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Sawing a woman in half
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This article is about the magic trick. For the act of literally being sawn in half, see Death by sawing.
Magician P. T. Selbit performing a version of the trick in 1937
Sawing a woman in half is a generic name for a number of stage magic tricks in which a person (traditionally a female assistant) is apparently sawn or divided into two or more pieces.
Contents
[hide]
1 History
2 Effects and variations
2.1 The Selbit sawing
2.2 Goldin's box sawings
2.3 Wakeling
2.4 The thin model
2.5 Transparent boxes
2.6 Double sawing
2.7 Jigsaw
2.8 Bow saw
2.9 Buzzsaw
2.10 Death Saw
2.11 Modern Art
2.12 Criss Angel's pulling a woman apart
3 Methods and exposure
4 Famous performances and depictions
5 Critical responses and twists
6 See also
7 References
8 Further reading
History[edit]
There remains a debate about the origin of sawing illusions, with some sources saying a magician named Torrini may have performed the first version in front of Pope Pius VII in 1809.[1] However it is more likely that the story is a fiction which has its roots in the writings of the famous French magician Jean Robert-Houdin. In his Memoirs, written in 1858, Robert-Houdin described a sawing illusion performed by a magician named Torrini.
Modern magic inventor and historian Jim Steinmeyer has concluded that there was probably no real Torrini and the story was merely a way for Robert-Houdin to play with ideas.[2] It was suggested during a court case in 1922 that the trick can be traced back to ancient Egypt, however this claim has not been substantiated.[1][3] Wherever the idea originated, until the 1920s it remained just an idea for an effect, rather than a practical application of a method.
It is generally accepted that the first public performance of a sawing illusion was achieved by British magician P.T. Selbit in January 1921 at the Finsbury Park Empire theatre in London. In fact Selbit had previously performed the illusion in December 1920 before a select audience of promoters and theatrical agents at the St. George's Hall, London, to try to persuade one of them to book his new act for public shows.[2] His trick, which he billed as "Sawing Through A Woman", was significantly different from what a modern audience would expect. Selbit's assistant was locked inside a closed wooden crate and could not be seen. The impression that she could not evade the saw was created by the confined space in the box and by ropes tied to her hands, feet, and neck, which were held throughout the illusion by spectators from the audience.[1][2]
The question of who was the first woman to be sawn in half has received much less publicity than the question of which magician first presented the illusion. According to Jim Steinmeyer the woman who participated in the December 1920 demonstration was Jan Glenrose, who was Selbit's main assistant at that time and who was also the partner of magician Fred Culpitt.[2] In the public performance the role of victim was taken by principal assistant, Betty Barker.[4]
A later iteration of Horace Goldin's version of the trick, with a buzzsaw blade
Later in 1921, Horace Goldin, a magician working in the United States, presented the first version which might look familiar to modern audiences. Goldin's assistant lay in a box from which her feet, head and hands protruded. Goldin sawed through the middle of the box, inserting metal sheets to cover the cut ends, and then pushed the two halves a little way apart. This process was then reversed, and the assistant released unharmed. Goldin later developed a sawing illusion that dispensed with boxes and used a large buzzsaw.[1] The success of Selbit and then Goldin led to more and more magicians trying to imitate them with copies or improved versions of sawing illusions. By November 1921 the Thayer magic company in America was advertising a version for sale. A complete prop from Thayer would cost $175 or they would sell plans for $5.[2]
Effects and variations[edit]
There are many sawing tricks with significant differences in their basic effect. In some, the illusion is merely of a blade passing through an assistant's body, while in others it appears that the assistant is severed into two pieces that are moved apart. Some so-called "sawing" illusions do not actually involve a saw but instead use plain blades or blunt dividing panels.
One major group of tricks involves an assistant in a box, which conceals his or her body from view while any cutting takes place. This group includes the "Selbit", "Wakeling" and "Thin Model" tricks as well as several versions associated with Horace Goldin. Most "box" sawings give the illusion of the two halves of the assistant being moved apart, although there are versions where the effect is simply that a blade must have passed through the assistant's body. In some versions the box completely covers the assistant while in others the assistant's head, hands and feet remain in view during the trick.
The Selbit sawing[edit]
Several volunteers are recruited from the audience. One or more of these people are invited to tie ropes around the assistant's wrists, ankles and neck. The assistant then steps into a wooden crate or box, which is similar in proportion to but slightly larger than a coffin. The ropes are threaded through holes in the box and the ends are given to volunteers, who are instructed to pull them tight and keep hold of them (the neck rope has an added knot to prevent the assistant being strangled). The assistant is thus secured in a standing spreadeagle position in the box. The box is then closed and lifted into a horizontal position on a set of trestles. The magician then slides glass plates through the crate (and apparently through his assistant).
The magician then saws right through the centre of the box, dividing it into two. The sections are pulled slightly apart and the assistant's torso is visible. The impression is that the saw blade must have passed through the assistant's midriff. The assistant is then released from the box and is revealed to be unharmed. This was the illusion performed at the Finsbury Park Empire theatre in London on 17 January 1921.[5]
Goldin's box sawings[edit]
Goldin presented several sawing illusions that involved a box. To audiences they all appeared largely similar but they involved differing methods, which were steadily improved as time went on and as earlier methods were exposed.[6] His first performance was at the Society of American Magicians annual banquet at the McAlpin Hotel, New York, on 3 June 1921. On that occasion the trick was not well received. The box he used was large and not very deceptive and instead of an attractive woman he employed a bellboy as an assistant. The impression given was that he was clumsily and hurriedly trying to cash in on Selbit's success in Britain. However fellow magician Howard Thurston, who was in the audience, realised the potential of the trick and persuaded Goldin to let him help in its development.
Thurston employed an established magician and prop builder named Harry Jansen to perfect the illusion. Jansen's improved version of the apparatus featured a smaller box from which the victim's head and feet would protrude during the sawing. Goldin, Thurston and various other magicians employed by Goldin toured the United States performing this trick with great success at theatres belonging to the Keith-Orpheum group.[2] Goldin had great promotional acumen and was fond of resorting to legal action to block anyone else, including Selbit, from competing with him in the USA. As a result, Goldin was sometimes wrongly credited as the originator of the sawing illusion.[1]
The basic form of Goldin's box sawings was as follows. The magician presents a box which is similar in size and proportion to that used in the Selbit sawing but which is already in a horizontal position. An assistant climbs into the box and lies down. In the process her head and hands are seen to emerge from holes in one end of the box and her feet from the other. The box is closed and then sawn through across the middle. Dividers are placed into the box either side of the cut and it is then pulled apart so the sections can be seen clearly separated. The assistant's head and hands are seen sticking out of one section and her feet out of the other. The box is then pushed together again and opened and the assistant emerges unharmed.
Wakeling[edit]
The magician presents a rectangular table just big enough to accommodate a person lying upon it. An assistant is introduced and several assistants are recruited from the audience. The magician presents a set of restraints consisting of a sturdy collar and a pair of ankle straps, each attached to a length of chain or rope. The assistant sits on the table with her legs stretched out and volunteers are invited to fasten the restraints around her neck and ankles.
