltke was against killing Hitler; instead, he wanted him placed on trial. Moltke said, "we are all amateurs and would only bungle it". Moltke also believed killing Hitler would be hypocritical: Hitler and National Socialism had turned wrongdoing into a system, something which the resistance should avoid.


20 July plot, Background
Plans to stage an overthrow and prevent Hitler from launching a new world war were developed in 1938 and 1939, but were aborted because of the indecision of Army General Franz Halder and Field Marshal Walther von Brauchitsch, and the failure of the Western powers to oppose Hitler's aggression until 1939.


20 July plot, Background
In 1942, a new conspiratorial group formed, led by Colonel Henning von Tresckow, a member of Field Marshal Fedor von Bock's staff, who commanded Army Group Centre in Operation Barbarossa. Tresckow systematically recruited oppositionists into the Group's staff, making it the nerve centre of the army resistance. Little could be done against Hitler as he was heavily guarded, and none of the plotters could get near enough to him.


20 July plot, Background
During 1942, Oster and Tresckow nevertheless succeeded in rebuilding an effective resistance network. Their most important recruit was General Friedrich Olbricht, head of the General Army Office headquarters at the Bendlerblock in central Berlin, who controlled an independent system of communications to reserve units throughout Germany. Linking this asset to Tresckow's resistance group in Army Group Centre created a viable coup apparatus.


20 July plot, Background
In late 1942, Tresckow and Olbricht formulated a plan to assassinate Hitler and stage an overthrow during Hitler's visit to the headquarters of Army Group Centre at Smolensk in March 1943, by placing a bomb on his plane (Operation Spark). The bomb failed to detonate, and a second attempt a week later with Hitler at an exhibition of captured Soviet weaponry in Berlin also failed. These failures demoralised the conspirators.


20 July plot, Background
During 1943 Tresckow tried without success to recruit senior army field commanders such as Field Marshal Erich von Manstein and Field Marshal Gerd von Rundstedt, to support a seizure of power. Tresckow, in particular, worked on his Commander-in-Chief of Army Group Centre, Field Marshal Günther von Kluge, to persuade him to move against Hitler and at times succeeded in gaining his consent, only to find him indecisive at the last minute. However, despite their refusals, none of the Field Marshals reported their treasonous activities to the Gestapo or Hitler.


20 July plot, Background, Motivation and goals, Opposition to Hitler and to Nazi policies
While the main goal of the plotters was to remove Hitler from power, they did so for various reasons. The majority of the group behind the 20 July plot were conservative nationalists—idealists, but not necessarily of a democratic stripe. Martin Borschat portrays their motivations to a matter of aristocratic resentment, writing that the plot was mainly carried out by conservative elites who were initially integrated by the Nazi government but during the war lost their influence and were concerned about regaining it.


20 July plot, Background, Motivation and goals, Opposition to Hitler and to Nazi policies
However, at least in Stauffenberg's case, the conviction that Nazi Germany's atrocities against civilians and prisoners of war were a dishonour to the nation and its military was likely a major motivating factor. Historian Judith Michel assesses the circle around the July 20 Group as a diverse and heterogeneous group that included liberal democrats, conservatives, social democrats, authoritarian aristocrats, and even communists. The common goal was to overthrow Hitler's regime and bring the war to a swift end. Evidence of this is also that Stauffenberg, before the attempted coup in April, agreed to cooperate with the Operative Führung of the KPD, which remained in Germany. Contacts were established through the Social Democrats Adolf Reichwein and Julius Leber.


20 July plot, Background, Motivation and goals, Territorial demands
Among demands initially countenanced by the plotters for issue towards the Allies were such points as re-establishment of Germany's 1914 boundaries with Belgium, France and Poland and no reparations. Plotters' demands meant a return to pre-1939 German borders; it seems highly unlikely that the Allies would have accepted such enormous demands.


20 July plot, Background, Motivation and goals, Territorial demands
Like most of the rest of German resistance, the July 20th plotters believed in the idea of Greater Germany and as a condition for peace demanded that the western allies recognize as a minimum the incorporation of Austria, Alsace-Lorraine, Sudetenland, and the annexation of Polish-inhabited territories that Germany ceded to Poland after 1918, with the restoration of some of the overseas colonies. They believed that Europe should be controlled under German hegemony.


