title: Rough Justice (British TV programme)

abstract: Rough Justice is a British television programme that was broadcast on BBC, and which investigated alleged miscarriages of justice. It was broadcast between 1982 and 2007 and played a role in overturning the convictions of 18 people involved in 13 separate cases where miscarriages of justice had occurred. The programme was similar in aim and approach to The Court of Last Resort, the NBC programme that aired in the United States from 1957–58. It is credited with contributing to the establishment of the Criminal Cases Review Commission in 1997. Rough Justice was cancelled in 2007 due to budget restraints, leading to criticism from the media as the announcement came just as the BBC launched an £18 million Gaelic-language channel which would serve only 86,000 viewers.

text:
# Rough Justice (British TV programme)

***Rough Justice*** is a British television programme that was broadcast on BBC, and which investigated alleged miscarriages of justice. It was broadcast between 1982 and 2007 and played a role in overturning the convictions of 18 people involved in 13 separate cases where miscarriages of justice had occurred. The programme was similar in aim and approach to *The Court of Last Resort*, the NBC programme that aired in the United States from 1957–58. It is credited with contributing to the establishment of the Criminal Cases Review Commission in 1997.

*Rough Justice* was cancelled in 2007 due to budget restraints, leading to criticism from the media as the announcement came just as the BBC launched an 18 million Gaelic-language channel which would serve only 86,000 viewers.

## Origins

The programme was devised and produced by Peter Hill, an investigative journalist, in 1979, motivated by Ludovic Kennedy's earlier television work in the same field and the work of Tom Sargant at reform group JUSTICE. In 1992 Hill recalled: "At that time there were equally important programmes being made by John Willis at Yorkshire Television and Ray Fitzwater at Granada. We were all investigating mistakes made before a case comes to trial. That was the problem in the early eighties – the legacy of police misconduct from the seventies."

During this period, criminal justice procedure in the United Kingdom was uncodified. Until the introduction of the Police and Criminal Evidence Act 1984 (PACE), and the creation of the Crown Prosecution Service in 1986, the police "decided what evidence to disclose." Following the introduction of PACE, David Jessel, a later reporter on the programme, acknowledged that the Act had "probably reduced police misconduct" but said that "the evidence of a plethora of post-PACE case papers is that the same old wickednesses continue, although in different guises. It is remarkable how many suspects these days "confess" in police cars on their way to PACE-protected police stations; and duty solicitors have tales to tell about the co-operation afforded them at some stations."

## Format

Each programme concentrated on a separate case where a miscarriage of justice was alleged to have taken place. The first, titled *The Case of the Handful of Hair*, was broadcast on BBC1 on 7 April 1982, and concerned a 1976 murder case. It was watched by 11 million viewers.

In 1992, the original team took the format to Channel 4, under the title *Trial and Error* \- this ran until 2000. However, Rough Justice continued with new personnel.

## Controversy over campaigning for guilty man

In the programme's final episode in 2007, *Rough Justice*, then produced by high-profile activist Louise Shorter, wrongly campaigned for murderer Simon Hall, who later went on to formally confess to the murder he was convicted of and prove he was rightly convicted. The programme had followed students of Bristol University's Bristol Innocence Project (UoBIP) in promoting his false claims of innocence, and this helped his case get referred to the Court of Appeal in 2009 via the Criminal Cases Review Commission (which itself had partly been set up in 1997 due to the campaigns of the *Rough Justice* programme). Hall's wife Stephanie, who he had married in prison in 2005, was convinced of his false claims of innocence, saying: "There was never a shadow of a doubt that they had the wrong guy, he didn't have it in him – he's too sensitive and kind." She had met him through writing letters to him in prison, saying: "I’d always written to him in prison but then we started writing almost every day. We realised that the spark was real... we fell in love through our letters and phone calls and he started opening up." For many years she ran a campaign called "Justice 4 Simon" in an attempt to free him from prison, and Hall regularly sent online messages to his supporters. Friends and family of Hall also backed him, setting up a website to highlight what they believed were the "weaknesses in the prosecution case against him", and wrongly claiming that he had no motive for killing Albert, a friend of his mother's. His campaign also won the backing of a number of MPs, and famous lawyer Michael Mansfield agreed to represent him legally and lead his campaign to be freed.