The ropes or chains are threaded through holes in the table and the ends given to volunteers, who are instructed to pull them tight and hold them that way throughout the illusion. The assistant is thus pulled down onto her back and secured in that position. Two halves of a large box are presented and fixed in place over the assistant, covering her completely. Side panels are opened to show the assistant is still in place lying flat on her back. The assistant is then divided into two. Sometimes the division is accomplished merely by pushing two metal dividing panels into slots near where the two halves meet.
Sometimes the cutting of the assistant is emphasised by sawing between the two halves of the box before sliding the dividers into place. Catches are released to allow the table to be separated into two halves along with the box. The halves are parted and the assistant thus appears to have been cut into two completely disconnected pieces. The box and table are then pushed together, the restraints are released and the box is opened to allow the assistant to emerge unharmed.
This version of the trick is generally associated with magician and inventor Alan Wakeling. Whilst Wakeling performed this illusion and perfected aspects of it, the general configuration and method have been attributed to an earlier magician, Virgil Harris Mulkey (1900–1989), aka. "The Great Virgil", who first performed it in 1942 and later passed on the idea to Wakeling.[7]
The thin model[edit]
The thin model sawing is one of the most common variants performed by contemporary magicians. The basic arrangement and sequence of events is similar to that described for the Goldin box sawings (see above). However the box appears very shallow in comparison to Goldin's, which was large by modern standards. The ends of the box are initially open when the assistant climbs in. Once the assistant is lying down she is secured in place by having stocks placed over her neck and ankles. The stocks form the ends of the box. The shallow box adds to the impression that the assistant could not possibly find room to evade the saw blade even if she could release herself from the stocks and try to curl up in one half of the box.
Transparent boxes[edit]
Magician Les Arnold is reported to have been the first to have devised a clear box sawing (known as the "Crystal Sawing") as far back as 1976.[8] The Pendragons performed a variation called "Clearly Impossible", in which the box used is both particularly slim and also transparent.[9][10] The concept of "Clearly Impossible" has been credited to Jonathan Pendragon and the major distinguishing feature of The Pendragons' illusion from the Les Arnold concept is that the transparent boxes are seemingly never covered.
Double sawing[edit]
The "double sawing illusion" is a way of adding an extra effect to box-type sawings. It is generally associated with the "thin-model" sawing apparatus. The magician saws two people in half using two sets of apparatus. The people are usually chosen or dressed so as to be clearly distinguishable. For example, they might be in different colored costumes, of different skin colors, or of different genders. After the box halves are separated they are jumbled up and then re-assembled so that the bottom half of one box is matched to the top of the other and vice versa. When the victims emerge, each appears to have been given the other's lower half.
The creation of this version has been credited to magician Alan Wakeling, who devised it for fellow magician Channing Pollock to perform.[11]
Jigsaw[edit]
An assistant lies down on a table. A frame is placed over her middle. The magician then presents an electric jigsaw and proceeds to align the blade into a slot in the frame. The magician switches on the saw and apparently uses it to slice through the assistant's waist, which remains obscured by the frame. The saw emerges from the opposite side of the frame. Once the sawing is finished the frame is removed and the assistant is revealed to be in one piece.
Bow saw[edit]
This variant begins in a similar way to the jig sawing, with the assistant lying on a table and having a frame fixed over her midriff. The magician then presents a bow saw and proceeds to saw through the assistant, with the blade guided within the frame. Once the blade has apparently passed all the way through the assistant the frame is released and removed. It is then revealed that the assistant is encircled by the handle and blade of the bow saw. Then he/she will have a member of audience come up and look at the props.
Buzzsaw[edit]
A large apparatus is presented, consisting of a sturdy frame supporting a large buzzsaw or circular saw and a table sufficiently large to carry a person lying flat. It is shown that the table travels beneath the saw, leaving little or no gap, so that anything placed upon it in the path of the saw would be sliced through. The table is moved either by an electric mechanism or by some form of manual crank. The buzzsaw is generally driven by an electric motor. To demonstrate the saw is completely genuine, a piece of wood is placed on the table and sliced in two in full view. An assistant is introduced and placed in a horizontal position on the table.
Sometimes the magician might give the impression of hypnotizing the assistant into a rigid trance before having her lifted onto the table. She is secured in place with two metal "straps" that close over her waist and which align close to the plane of the saw. She might also be further secured with straps or manacles at her wrists and ankles. A strip of wood is pushed beneath her waist in line with the saw. The saw is then started and the table set in motion. The saw visibly passes through the assistant and generally sounds like it is sawing through something.
Once the table reaches the end of its travel and the saw is switched off the assistant is released and shown to be in one piece and uninjured. The strip of wood that had been placed beneath her is shown to have been sawn into two strips, thus reinforcing that the saw really did cut in the manner it appeared to. Harry Blackstone, Sr. was performing this effect in the United States in the 1930s.
Death Saw[edit]
The Death Saw is presented as an escape gone wrong. Its best known performer is David Copperfield. The performer is secured to a table beneath a large buzzsaw or blade, which is set to descend upon them under the control of a timing mechanism. After being secured with various manacles the performer is enclosed in a box. The saw is then set going.
After a while the sides of the box fall away to reveal the performer struggling to escape the manacles. Finally the saw drops before the performer has time to escape. The blade slices right through the performer's body. The two halves of the table are rolled apart so that the performer is clearly separated into two sections. The performer then appears to command the whole process to reverse: The body halves go back together, the saw rises, the box closes. Finally the performer emerges unharmed from the box.
Copperfield has claimed exclusive rights to this illusion, however others, including Tennessee-based illusion builder Jeff Davis, have asserted that the method and effect were previously published in two magazine articles during the 1960s. The March 1965 edition of The Linking Ring contains text and diagrams from an Indian author called B. Rakshit giving the basic sawing method. An article in the September 1969 Genii Magazine outlines the routine including the idea of the saw descending a tower.[12][13]
Modern Art[edit]
For other uses, see Modern art (disambiguation).
Although not generally classified as a "sawing" illusion, Modern Art is sometimes billed as an "upright dividing the lady in two". The prop is a vertical cabinet which stands alongside a table-like structure that is half its height. The assistant enters the cabinet through a door in the side away from the table structure. The assistant's face can be seen peering from an opening at the top of the cabinet and a panel at the bottom of the front of the cabinet is opened to show the assistant's legs. A sword or blade is then placed into a slot at the point where the top of the half-height table meets the cabinet. The top of the cabinet then slides across onto the table, giving the impression that the top half of the assistant has been moved sideways and in the process been severed from the legs by the blade. Panels in the front of the cabinet are opened to show the top and bottom halves of the assistant apparently separate. The top of the cabinet is then slid back into its original position and the assistant emerges unharmed. The effect and method are credited to designer Jim Steinmeyer.[14]
Criss Angel's pulling a woman apart[edit]
Criss Angel performed a trick in which he appeared to pull a woman in half with his hands during an outdoor performance and half of her crawled away.[15][16] The trick involved a woman with sacral agenesis and a contortionist. Magician and historian Ricky Jay has written that a version of this trick was previously performed by another magician.[17] The magician that inspired Criss Angel's trick was Rajah Raboid, who performed this trick with Johnny Eck and his twin brother, Robert, in 1937.
Methods and exposure[edit]
Variant 1.
Variant 2.
As suggested by the various effects, detailed above, there are numerous methods for accomplishing sawing illusions. Over the years a number of these have been exposed and several have been published and are easily obtainable.