20 July plot, Background, Motivation and goals, Territorial demands
The overall goals towards Poland were mixed within the plotters. Most of the plotters found it desirable to restore the old German borders of 1914, while others pointed out that the demands were unrealistic and amendments had to be made. Some like Friedrich-Werner Graf von der Schulenburg even wanted all of Poland annexed to Germany.


20 July plot, Background, Motivation and goals, Territorial demands
To Poland, which was fighting against Nazi Germany with both its army and government in exile, the territorial demands and traditional nationalistic visions of resistance were not much different from the racist policies of Hitler. Stauffenberg, as one of the leaders of the plot, stated five years before the coup in 1939 during the Poland campaign: "It is essential that we begin a systemic colonisation in Poland. But I have no fear that this will not occur."


20 July plot, Background, Motivation and goals, Political vision of post-Hitler Germany
Many members of the plot had helped the Nazis gain power and shared revisionist foreign policy goals pursued by Hitler, and even at the time of the plot were anti-democratic, hoping to replace Hitler with a conservative-authoritarian government involving aristocratic rule. They opposed popular legitimation or mass participation in governance of the state.


20 July plot, Planning a coup, Von Stauffenberg joins
By mid-1943, the tide of war was turning decisively against Germany. The army plotters and their civilian allies became convinced that Hitler should be assassinated, so that a government acceptable to the western Allies could be formed, and a separate peace negotiated in time to prevent a Soviet invasion of Germany. In August 1943, Tresckow met, for the first time, a young staff officer named Lieutenant Colonel Claus von Stauffenberg. Severely wounded in North Africa, Claus von Stauffenberg was a political conservative and zealous German nationalist.


20 July plot, Planning a coup, Von Stauffenberg joins
From early 1942, he had come to share two basic convictions with many military officers: that Germany was being led to disaster and that Hitler's removal from power was necessary. After the Battle of Stalingrad in December 1942, despite his religious scruples, he concluded that the Führer's assassination was a lesser moral evil than Hitler's remaining in power. Stauffenberg brought a new tone of decisiveness to the ranks of the resistance movement. When Tresckow was assigned to the Eastern Front, Stauffenberg took charge of planning and executing the assassination attempt.


20 July plot, Planning a coup, New plan
Olbricht now put forward a new strategy for staging a coup against Hitler. The Replacement Army (Ersatzheer) had an operational plan called Operation Valkyrie, which was to be used in the event that the disruption caused by the Allied bombing of German cities would cause a breakdown in law and order, or an uprising by the millions of forced labourers from occupied countries now being used in German factories. Olbricht suggested that this plan could be used to mobilise the Reserve Army for the purpose of the coup.


20 July plot, Planning a coup, New plan
In August and September 1943, Tresckow drafted the "revised" Valkyrie plan and new supplementary orders. A secret declaration began with these words: "The Führer Adolf Hitler is dead! A treacherous group of party leaders has attempted to exploit the situation by attacking our embattled soldiers from the rear in order to seize power for themselves." Detailed instructions were written for occupation of government ministries in Berlin, Heinrich Himmler's headquarters in East Prussia, radio stations and telephone offices, and other Nazi apparatus through military districts, and concentration camps.


20 July plot, Planning a coup, New plan
Previously, it was believed that Stauffenberg was mainly responsible for the Valkyrie plan, but documents recovered by the Soviet Union after the war and released in 2007 suggest that the plan was developed by Tresckow by autumn of 1943. All written information was handled by Tresckow's wife, Erika, and by Margarethe von Oven, his secretary. Both women wore gloves to avoid leaving fingerprints. On at least two other occasions Tresckow had tried to assassinate the Führer.


20 July plot, Planning a coup, New plan
The first plan was to shoot him during dinner at the army base camp, but this plan was aborted because it was widely believed that Hitler wore a bullet-proof vest. The conspirators also considered poisoning him, but this was not possible because his food was specially prepared and tasted. They concluded that a time bomb was the only option.


20 July plot, Planning a coup, New plan
Operation Valkyrie could only be put into effect by General Friedrich Fromm, commander of the Reserve Army, so he must either be won over to the conspiracy or in some way neutralised if the plan was to succeed.