The UoBIP continued to assert he had been wrongly convicted even after his appeal was rejected in 2011. In 2013 Hall confessed to the crime to police and dropped his appeals, and one year later was found dead in an act of suicide. The confession led to outrage in the national media, with ITV News noting that he had confessed after a "decade of denial" and *The Telegraph* highlighting that his false campaign of innocence had cost the taxpayer £500,000. Thousands of hours of legal research had been wasted on attempting to clear Hall's name, including many hours of work conducted by unpaid volunteers of the University of Bristol Innocence Project. Even shortly before he finally confessed, he had been complaining on the 'Justice4SimonHall' website that he was he was supposedly being stopped from returning to living in Ipswich where he had murdered his victim because her family did not want him to return to live near them. Shortly after Hall confessed, the post and the campaign website itself was deleted. In January earlier in the year the CCRC had also been examining a new claim by Hall that he was carrying out a burglary elsewhere on the day Mrs Albert's body was found, but Hall dropped this appeal after he finally admitted his guilt. Campaigner Ray Hollingsworth, who had claimed that he had gathered evidence that showed two other people were responsible for the murder, said: "If I'm wrong about this, I'm wrong. I will hold my hands up. I'm not going to hide from anyone. I believed in his innocence".

Retired detective Roy Lambert, who led the original inquiry, said in response to the confession: "I've always been satisfied that he was responsible for killing Joan. Lots and lots of people were supporting him, MPs were supporting him and now he's deceived all of them because all along he's known that he's done it". Suffolk Police released a statement saying: "Over the 10 years since Hall's conviction there have been a number of appeals and campaigns which have asserted that Simon Hall was wrongfully convicted of Mrs Albert's murder. These events and the related uncertainty have undoubtedly exacerbated the suffering Mrs Albert's family have had to endure since Joan was murdered. We sincerely hope that Simon Hall's admissions to having committed this brutal crime will in some way enable the family to move on with their lives." The family of victim Joan Albert, who had had to endure years of claims that Hall was innocent, released a statement saying: "During the last 10 years the publicity surrounding the appeals has been very distressing for our family, making moving on impossible, but we would like to thank Suffolk Police, including Roy Lambert and his team, who carried out the original investigation, to present day officers who continue to support us. We are also grateful to those who have helped us throughout this difficult ordeal".

The Hall case was described as an embarrassment for 'miscarriage of justice' activists such as at *Rough Justice*, and an example of a case that they "quietly bury" as they do not wish to appear to have wrongly defended a guilty person. It was said to have greatly undermined the claims of many prisoners who claim their innocence. Responding to examples such as the Hall case, former *Rough Justice* producer and presenter David Jessel commented: "You always have to reserve a part of your brain for the possibility that the person you campaign for just might be guilty". Louise Shorter continues to campaign against perceived 'miscarriages of justice' today.

## Cancellation

The programme was cancelled by the BBC in November 2007 as a cost-cutting measure. Marcel Berlins, writing in *The Guardian*, pointed out that the "effort and care which went into the programme's investigations" frequently "uncovered basic flaws in our system of investigating crime, exposed police incompetence and revealed the shortcomings of forensic science." It was this effort, Berlins believed, and the high financial cost that it entailed, that led to the BBC decision that "the crass value-for-money criterion was not being fulfilled. Yet *Rough Justice* is a perfect example of what public service broadcasting, which the BBC is supposed to espouse, is all about."

Simon Ford, who had worked as the programme's executive producer, said: "For 27 years (sic), a programme like *Rough Justice* has proved that television, as well as reporting on injustice, can actually change things. Without a dedicated team doing that, many individuals who are wrongly imprisoned will stay there and the British public will remain ignorant of the failings of our justice system. This is a tragedy for the prisoners themselves and our greater society." The BBC was also criticised for cancelling the programme while spending £18 million to launch a Gaelic-language channel "aimed at only 86,000, mainly Scottish, viewers, a population the size of Crawley, \[West Sussex\]."