Publishing of magic methods has proved a controversial subject at times. It has involved battles between those determined to expose methods and magicians, who have sometimes resorted to legal action to try to preserve secrecy. The sawing illusion has had a prominent role in the history of such battles and has thus contributed to case law.
In September 1921, motivated by concerns about preventing competition from other magicians who might copy him, Horace Goldin forwent secrecy and applied for a patent for Sawing a woman in half. He was awarded U.S. patent number 1,458,575 on 12 June 1923.[6][18] The following is an outline summary the patent:
One variant presents the front of the box to the audience (A). Expecting the box is the size of an ordinary chest, they may assume that the "victim" is arranged (B), crossing the path of the saw. In reality, the box may be deeper (which the audience cannot see from their perspective), and the "victim" curled up to clear the blade (C).
Another variant has a false table on which the box rests. This allows the carved out table to be used as a place for the woman to crawl up in and avoid the saw. Her feet are replaced with fakes that are moved with electric motors. These motors have the ability to move the feet, but only slightly, as no technology exists to make realistic-looking feet of flesh or the ability to move the toes of the feet;[dubious – discuss] this means that all fake feet must be wearing shoes during the performance. This method is generally not in use today, as the false table must be extremely thick to conceal the assistant.
Penn and Teller use the second variant of this trick on a regular basis in Las Vegas. They have also performed this trick on television at least twice: on Home Improvement and during the 2007 NBA All-Star Weekend. They always reveal how the trick is done.
Famous performances and depictions[edit]
A number of performances or depictions of sawing illusions have achieved particular fame or notoriety.
P.T. Selbit's original performances in London in January 1921 were special because the effect was new and shocking to audiences of the time. Such was the impact of Selbit's creation that, for decades afterwards, other magicians would try to emulate and improve on what he had done, thus affecting the course of stage magic history.[5]
In 1956, Indian illusionist P. C. Sorcar used a buzzsaw to cut his wife in two during a televised performance. Just when he had divided her the host quickly signed off and the show ended. This caused horrified viewers to believe she had accidentally been killed. In reality, it was a live television broadcast and time had run out.[19]
In the 1957 Friz Freleng cartoon Show Biz Bugs, Bugs Bunny asks for a volunteer for this trick, and Daffy Duck happily obliges, throughout attempting to expose the fraud of this trick. After the trick is over, Daffy tries to show the audience he isn't cut in half, only for his upper and lower halves to jump whenever he is angry. (His response: "Hmmph. It's a good thing I got Blue Cross.")
Live performances by Peruvian magician Richiardi Jr are often cited as the most horrific presentations of a sawing illusion. Richiardi used a buzzsaw prop similar to that employed by Sorcar but he greatly added to the shock value by incorporating fake blood and entrails, which were sprayed over the stage (and sometimes beyond it) as the saw went to work.
The 1962 Alfred Hitchcock Presents episode "The Sorcerer's Apprentice" depicted sawing a woman in half. The NBC Television Network and sponsor Revlon determined the episode was too gory and chose not to air it.
Critical responses and twists[edit]
Jim Steinmeyer has argued that Selbit's introduction of the sawing illusion was a turning point in the history of magic after which gentler styles represented by the likes of John Nevil Maskelyne were in irreversible decline to be replaced by more sensational presentations that owed something to the shock effect of Grand Guignol theatre. In particular, Steinmeyer identifies the sawing illusion as the beginning of a fashion for magic featuring female assistants in the role of victim. He says the cliche of "pretty ladies teased and tortured by magicians" was not a cliche prior to Selbit's illusion.
Male assistants were common in magic history and in the Victorian era; the cumbersome clothes imposed on women by the fashions of the time made it impractical for them to squeeze into confined spaces required by some tricks. Changing fashions in the early 20th century made Selbit's choice of a female victim a practical proposition. It was also true that an illusion designed for a lithe woman might be more compact and deceptive than one tailored to fit a man. However, more controversially, a combination of the emancipation of women and a population desensitized by war and exposed to new entertainment phenomena meant Selbit's choice struck a chord in the public imagination. In Steinmeyer's words: "beyond the practical concerns, the image of the woman in peril became a specific fashion in entertainment".[2]
Modern magicians, including female performers, have responded by placing a male performer in the role originally filled by a woman. Magician Dorothy Dietrich, who established herself as a leading magician as a teenager has been called the "First woman to saw a man in half."[20][21]
Australian magician Sue-Anne Webster performs a variation on the "thin model" sawing in which she saws husband Tim Ellis in two with a chainsaw.[22]
See also[edit]
Clearly Impossible, variant on the trick
Zig Zag Girl another variant
Hemicorporectomy, when a person is actually cut in half
Magician's assistant
References[edit]
^ Jump up to: a b c d e Brown, Gary R. "Sawing a Woman in Half". AmericanHeritage.com. Retrieved 2007-03-29.
^ Jump up to: a b c d e f g Steinmeyer, Jim (2003). Hiding the Elephant: How Magicians Invented the Impossible. William Heinemann/Random House. pp. 277–295. ISBN 0-434-01325-0.
Jump up ^ Goldin v. Clarion Photoplays, New York (Dec 1922) Yale Law Journal, Vol. 32, No. 2, p.201
Jump up ^ Steinmeyer, Jim; Neil Gaiman (October 2006). Art and Artifice: And Other Essays of Illusion. Da Capo Press. ISBN 978-0-7867-1806-1.
^ Jump up to: a b This performance was recreated in the final episode of the six-part BBC Television documentary series Magic, originally broadcast in 2004. See Magic on IMDb
^ Jump up to: a b "US Patent 1,458,575". United States Patent and Trademark Office. Retrieved 2007-04-03.
Jump up ^ Charvet, David and Julie (1991). "The Great Virgil". Charvet Studios: 78–79.
Jump up ^ Stephen Mulhern performing the UK TV debut of the Les Arnold Crystal Sawing on ITV's Magic Numbers [1]
Jump up ^ "Press Release: "Best of the Best" return for Cincinnati Playhouse in the Park's Annual Tribute to Illusion". Cincinnati Playhouse. 7 June 2004. Archived from the original on 20 February 2008. Retrieved 17 June 2008.
Jump up ^ The Pendragons performing Clearly Impossible in Cincinnati 1998 PBS TV Special [2]
Jump up ^ Lawton, Joan (January 2005). "Web Extra: Alan Wakeling". Magic magazine. Retrieved 2007-06-14.
Jump up ^ Rakshit, B. (March 1965). "Rakshit's version of sawing through woman". The Linking Ring. International Brotherhood of Magicians: 78–79.
Jump up ^ "The Magic of Japan". Genii Magazine. The Genii Corporation. September 1969.
Jump up ^ "Illusion Hotline: Who Owns The Rights". magicauction.com. Retrieved 2008-06-03.
Jump up ^ "Criss Angel and Half a Woman Video". Retrieved 2007-03-28.
Jump up ^ "Pulled Apart". Retrieved 2007-04-02.
Jump up ^ Jay, Ricky (October 1998). Learned Pigs & Fireproof Women. Noonday Press. ISBN 0-374-52570-6.
Jump up ^ "Illusion Device". Google. Retrieved 2007-04-03.