20 July plot, Planning a coup, Previous failed attempts
During 1943 and early 1944 von Tresckow and von Stauffenberg organised at least five attempts to get one of the military conspirators near enough to Hitler, for long enough to kill him with hand grenades, bombs, or a revolver:


20 July plot, Planning a coup, Previous failed attempts
As the war situation deteriorated, Hitler no longer appeared in public and rarely visited Berlin. He spent most of his time at his headquarters at the Wolfsschanze near Rastenburg in East Prussia, with occasional breaks at his Bavarian mountain retreat Obersalzberg near Berchtesgaden. In both places, he was heavily guarded and rarely saw people he did not know or trust. Himmler and the Gestapo were increasingly suspicious of plots against Hitler and rightly suspected the officers of the General Staff, which was indeed the source of many conspiracies against him.


20 July plot, Planning a coup, Preparations
By the summer of 1944, the Gestapo was closing in on the conspirators. When Stauffenberg sent Tresckow a message through Lieutenant Heinrich Graf von Lehndorff-Steinort asking whether there was any reason for trying to assassinate Hitler given that no political purpose would be served, Tresckow's response was: "The assassination must be attempted, coûte que coûte [whatever the cost]. Even if it fails, we must take action in Berlin , for the practical purpose no longer matters; what matters now is that the German resistance movement must take the plunge before the eyes of the world and of history. Compared to that, nothing else matters."


20 July plot, Planning a coup, Preparations
Himmler had at least one conversation with a known oppositionist when, in August 1943, the Prussian Finance Minister Johannes Popitz, who was involved in Goerdeler's network, came to see him and offered him the support of the opposition if he would make a move to displace Hitler and secure a negotiated end to the war. Nothing came of this meeting, but Popitz was not immediately arrested (although he was later executed towards the end of the war), and Himmler apparently did nothing to track down the resistance network which he knew was operating within the state bureaucracy. It is possible that Himmler, who by late 1943 knew that the war was unwinnable, allowed the plot to go ahead in the belief that if it succeeded he would be Hitler's successor, and could then bring about a peace settlement.


20 July plot, Planning a coup, Preparations
Popitz was not alone in seeing Himmler as a potential ally. General von Bock advised Tresckow to seek his support, but there is no evidence that he did so. Goerdeler was apparently also in indirect contact with Himmler via a mutual acquaintance, Carl Langbehn. Wilhelm Canaris biographer Heinz Höhne suggests that Canaris and Himmler were working together to bring about a change of regime, but this remains speculation.


20 July plot, Planning a coup, Preparations
Tresckow and the inner circle of plotters had no intention of removing Hitler just to see him replaced by the dreaded and ruthless SS chief, and the plan was to kill them both if possible—to the extent that Stauffenberg's first attempt on 11 July was aborted because Himmler was not present.


20 July plot, Countdown to Stauffenberg's attempt, First week of July
On Saturday, 1 July 1944 Stauffenberg was appointed Chief of Staff to General Fromm at the Reserve Army headquarters on Bendlerstraße in central Berlin. This position enabled Stauffenberg to attend Hitler's military conferences, either at the Wolfsschanze in East Prussia or at Berchtesgaden, and would thus give him an opportunity, perhaps the last that would present itself, to kill Hitler with a bomb or a pistol. Meanwhile, new key allies had been gained. These included General Carl-Heinrich von Stülpnagel, the German military commander in France, who would take control in Paris when Hitler was killed, and it was hoped, negotiate an immediate armistice with the invading Allied armies.


20 July plot, Countdown to Stauffenberg's attempt, Aborted attempts
The plot was now fully prepared. On 7 July 1944 General Helmuth Stieff was to kill Hitler at a display of new uniforms at Klessheim castle near Salzburg. However, Stieff felt unable to kill Hitler. Stauffenberg now decided to do both: to assassinate Hitler, wherever he was, and to manage the plot in Berlin.


20 July plot, Countdown to Stauffenberg's attempt, Aborted attempts
On 14 July Stauffenberg attended Hitler's conferences carrying a bomb in his briefcase, but because the conspirators had decided that Heinrich Himmler and Hermann Göring should be killed simultaneously if the planned mobilisation of Operation Valkyrie was to have a chance to succeed, he held back at the last minute because Himmler was not present. In fact, it was unusual for Himmler to attend military conferences.


20 July plot, Countdown to Stauffenberg's attempt, Aborted attempts
By 15 July, when Stauffenberg again flew to the Wolfsschanze, this condition had been dropped. The plan was for Stauffenberg to plant the briefcase with the bomb in Hitler's conference room with a timer running, excuse himself from the meeting, wait for the explosion, then fly back to Berlin and join the other plotters at the Bendlerblock. Operation Valkyrie would be mobilised, the Reserve Army would take control of Germany and the other Nazi leaders would be arrested. Beck would be appointed provisional head of state, Goerdeler would be chancellor, and Witzleben would be commander-in-chief of the armed forces.