Jump up ^ Dawes, A. E., et al. Making Magic. London: Multimedia Books, Ltd, 1993.
Jump up ^ The New York Times "HOUDINI—THE GREATEST SHOWMAN OF ALL?". New York Times. 1 November. Check date values in: |date= (help)
Jump up ^ Weekly World News Dorothy Dietrich First Lady of Magic. Weekly World News. 20 January. Check date values in: |date= (help)
Jump up ^ The topic of assistants portrayed as victims in violent illusions was featured in "Violent magic" the final episode of the six-part BBC television documentary series Magic in 2004, see "UK Magic News". Magicweek.co.uk. 20 November 2004. Retrieved 2007-04-03.
Further reading[edit]
Jim Steinmeyer, Art and Artifice: And other essays of illusion. Carroll & Graf, September 2006. ISBN 0-7867-1806-4. (Includes essays on Selbit and Goldin and their sawing illusions.)
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text:
Who's Gonna Fill Their Shoes (song)
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"Who's Gonna Fill Their Shoes"
Single by George Jones
from the album Who's Gonna Fill Their Shoes
B-side
"A Whole Lot of Trouble for You"[1]
Released
1985
Format
7" single
Genre
Country
Length
3:16
Label
Epic 05439
Songwriter(s)
Max D. Barnes
Troy Seals
Producer(s)
Billy Sherrill
George Jones singles chronology
"Size Seven Round (Made of Gold)"
(1985) "Who's Gonna Fill Their Shoes"
(1985) "The One I Loved Back Then (The Corvette Song)"
(1986)
"Size Seven Round (Made of Gold)"
(1985) "Who's Gonna Fill Their Shoes"
(1985) "The One I Loved Back Then (The Corvette Song)"
(1986)
"Who's Gonna Fill Their Shoes" is a song written by Troy Seals and Max D. Barnes and recorded by American country music singer George Jones. It was recorded for his 1985 album Who's Gonna Fill Their Shoes, from which it was released in late 1985 as the first single. The song peaked at number three on the Hot Country Singles chart in mid-1985.
Contents
[hide]
1 Background
2 Reception
3 Chart performance
4 References
5 External links
Background[edit]
Jones sings of the irreplacibility of country music legends including Waylon Jennings, Willie Nelson, Johnny Cash, Merle Haggard, Conway Twitty, Roy Acuff, Elvis Presley, Jerry Lee Lewis, Carl Perkins, Charlie Rich, Hank Williams, Marty Robbins, and Lefty Frizzell. After remarking about these singers' impacts on country music, he wonders who will replace them when they're gone - hence, the title line - and thus become legends in their own right. In the 1994 video retrospective Golden Hits Jones recalled:
"Troy Seals wrote that...He saved the day for us...Songwriters were bringin' things in and we were listening to songs and tapes, and Troy came in and told Billy [Sherrill, Jones' producer] and me that he had this idea, and he sung a little bit of the chorus...He came back about ten o'clock or eleven the next morning before we went in to do our session at two o'clock, he had it all finished and it just knocked us out."
A promotional video for the song was aired on The Nashville Network (TNN), Country Music Television (CMT) and Great American Country (GAC). Directed by Marc Ball, it also features Billy Sherrill in a cameo as the bus driver and CBS executive Rick Blackburn driving the Cadillac at the end of the video. It takes place at a roadside gas station, where the owner shares with Jones his extensive collection of albums and memorabilia from classic country music artists. At the end of the video, as Jones' tour bus pulls away, a convertible pulls into the station; its passenger is a young man with a guitar, looking in awe at the large tour bus. The video - the singer's first - won Music Video of the Year at the 1986 CMA Awards, beating out videos by the Judds, Reba McEntire, and Dwight Yoakam. However, with a new crop of country stars emerging, the song had an unfortunate connotation, with Andrew Mueller noting in Jones' Uncut obituary, "As it turned out, the song wasn't brilliantly timed. A few of its protagonists still had decades left in them, as did Jones himself..."
Reception[edit]
Eugene Chadbourne of Allmusic describes the song as "the kind of mystical, self-serving necrophilia that country music is all about".[2] Jones biographer Bob Allen states, "It struck a strong enough chord of empathy with old-time country music lovers to end up number three in Billboard."[3]
Chart performance[edit]
Chart (1985)
Peak
position
U.S. Billboard Hot Country Singles 3
Canadian RPM Country Tracks 2
References[edit]
Jump up ^ Whitburn, Joel (2008). Hot Country Songs 1944 to 2008. Record Research, Inc. p. 214. ISBN 0-89820-177-2.
Jump up ^ Chadbourne, Eugene. "Who's Gonna Fill Their Shoes review". Allmusic. Retrieved 23 January 2011.
Jump up ^ Allen, Bob 1996, pp. 352-353.
External links[edit]
Lyrics of this song at MetroLyrics
[hide]
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George Jones songs
Singles
"No Money in This Deal"
"Why Baby Why"
"Achin', Breakin' Heart"
"Seasons of My Heart"
"Too Much Water"
"Just One More"
"Don't Stop the Music"
"Color of the Blues"
"White Lightning"
"Window Up Above"
"Tender Years"
"She Thinks I Still Care"
"I'll Share My World with You
"The Race Is On"
"Love Bug"
"Walk Through This World with Me"
"If My Heart Had Windows"
"Good Year for the Roses"
"Loving You Could Never Be Better"
"A Picture of Me (Without You)"
"The Grand Tour"
"The Door"
"He Stopped Loving Her Today"
"I'm Not Ready Yet"
"If Drinkin' Don't Kill Me (Her Memory Will)"
"Still Doin' Time"
"Same Ole Me"
"Shine On (Shine All Your Sweet Love on Me)"
"I Always Get Lucky with You"
"Tennessee Whiskey"
"You've Still Got a Place in My Heart"
"She's My Rock"
"Hallelujah, I Love You So"
"Who's Gonna Fill Their Shoes"
"The One I Loved Back Then (The Corvette Song)"
"Somebody Wants Me Out of the Way"
"Wine Colored Roses"
"The Right Left Hand"
"I Turn to You"
"The Bird"
"I'm a One Woman Man"
"I Don't Need Your Rockin' Chair"
"Choices"
"Funny How Time Slips Away"
Collaborative singles
"We Must Have Been Out of Our Minds" (w/ Melba Montgomery)
"Let's Invite Them Over" (w/ Melba Montgomery)
"What's in Our Heart" (w/ Melba Montgomery)
"Blue Moon of Kentucky" (w/ Melba Montgomery)
"We're Gonna Hold On" (w/ Tammy Wynette)
"Golden Ring" (w/ Tammy Wynette)
"Near You" (w/ Tammy Wynette)
"Maybellene" (w/ Johnny Paycheck)
"Two Story House" (w/ Tammy Wynette)
"You Better Move On" (w/ Johnny Paycheck)
"Yesterday's Wine" (w/ Merle Haggard)
"C.C. Waterback" (w/ Merle Haggard)
Guest singles
"A Few Ole Country Boys" (w/ Randy Travis)
"You Don't Seem to Miss Me" (w/ Patty Loveless)
"A Country Boy Can Survive (Y2K version)" (w/ Chad Brock and Hank Williams, Jr.)
"Murder on Music Row" (w/ Dierks Bentley)
Related articles
Albums discography
Singles discography
Discography with Tammy Wynette
Awards
This 1985 country song-related article is a stub. You can help Wikipedia by expanding it.
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1 Corinthians 13
From Wikipedia, the free encyclopedia
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1 Corinthians 13
← chapter 12
chapter 14 →
1 Corinthians 7:33-8:4 in Papyrus 15, written in the 3rd century.
Book
First Epistle to the Corinthians
Bible part
New Testament
Order in the Bible part
7
Category
Pauline epistles
1 Corinthians 13 is the thirteenth chapter of the First Epistle to the Corinthians in the New Testament of the Christian Bible. It is authored by Paul the Apostle and Sosthenes in Ephesus.[1][2] This chapter covers the subject of "love". In the original Greek, the word ἀγάπη agape is used throughout. This is translated into English as "charity" in the King James version; but the word "love" is preferred by most other translations, both earlier and more recent.[3]
Contents
[hide]
1 Text
1.1 English translation
2 Agape
3 "Through a glass, darkly"
4 Other notable passages
4.1 Verse 1
4.2 Verse 4-8
4.3 Verse 11
4.4 Verse 13
5 Adaptations
6 See also
7 References
8 External links
Text[edit]
The original text is written in Koine Greek.
Some most ancient manuscripts containing this chapter are:
Codex Vaticanus (AD 325-350)
Codex Sinaiticus (AD 330-360)
Codex Alexandrinus (ca. AD 400-440)
Codex Ephraemi Rescriptus (ca. AD 450; extant: verses 1-7).
Codex Claromontanus (ca. AD 550)
This chapter is divided into 13 verses.
English translation[edit]
New King James Version
1 Though I speak with the tongues of men and of angels, but have not love, I have become sounding brass or a clanging cymbal. 2 And though I have the gift of prophecy, and understand all mysteries and all knowledge, and though I have all faith, so that I could remove mountains, but have not love, I am nothing. 3 And though I bestow all my goods to feed the poor, and though I give my body to be burned,[4] but have not love, it profits me nothing.
4 Love suffers long and is kind; love does not envy; love does not parade itself, is not puffed up; 5 does not behave rudely, does not seek its own, is not provoked, thinks no evil; 6 does not rejoice in iniquity, but rejoices in the truth; 7 bears all things, believes all things, hopes all things, endures all things.
8 Love never fails. But whether there are prophecies, they will fail; whether there are tongues, they will cease; whether there is knowledge, it will vanish away. 9 For we know in part and we prophesy in part. 10 But when that which is perfect has come, then that which is in part will be done away.
11 When I was a child, I spoke as a child, I understood as a child, I thought as a child; but when I became a man, I put away childish things. 12 For now we see in a mirror, darkly, but then face to face. Now I know in part, but then I shall know just as I also am known.
13 And now abide faith, hope, love, these three; but the greatest of these is love.
Agape[edit]
Main article: Agape
This chapter of 1 Corinthians is one many definitional sources for the word agape when used to refer to divine love.[5] Introducing his homage to love in 1 Corinthians 12:31, Paul describes agape as "a more excellent way".
"Through a glass, darkly"[edit]
1 Corinthians 13:12 contains the phrase βλέπομεν γὰρ ἄρτι δι' ἐσόπτρου ἐν αἰνίγματι (blepomen gar arti di esoptrou en ainigmati), which was translated in the 1560 Geneva Bible as "For now we see through a glass darkly" (without a comma), which wording was used in the 1611 KJV, which added a comma before "darkly". This passage has inspired the titles of many works, with or without the comma.[6]
The word ἐσόπτρου esoptrou (genitive; nominative: ἔσοπτρον esoptron), here translated "glass", is ambiguous, possibly referring to a mirror or a lens. Influenced by Strong's Concordance, many modern translations conclude that this word refers specifically to a mirror.[7] Example English-language translations include:
Now we see but a poor reflection as in a mirror (New International Version)
What we see now is like a dim image in a mirror (Good News Bible)
Paul's usage is in keeping with rabbinic use of the term אספקלריה (aspaklaria), a borrowing from the Latin specularia. This has the same ambiguous meaning, although Adam Clarke concluded that it was a reference to specularibus lapidibus, clear polished stones used as lenses or windows.[8] One way to preserve this ambiguity is to use the English cognate, speculum.[9] Rabbi Judah ben Ilai (2nd century) was quoted as saying "All the prophets had a vision of God as He appeared through nine specula" while "Moses saw God through one speculum."[10] The Babylonian Talmud states similarly "All the prophets gazed through a speculum that does not shine, while Moses our teacher gazed through a speculum that shines."[11]
Other notable passages[edit]
There are other passages from 1 Corinthians 13 which have been notably influential.
Perhaps the most significant portion of 1 Corinthians 13 is the revered passage that defines love and indicates how Christians should love others.
Verse 1[edit]
1 Corinthians 13, verse 1: "Though I speak with the tongues of men and of angels, but have not love, I have become sounding brass or a clanging cymbal."
Bob Dylan paraphrases verse 1 in his song 'Dignity': "I heard the tongues of angels and the tongues of men... wasn't any difference to me."
Verse 4-8[edit]
1 Corinthians 13, verses 4-8, and 13: "Love is patient, love is kind. It does not envy, it does not boast, it is not proud. It is not rude, it is not self-seeking, it is not easily angered, it keeps no record of wrongs. Love does not delight in evil but rejoices with the truth. It always protects, always trusts, always hopes, always perseveres. Love never fails. But where there are prophecies, they will cease; where there are tongues, they will be stilled; where there is knowledge, it will pass away. ...And now these three remain: Faith, Hope, and Love. But the greatest of these is Love." (New International Version)
The passage is frequently read during wedding ceremonies.
The passage is also used in the song "Pag-ibig" by Yeng Constantino.[12][better source needed]
Verse 11[edit]
"When I was a child, I spoke as a child, I understood as a child, I thought as a child: but when I became a man, I put away childish things." (KJV).[13]
The verse was used in the 1995 anime, Ghost in the Shell, at time 1:16:55.
The verse is quoted by Matthew Lillard in the 1995 film Hackers, at time 01:03:03
U.S. President Barack Obama referenced verse 11 in his inaugural address to the nation on January 20, 2009.[14]
The verse is quoted by Dakin Matthews in the 1991 film, Child's Play 3
Verse 13[edit]
Verse 13, in praise of the Theological virtues:
νυνὶ δὲ μένει πίστις, ἐλπὶς, ἀγάπη, τὰ τρία ταῦτα, μείζων δὲ τούτων ἡ ἀγάπη.
"And now faith, hope, and love abide, these three; and the greatest of these is love." (NRSV)
US president Franklin D. Roosevelt took the oath at his inauguration in 1933, with his hand on his family Bible, open to 1 Corinthians 13.
Verse 13 is paraphrased in country singer Alan Jackson's 2001 hit "Where Were You (When the World Stopped Turning)".
British Prime Minister Tony Blair read 1 Corinthians 13 at the Funeral of Diana, Princess of Wales in 1997.[15]
Adaptations[edit]
Soundtrack of the film Three Colors: Blue composed by Zbigniew Preisner features a solo soprano singing the epistle in Greek (in a piece titled "Song for the Unification of Europe").