20 July plot, Countdown to Stauffenberg's attempt, Aborted attempts
Again on 15 July, the attempt was called off at the last minute. Himmler and Göring were present, but Hitler was called out of the room at the last moment. Stauffenberg was able to intercept the bomb and prevent its discovery.


20 July plot, 20 July 1944, Operation Valkyrie
On 18 July rumours reached Stauffenberg that the Gestapo had knowledge of the conspiracy and that he might be arrested at any time—this was apparently not true, but there was a sense that the net was closing in and that the next opportunity to kill Hitler must be taken because there might not be another. On the morning of 20 July Stauffenberg flew back to the Wolfsschanze for another Hitler military conference, once again with a bomb in his briefcase.


20 July plot, 20 July 1944, Operation Valkyrie
At around 12:30 pm as the conference began, Stauffenberg asked to use a washroom in Wilhelm Keitel's office, saying that he had to change his shirt, which indeed was soaked through with sweat, it being a very hot day. There, assisted by von Haeften, he used pliers to crush the end of a pencil detonator inserted into a 1 kilogram (2.2 lb) block of plastic explosive wrapped in brown paper, that was prepared by Wessel von Freytag-Loringhoven.


20 July plot, 20 July 1944, Operation Valkyrie
The detonator consisted of a thin copper tube containing cupric chloride that would take about ten minutes to silently eat through wire holding back the firing pin from the percussion cap. It was slow going due to war wounds that had cost Stauffenberg an eye, his right hand, and two fingers on his left hand. Interrupted by a guard knocking on the door advising him that the meeting was about to begin, he was not able to prime the second bomb, which he gave to his aide-de-camp, Werner von Haeften.


20 July plot, 20 July 1944, Operation Valkyrie
Stauffenberg placed the single primed bomb inside his briefcase and, with the unwitting assistance of Major Ernst John von Freyend, entered the conference room containing Hitler and 20 officers, positioning the briefcase under the table near Hitler. After a few minutes, Stauffenberg received a planned telephone call and left the room.


20 July plot, 20 July 1944, Operation Valkyrie
It is presumed that Colonel Heinz Brandt, who was standing next to Hitler, used his foot to move the briefcase aside by pushing it behind the leg of the conference table, thus unwittingly deflecting the blast from Hitler but causing the loss of one of his legs and his own demise when the bomb detonated.


20 July plot, 20 July 1944, Operation Valkyrie
At 12:42 the bomb detonated, demolishing the conference room and killing a stenographer instantly. More than 20 people in the room were injured with three officers later perishing. Hitler survived, as did everyone else who was shielded from the blast by the conference table leg. His trousers were singed and tattered (see photograph below) and he suffered from a perforated eardrum, as did most of the other 24 people in the room.


20 July plot, 20 July 1944, Escape from the Wolf's Lair and flight to Berlin
Stauffenberg was seen leaving the conference building by Kurt Salterberg, a soldier on guard duty who did not consider this out of the ordinary as attendees sometimes left to collect documents. He then saw a "massive" cloud of smoke, wood splinters and paper and men being hurled through a window and door. Stauffenberg, upon witnessing the explosion and smoke, erroneously assumed that Hitler was truly dead. He then climbed into a staff car with his aide Werner von Haeften and managed to bluff his way past three checkpoints to exit the Wolfsschanze complex. Werner von Haeften then tossed the second unprimed bomb into the forest as they made a dash for Rastenburg airfield, reaching it before it could be realised that Stauffenberg could be responsible for the explosion. By 13:00 he was airborne in a Heinkel He 111 arranged by General Eduard Wagner.


20 July plot, 20 July 1944, Escape from the Wolf's Lair and flight to Berlin
By the time Stauffenberg's aircraft reached Berlin about 16:00, General Erich Fellgiebel, an officer at the Wolfsschanze who was in on the plot, had phoned the Bendlerblock and told the plotters that Hitler had survived the explosion. As a result, the plot to mobilise Operation Valkyrie would have no chance of succeeding once the officers of the Reserve Army knew that Hitler was alive. There was more confusion when Stauffenberg's aircraft landed and he phoned from the airport to say that Hitler was in fact dead. The Bendlerblock plotters did not know whom to believe.