The paragraphs 1-3 and 12-13 of the text are cited for the fourth song of the Vier ernste Gesänge by Johannes Brahms.
The Renaissance composer Orlando di Lasso set verses 11-13 in his sacred motet "Cum essem parvulus."
A paraphrase of the text is the basis for the song "Love Is the Law" composed and sung by Australian musician Paul Kelly.
Symphony No.6 "Liturgical" for baritone, choir and orchestra by Andrei Yakovlevich Eshpai (1989).
Joni Mitchell uses much of the text in 20th century vernacular including "through a glass darkly" in her song "Love" from her 1982 album 'Wild Things Run Fast', and fully--and dramatically--orchestrated on her 2002 retrospective 'Travelogue'.
The Rolling Stones paraphrase the verse in the title of their 1969 greatest hits album 'Through The Past Darkly'.
Macklemore uses the verse "Love is patient. Love is kind" in his 2012 song, "Same Love".
Video game developer Arkane Studios paraphrased for title of Lewis Carroll's book by linking it with the verse, as the title for a chapter in their game "Prey": "Through the Looking Glass Darkly".
The text is drawn on / paraphrased in Lauryn Hill's song 'Tell Him' hidden on 'The Miseducation Of ..."[16]
See also[edit]
Form of the Good: Socrates notes in The Republic (508d–e) that "good is yet more prized"
References[edit]
Jump up ^ Halley, Henry H. Halley's Bible Handbook: an Abbreviated Bible Commentary, 23rd edition. Zondervan Publishing House. 1962.
Jump up ^ Holman Illustrated Bible Handbook. Holman Bible Publishers, Nashville, Tennessee. 2012.
Jump up ^ Range of translations at BibleGateway.com
Jump up ^ Some translations read so I may boast
Jump up ^ http://biblehub.com/greek/26.htm
Jump up ^ KJV 1 Corinthians 13:12 "For now we see through a glass, darkly; but then face to face: now I know in part; but then shall I know even as also I am known."
Jump up ^ Entry: εσοπτρον (espotron – Strong's 2072), retrieved from blueletterbible.org
Jump up ^ Adam Clarke, Commentary on the New Testament, Vol. II, J. Butterworth & Son, London, 1817; commentary on 1 Corinthians 12.
Jump up ^ Gordon Tucker, translator's footnote to Abraham Joshua Heschel, 'Heavenly Torah as Refracted Through the Generations,' Continuum, New York, 2008; page 308.
Jump up ^ Leviticus Rabbah 1:14.
Jump up ^ B.T. Yevamot 49B
Jump up ^ Metamorphosis (Yeng Constantino album)#Singles
Jump up ^ 1 Corinthians 13:11
Jump up ^ "Barack Obama's Inaugural Address". The New York Times. 20 January 2009. Retrieved 23 December 2009. We remain a young nation, but in the words of Scripture, the time has come to set aside childish things.
Jump up ^ "The Funeral Service of Diana, Princess Wales". BBC. 6 September 1997. Retrieved 23 December 2009.
Jump up ^ https://genius.com/Lauryn-hill-tell-him-lyrics
Wikisource has original text related to this article:
1 Corinthians
Wikimedia Commons has media related to First Epistle to the Corinthians.
External links[edit]
Full chapter at Oremus (NRSV and KJV)
Full Chapter at BibleGateway.com (NIV)
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Catholic virtue ethics
Great Commandment; "On these two commandments hang all the law and the prophets." – Matthew 22:35-40
Cardinal virtues
Prudence (Prudentia)
Justice (Iustitia)
Fortitude (Fortitudo)
Temperance (Temperantia)
Sources: Plato
Republic, Book IV
Cicero
Ambrose
Augustine of Hippo
Thomas Aquinas
Catechism of the Catholic Church, 1805–1809
Theological virtues
Faith (Fides)
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Sources: Paul the Apostle
1 Corinthians 13
Catechism of the Catholic Church, 1812–1829
Seven heavenly virtues
Chastity (Castitas)
Temperance (Temperantia)
Charity (Caritas)
Diligence (Industria)
Patience (Patientia)
Kindness (Humanitas)
Humility (Humilitas)
Source: Church Fathers
Seven deadly sins
Lust (Luxuria)
Gluttony (Gula)
Greed (Avaritia)
Sloth (Acedia)
Wrath (Ira)
Envy (Invidia)
Pride (Superbia)
Source: Prudentius, Psychomachia
People: Evagrius Ponticus
John Cassian
Pope Gregory I
Dante Alighieri
Peter Binsfeld
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Saint Paul the First Hermit Cathedral
From Wikipedia, the free encyclopedia
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San Pablo Cathedral
Cathedral Parish of Saint Paul the First Hermit
Facade of San Pablo Cathedral prior to renovations that began in 2015, removing the concrete pediment and porte cochere added during the American period.
San Pablo Cathedral
Location the Philippines
14°04′11″N 121°19′36″E / 14.069725°N 121.326575°E / 14.069725; 121.326575Coordinates: 14°04′11″N 121°19′36″E / 14.069725°N 121.326575°E / 14.069725; 121.326575
Location
San Pablo, Laguna
Country
Philippines
Denomination
Roman Catholic
History
Founded
1586
Dedication
St. Paul the First Hermit
Architecture
Status
Cathedral
Functional status
Active
Architectural type
Church building
Style
Romanesque
Groundbreaking
1714
Specifications
Materials
Adobe, bricks and other native material
Administration
Archdiocese
Manila
Diocese
San Pablo
Province
Manila
Clergy
Archbishop
Luis Antonio Tagle
Bishop(s)
Buenaventura M. Famadico
Priest(s)
Jerry E. Gaela
The Cathedral Parish of Saint Paul the First Hermit, also known as the San Pablo Cathedral, is the see of the Bishop of the Roman Catholic Diocese of San Pablo located in San Pablo, Laguna, Philippines. Its titular is St. Paul the First Hermit and its feast is celebrated every January 15. The Diocese is headed by Bishop Buenaventura M. Famadico; Father Jerry E. Gaela serves as parish priest of the Cathedral-parish.[1]
Contents
[hide]
1 History
1.1 16th to 18th centuries
1.2 19th century
1.3 20th century
1.4 21st Century
2 Notes
3 Bibliography
4 External links
History[edit]
16th to 18th centuries[edit]
Spanish captain Juan de Salcedo first arrived in the upland village of Sampaloc in 1571.[2] The area's name was officially changed to San Pablo de los Montes in 1586, in honor of St. Paul the First Hermit.[2] That same year, San Pablo became an independent parish, and the first church made of wood was constructed under the auspices of Augustinian Father Mateo Mendoza.[2][3]
From 1618 to 1629, a second church was constructed from stone by Father Hernando Cabrera.[3] In 1680 Father Juan Labo laid the foundations for the current church. This building was started in 1714 and completed in 1721 by Father Francisco Juan de Elorreaga, OSA. The Franciscans later administered the parish of San Pablo (which was then part of the province of Batangas) on April 4, 1794 with Father Andres Cabrera, OFM as parish priest.[4] Father Cabrera added the brick-stone wall and built a stone cemetery in 1796.[5]
19th century[edit]
Renovations on the church building and the convent were conducted from 1839 to 1858 under the auspices of Father Peregrin Prosper.[3][4] Fathers Eugenio Garcia, Francisco Vellon, and Santiago Bravo added the transept from 1871 to 1877, 1878 to 1884, and 1884 to 1888, respectively.[3] In 1898 administration was transferred to the secular priests, with Father Francisco Alcantara as the first parish priest from the seculars.[3]
20th century[edit]
The convent housed the Minor Seminary of St. Francis of Sales of the Congregation of the Mission (also known as Padre Paules) from 1912 to 1939.[3] The convent was heavily damaged during the liberation of the Philippines in 1945.[3] With the help of the parishioners, the church was rebuilt from 1948 to 1954 under the supervision of Fathers Juan Coronel and Nicomedes Rosal.[3]
The parish church of San Pablo became a cathedral with the establishment of the Roman Catholic Diocese of San Pablo by the Apostolic Letter Ecclesianum Perempla on November 28, 1966.[3][6] It was canonically erected on April 18, 1967, with Bishop Pedro N. Bantigue installed as the first bishop of San Pablo.[7]
21st Century[edit]
In 2013, Bishop Leo Drona of the San Pablo diocese submitted his resignation to Pope Benedict XVI and the pope named Bishop Buenaventura Famadico to succeed him.[8] The diocese is estimated at over two million Catholics.[8]
In, 2015 the facade of the Cathedral was restored to its original design sans the concrete crown added in the American Period. Damage done when a concrete porte cochere was added were repaired. Restoration was scheduled to be done by the end of the Diocesan 50th Jubilee.
Notes[edit]
Jump up ^ "General Reshuffle: Diocese of San Pablo". The Roman Catholic Diocese of San Pablo. Archived from the original on 3 May 2014. Retrieved 3 May 2014.
^ Jump up to: a b c "About Us - San Pablo". San Pablo City. RemoteLink Philippines Inc. Retrieved October 6, 2014.
^ Jump up to: a b c d e f g h i National Historical Institute 1993, p. 105
^ Jump up to: a b Huerta 1865, p. 176
Jump up ^ Huerta 1865, p. 177
Jump up ^ "Diocese of San Pablo". Catholic Bishops Conference of the Philippines. Retrieved August 15, 2014.
Jump up ^ "Diocese of San Pablo". Claretians Communications Foundation, Inc. Retrieved October 6, 2014.
^ Jump up to: a b "Pope names new bishop of Laguna; 2 bishops retire early". CBCP News. January 25, 2013. Retrieved October 6, 2014.
Bibliography[edit]
Huerta, Felix de (1865). Estado geográfico, topográfico, estadístico, histórico-religioso [Geographical, topographical, statistical, historical and religious state] (in Spanish). Binondo: Imprenta de M. Sanchez y Ca.
Historical Markers: Regions I-IV and CAR (in Filipino). Manila: National Historical Institute (Philippines). 1993. p. 105. ISBN 9715380611.
External links[edit]
Media related to St. Paul the First Hermit Cathedral at Wikimedia Commons
[hide]
v
t
e
Roman Catholic Diocese of San Pablo
Dioecesis Sancti Pauli in Insulis Philippinis
Territories
Laguna
Ordinaries
Pedro Bantigue
Francisco San Diego
Leo M. Drona
Buenaventura M. Famadico
Cathedral
Saint Paul the First Hermit Cathedral
Diocesan Shrines
Jesus in the Holy Sepulchre
San Vicente Ferrer
Mary Help of Christians
San Antonio de Padua
Saint Therese of the Child Jesus
Nuestra Señora de los Dolores de Turumba
Our Lady of Guadalupe
Parishes
Alaminos
Bay
Biñan
Cabuyao
Calamba
Cavinti
Dela Paz
Kalayaan
Liliw
Los Baños
Luisiana
Lumban
Mabitac
Magdalena
Majayjay
Mamatid
Nagcarlan
Pagsanjan
Paete
Pakil
Pangil
Pila
San Pablo
San Pedro
Santa Cruz
Santa Maria
Santa Rosa
Siniloan
UPLB Campus
For the complete list of Roman Catholic churches in Laguna, see the Roman Catholic Diocese of San Pablo
Retrieved from "https://en.wikipedia.org/w/index.php?title=Saint_Paul_the_First_Hermit_Cathedral&oldid=810291648"
Categories:
Buildings and structures in San Pablo, Laguna
Roman Catholic churches in Laguna (province)
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text:
Electro-pneumatic action
From Wikipedia, the free encyclopedia
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This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (April 2009) (Learn how and when to remove this template message)
The electro-pneumatic action is a control system for pipe organs, whereby air pressure, controlled by an electric current and operated by the keys of an organ console, opens and closes valves within wind chests, allowing the pipes to speak. This system also allows the console to be physically detached from the organ itself. The only connection was via an electrical cable from the console to the relay, with some early organ consoles utilizing a separate wind supply to operate combination pistons.
Contents
[hide]
1 Invention
2 Operation
3 Advantages and disadvantages
4 Modern methods
5 References
6 Further reading
Invention[edit]
Although early experiments with Barker lever, tubular-pneumatic and electro-pneumatic actions date as far back as the 1850s, credit for a feasible design is generally given to the English organist and inventor, Robert Hope-Jones.[1] He overcame the difficulties inherent in earlier designs by including a rotating centrifugal air blower and replacing banks of batteries with a DC generator, which provided electrical power to the organ. This allowed the construction of new pipe organs without any physical linkages whatsoever. Previous organs used tracker action, which requires a mechanical linkage between the console and the organ windchests, or tubular-pneumatic action, which linked the console and windchests with a large bundle of lead tubing.[1]
Operation[edit]
When an organ key is depressed, an electric circuit is completed by means of a switch connected to that key. This causes a low-voltage current to flow through a cable to the windchest, upon which a rank, or multiple ranks of pipes are set. Within the chest, a small electro-magnet associated with the key that is pressed becomes energized. This causes a very small valve to open. This, in turn, allows wind pressure to activate a bellows or "pneumatic" which operates a larger valve. This valve causes a change of air pressure within a channel that leads to all pipes of that note. A separate "stop action" system is used to control the admittance of air or "wind" into the pipes of the rank or ranks selected by the organist's selection of stops, while other ranks are "stopped" from playing. The stop action can also be an electro-pneumatic action, or may be another type of action
This pneumatically assisted valve action is in contrast to a direct electric action in which each pipe's valve is opened directly by an electric solenoid which is attached to the valve.
Advantages and disadvantages[edit]
The console of an organ which uses either type of electric action is connected to the other mechanisms by an electrical cable. This makes it possible for the console to be placed in any desirable location. It also permits the console to be movable, or to be installed on a "lift", as was the practice with theater organs.
While many consider tracker action organs to be more sensitive to the player's control, others find some tracker organs heavy to play and tubular-pneumatic organs to be sluggish, and so prefer electro-pneumatic or direct electric actions.