20 July plot, 20 July 1944, Escape from the Wolf's Lair and flight to Berlin
Finally, at 16:00 Olbricht issued the orders for Operation Valkyrie to be mobilised. The vacillating General Fromm, however, phoned Field Marshal Wilhelm Keitel at the Wolf's Lair and was assured that Hitler was alive. Keitel demanded to know Stauffenberg's whereabouts. This told Fromm that the plot had been traced to his headquarters and that he was in mortal danger. Fromm replied that he thought Stauffenberg was with Hitler.


20 July plot, 20 July 1944, Escape from the Wolf's Lair and flight to Berlin
Meanwhile, Carl-Heinrich von Stülpnagel, military governor of occupied France, managed to disarm the SD and SS and captured most of their leadership. He travelled to Günther von Kluge's headquarters and asked him to contact the Allies, only to be informed that Hitler was alive. At 16:40 Stauffenberg and Haeften arrived at the Bendlerblock. Fromm, presumably to protect himself, changed sides and attempted to have Stauffenberg arrested. Olbricht and Stauffenberg restrained him at gunpoint and Olbricht then appointed General Erich Hoepner to take over his duties.


20 July plot, 20 July 1944, Escape from the Wolf's Lair and flight to Berlin
By this time Himmler had taken charge of the situation and had issued orders countermanding Olbricht's mobilisation of Operation Valkyrie. In many places the coup was going ahead, led by officers who believed that Hitler was dead. City Commandant, and conspirator, General Paul von Hase ordered the Wachbataillon Großdeutschland, under the command of Major Otto Ernst Remer, to secure the Wilhelmstraße and arrest Propaganda Minister Joseph Goebbels. In Vienna, Prague, and many other places troops occupied Nazi Party offices and arrested Gauleiters and SS officers.


20 July plot, 20 July 1944, Failure of the coup
At around 18:10, the commander of Military District III (Berlin), General Joachim von Kortzfleisch, was summoned to the Bendlerblock; he angrily refused Olbricht's orders, kept shouting "the Führer is alive", was arrested and was held under guard. General Karl Freiherr von Thüngen was appointed in his place but proved to be of little help. General Fritz Lindemann, who was supposed to make a proclamation to the German people over the radio, failed to appear and as he held the only copy, Beck had to work on a new one.


20 July plot, 20 July 1944, Failure of the coup
At 19:00, Hitler was sufficiently recovered to make phone calls. He called Goebbels at the Propaganda Ministry. Goebbels arranged for Hitler to speak to Major Remer, commander of the troops surrounding the Ministry. After assuring him that he was still alive, Hitler ordered Remer to regain control of the situation in Berlin. Major Remer ordered his troops to surround and seal off the Bendlerblock, but not to enter the buildings. At 20:00 a furious Witzleben arrived at the Bendlerblock and had a bitter argument with Stauffenberg, who was still insisting that the coup could go ahead. Witzleben left shortly afterwards. At around this time the planned seizure of power in Paris was aborted when Field Marshal Günther von Kluge, who had recently been appointed commander-in-chief in the west, learned that Hitler was alive.


20 July plot, 20 July 1944, Failure of the coup
As Remer regained control of the city and word spread that Hitler was still alive, the less resolute members of the conspiracy in Berlin began to change sides. Fromm was freed from his room and fighting broke out in the Bendlerblock between officers supporting and opposing the coup; Stauffenberg was wounded after a shootout. As the fighting was still ongoing, Remer and his forces arrived at the Bendlerblock and the conspirators were overwhelmed and arrested; by 23:00 Fromm and Remer had regained control of the building.


20 July plot, 20 July 1944, Failure of the coup
Perhaps hoping that a show of zealous loyalty would save him, Fromm convened an impromptu court martial consisting of himself, and sentenced Olbricht, Stauffenberg, Haeften and another officer, Albrecht Mertz von Quirnheim, to death, while putting Beck under arrest; Beck, realising the situation was hopeless, asked for a pistol and shot himself—the first of many attempted suicides in the coming days. At first Beck only seriously wounded himself—he was then shot in the neck and killed by soldiers.


20 July plot, 20 July 1944, Failure of the coup
Despite protests from Remer (who had been ordered by Hitler to arrest the conspirators), at 00:10 on 21 July the four officers were executed in the courtyard outside, possibly to prevent them from revealing Fromm's involvement. Others would have been executed as well, but at 00:30 Waffen-SS personnel led by Obersturmbannführer Otto Skorzeny arrived and further executions were forbidden.


20 July plot, Aftermath
Over the following weeks, Himmler's Gestapo, driven by a furious Hitler, rounded up nearly everyone who had the remotest connection with the plot. The discovery of letters and diaries in the homes and offices of those arrested revealed the plots of 1938, 1939, and 1943, and this led to further rounds of arrests, including that of colonel general Franz Halder, who finished the war in a concentration camp. Under Himmler's new Sippenhaft (blood guilt) laws, many relatives of the principal plotters were also arrested in the immediate aftermath of the failed plot.


20 July plot, Aftermath
More than 7,000 people were arrested and 4,980 were executed. Not all of them were connected with the plot, since the Gestapo used the occasion to settle scores with many other people suspected of opposition sympathies. Alfons Heck, former Hitler Youth member and later a historian, describes the reaction many Germans felt to the punishments of the conspirators:


20 July plot, Aftermath
When I heard that German officers had tried to kill Adolf Hitler ... I was enraged. I fully concurred with the sentences imposed on them, strangling I felt was too good for them; this was the time, precisely, when we were at a very ... precarious military situation. And the only man who could possibly stave off disaster ... was Adolf Hitler. That opinion was shared by many Germans, Germans who did not adore Hitler, who did not belong to the [Nazi] Party.


20 July plot, Aftermath
Allied radio stations also speculated on who the possible remaining suspects could be, many of which were eventually implicated in the plot.


20 July plot, Aftermath
Very few of the plotters tried to escape or to deny their guilt when arrested. Those who survived interrogation were given perfunctory trials before the People's Court, a kangaroo court that always decided in favour of the prosecution. The court's president, Roland Freisler, was a fanatical Nazi seen shouting furiously and insulting the accused in the trial, which was filmed for propaganda purposes. The plotters were stripped of their uniforms and given old, shabby clothing to humiliate them for the cameras. The officers involved in the plot were "tried" before the Court of Military Honour, a drumhead court-martial that merely considered the evidence furnished to it by the Gestapo before expelling the accused from the Army in disgrace and handing them over to the People's Court.


20 July plot, Aftermath
The first trials were held on 7 and 8 August 1944. Hitler had ordered that those found guilty should be "hanged like cattle". Many people took their own lives prior to either their trial or their execution, including Kluge, who was accused of having knowledge of the plot beforehand and not revealing it to Hitler. Stülpnagel tried to commit suicide, but survived and was hanged.


20 July plot, Aftermath
Tresckow killed himself the day after the failed plot by use of a hand grenade in no man's land between Russian and German lines. According to post-war recollections of Fabian von Schlabrendorff, Tresckow said the following before his death:


20 July plot, Aftermath
The whole world will vilify us now, but I am still totally convinced that we did the right thing. Hitler is the archenemy not only of Germany but of the world. When, in few hours' time, I go before God to account for what I have done and left undone, I know I will be able to justify what I did in the struggle against Hitler. None of us can bewail his own death; those who consented to join our circle put on the robe of Nessus. A human being's moral integrity begins when he is prepared to sacrifice his life for his convictions.


20 July plot, Aftermath
Fromm's attempt to win favour by executing Stauffenberg and others on the night of 20 July had merely exposed his own previous lack of action and apparent failure to report the plot. Having been arrested on 21 July, Fromm was later convicted and sentenced to death by the People's Court. Despite his knowledge of the conspiracy, his formal sentence charged him with poor performance in his duties. He was executed in Brandenburg an der Havel. Hitler personally commuted his death sentence from hanging to the "more honourable" firing squad. Erwin Planck, the son of the famous physicist Max Planck, was executed for his involvement.


20 July plot, Aftermath
The Kaltenbrunner Report to Adolf Hitler dated 29 November 1944 on the background of the plot, states that the Pope was somehow a conspirator, specifically naming Eugenio Pacelli, Pope Pius XII, as being a party in the attempt. Evidence indicates that 20 July plotters Colonel Wessel von Freytag-Loringhoven, Colonel Erwin von Lahousen, and Admiral Wilhelm Canaris were involved in the foiling of Hitler's alleged plot to kidnap or murder Pope Pius XII in 1943, when Canaris reported the plot to Italian counterintelligence officer General Cesare Amè, who passed on the information.