An electro-pneumatic action requires less current to operate than a direct electric action. This causes less demand on switch contacts. An organ using electro-pneumatic action was more reliable in operation than early direct electric organs until improvements were made in direct electric components.[2]
A disadvantage of an electro-pneumatic organ is its use of large quantities of thin perishable leather, usually lambskin. This requires an extensive "re-leathering" of the windchests every twenty-five to forty years depending upon the quality of the material used, the atmospheric conditions and the use of the organ.[2]
Like tracker and tubular action, electro-pneumatic action—when employing the commonly used pitman-style windchests—is less flexible in operation than direct electric action[citation needed]. When electro-pneumatic action uses unit windchests (as does the electro-pneumatic action constructed by organ builder Schoenstein & Co.[3]), then it works similarly to direct electric action, in which each rank operates independently, allowing "unification", where each individual rank on a windchest can be played at various octave ranges.
A drawback to older electric action organs was the large amount of wiring required for operation. With each stop tab and key being wired, the transmission cable could easily contain several hundred wires. The great number of wires required between the keyboards, the banks of relays and the organ itself, with each solenoid requiring its own signal wire, made the situation worse, especially if a wire was broken (this was particularly true with consoles located on lifts and/or turntables), which made tracing the break very difficult.
These problems increased with the size of the instrument, and it would not be unusual for a particular organ to contain over a hundred miles of wiring. The largest pipe organ in the world, the Boardwalk Hall Auditorium Organ, is said to contain more than 137,500 miles (221,300 km) of wire.[4] Modern electronic switching has largely overcome these physical problems.
Modern methods[edit]
In the years after the advent of the transistor, and later, integrated circuits and microprocessors, miles of wiring and electro-pneumatic relays have given way to electronic and computerized control and relay systems, which have made the control of pipe organs much more efficient. But for its time, the electro-pneumatic action was considered a great success, and even today modernized versions of this action are used in many new pipe organs.
References[edit]
^ Jump up to: a b George Laing Miller (1909). The Recent Revolution in Organ Building. (also at Gutenberg.org)
^ Jump up to: a b William H. Barnes (1959). The Contemporary American Organ.
Jump up ^ http://www.schoenstein.com/expansion-cell.html
Jump up ^ Foort, Reginald (1970). The Cinema Organ, pp 74–78. Second Edition, New York: The Vestral Press.
Further reading[edit]
George Ashdown Audsley. The Art of Organ Building.[full citation needed]
[hide]
v
t
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Pipe organs (list)
Construction
Builders
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Manual
Pedals
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Retrieved from "https://en.wikipedia.org/w/index.php?title=Electro-pneumatic_action&oldid=750327711"
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text:
Believe It or Not (song)
From Wikipedia, the free encyclopedia
Jump to: navigation, search
"Believe It or Not"
Single by Joey Scarbury
from the album America's Greatest Hero
B-side
"Little Bit of Us"
Released
May 1981
Format
7"
Length
3:11
Label
Elektra
Songwriter(s)
Mike Post, Stephen Geyer
Producer(s)
Mike Post
Joey Scarbury singles chronology
"Believe It or Not"
(1981) "When She Dances"
(1981)
"Believe It or Not"
(1981) "When She Dances"
(1981)
"Believe It or Not" is a song composed by Mike Post (music) and Stephen Geyer (lyrics) and sung by American singer Joey Scarbury. It serves as the theme song for the television series The Greatest American Hero. The track was later included on Scarbury's 1981 debut album America's Greatest Hero.
The theme song became a popular hit during the run of The Greatest American Hero. "Believe It or Not" debuted in the Top 40 of the Billboard Hot 100 on June 13, 1981, eventually peaking at number 2 during the weeks ending August 15–22, 1981, kept off the top spot by "Endless Love" by Diana Ross and Lionel Richie, and spending a total of 18 weeks in the Top 40. On the Adult Contemporary Chart, "Believe It or Not" went to number 3.[1] It also peaked at the number 1 position on the Record World chart.[2] It was also used in the 2009 movie Super Capers.
Contents
[hide]
1 Chart history
1.1 Weekly charts
1.2 Year-end charts
2 In popular culture
3 References
Chart history[edit]
Weekly charts[edit]
Chart (1981)
Peak
position
Australia KMR[3] 2
Canada RPM Top Singles[4] 5
Ireland (IRMA)[5] 19
New Zealand[6] 1
U.S. Billboard Hot 100[7] 2
U.S. Billboard Adult Contemporary[8] 3
U.S. Cash Box Top 100[9] 1
Chart (1982)
Peak
position
Ireland (IRMA)[5] 28
Year-end charts[edit]
Chart (1981)
Rank
Australia [3][not in citation given] 9
Canada [10] 47
New Zealand [11] 21
U.S. Billboard Hot 100[12] 11
U.S. Cash Box [13] 8
In popular culture[edit]
George uses a modified version of this song for his answering machine greeting in the Seinfeld episode The Susie. The following is sung by George to the tune of the refrain: "Believe it or not, George isn't at home, please leave a message at the beep. I must be out, or I'd pick up the phone, where could I be? Believe it or not, I'm not home."
In 1982 Glen Campbell covered the song.
The song is featured in the 2005 film The 40-Year-Old Virgin.
A parody of the song was used on an E3 commercial on G4TV in 2005.
The Family Guy episode "Believe It or Not, Joe's Walking on Air" is a play on the song's name. It is also sung by Peter in "The Man with Two Brians."
The episode of The Goldbergs "Snow Day" features the song.
A part of the song is sung by the Dog of Wisdom at the end of the short animated film of the same name.
The song was used as the theme song to The Cinema Snob from 2008–2013.
The song appears in a 2017 TV commercial for State Farm, starring Aaron Rodgers and Clay Matthews.[14]
The song was covered twice on Homestar Runner in 2001 and 2017.
References[edit]
Jump up ^ Whitburn, Joel (2002). Top Adult Contemporary: 1961-2001. Record Research. p. 216.
Jump up ^ IMDB Trivia for The Greatest American Hero
^ Jump up to: a b Kent, David (1993). Australian Chart Book 1970–1992 (doc)|format= requires |url= (help). Australian Chart Book, St Ives, N.S.W. ISBN 0-646-11917-6.
Jump up ^ "Item Display - RPM - Library and Archives Canada". Collectionscanada.gc.ca. 1981-09-26. Retrieved 2017-12-01.
^ Jump up to: a b "The Irish Charts – Search Results – Believe It or Not (Theme from "The Greatest American Hero"". Irish Singles Chart. Retrieved December 1, 2017.
Jump up ^ "NZ Top 40 Singles Chart | The Official New Zealand Music Chart". Nztop40.co.nz. 1981-10-25. Retrieved 2017-12-01.
Jump up ^ Joel Whitburn's Top Pop Singles 1955-1990 - ISBN 0-89820-089-X
Jump up ^ Whitburn, Joel (1993). Top Adult Contemporary: 1961–1993. Record Research. p. 213.
Jump up ^ Cash Box Top 100 Singles, August 8, 1981
Jump up ^ The 1981 Top 100 Singles chart is identified by the RPM Year-End article "Top 100 Singles (1981)". RPM. Retrieved 2016-04-12.
Jump up ^ "End of Year Charts 1981". Recorded Music NZ. Retrieved May 1, 2017.
Jump up ^ Musicoutfitters.com
Jump up ^ Cash Box Year-End Charts: Top 100 Pop Singles, December 26, 1981
Jump up ^ "State Farm TV Commercial, 'Together' Featuring Aaron Rodgers, Clay Matthews". Retrieved September 11, 2017.
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