## Programmes

* **1982**
    + *The Case of the Handful of Hair* (first broadcast 7 April 1982) – reinvestigation of the conviction of Mervyn "Jock" Russell for the murder of Jane Bigwood in Deptford, London, in 1976.
    + *The Case of the Thin-bladed Knife* (first broadcast 14 April 1982) – reinvestigation of the conviction of father and son Michael and Patrick McDonagh for the murder of Francis McDonagh in Moss Side, Manchester.
    + *The Case of Little Boy Blue* (21 April 1982) – reinvestigation of the 1973 conviction of John Walters for sexual assaulting Roselyne Auffret on a train travelling from Wimbledon station to London Waterloo station. Originally sentenced to four years imprisonment for the offence, Walters' insistence of his innocence throughout his sentence led to his being labelled delusional and he was transferred to Broadmoor high-security psychiatric hospital where he was still being detained at the time of broadcast.
* **1983**
    + *Rough Justice Report* (first broadcast 19 October 1983) – follow-up and progress reports relating to the previous programmes and previewing the second season.
    + *The Case of the Tortured Teenager* (first broadcast 26 October 1983) – reinvestigation of the conviction of Margaret Livesey for the murder of her fourteen-year-old son Alan Livesey in Bamber Bridge, near Preston.
    + *The Case of the Confused Chemicals* (first broadcast 2 November 1983) – reinvestigation of the conviction of Ernie Clarke for the murder of Eileen McDougall, whose body was found nine years after her death in a petroleum storage tank at South Shields, Tyne and Wear.
    + *The Case of the Missing Meal* (first broadcast 9 November 1983) – reinvestigation of the conviction of George Beattie for the murder of Margaret McLaughlin at Carluke, South Lanarkshire.
* **1984**
    + *Verdict Unsafe* (first broadcast 22 March 1984) – documentary following the life of Mervyn Russell after his release from prison, his conviction for murder having been quashed as a result of *The Case of the Handful of Hair.*
* **1985**
    + *Rough Justice Report* (first broadcast 12 September 1985) – follow-up and progress reports relating to the previous programmes and previewing the third season.
    + *The Case of the False Fish* (first broadcast 19 September 1985) – reinvestigation of the conviction of Anthony Steel for the murder of Carol Wilkinson at Ravenscliffe, Bradford.
    + *The Case of the Tell-tale Tape* (first broadcast 26 September 1985) – reinvestigation of the conviction of Alf Fox for the murder of his wife and mother-in-law.
    + *The Case of the Perfect Proof* (first broadcast 3 October 1985) – reinvestigation of the conviction of Anthony Mycock for aggravated burglary. The victim later said that the crime had not taken place and that it was a figment of her imagination.
* **1987**
    + *Rough Justice Report* (first broadcast 1 September 1987) – follow-up and progress reports relating to the previous programmes and previewing the fourth season.
    + *A Confession to the Impossible* (first broadcast 7 September 1987) – reinvestigation of the conviction of Bill Funnell for the murder of his wife Anne Funnell
    + *When Lightning Strikes Thrice* (first broadcast 30 September 1987) – reinvestigation of the conviction of Stephen Spencer for armed robbery at Liverpool in 1984.
    + *Evidence in Camera* (first broadcast 17 December 1987) – reinvestigation of the conviction of Ernest Barrie for armed robbery at the Clydesdale Bank in Blantyre, South Lanarkshire, in 1986. With help from this *Rough Justice* programme he was subsequently released on appeal, but in 2007 he brutally attacked and killed his neighbour and pled guilty to the killing, with psychiatrists agreeing that he had a psychotic illness.
* **1989**
    + *A Convenient Conviction* (first broadcast 25 January 1989) – reinvestigation of the convictions of brothers Paul and Wayne Darvell for the murder of sex shop manageress Sandra Phillips in Swansea, Wales, in 1985.
    + *Rough Justice Report* (first broadcast 12 March 1989) – follow up to *Evidence in Camera* detailing the subsequent acquittal and release of Ernest Barrie.
* **1990**
    + *Suspect Premises* (first broadcast 4 April 1990) – reinvestigation of the conviction of Ghanaian Sammy Davis for the rape of a Swedish tourist in London in November 1986.
* **1991**
    + *An Inquiry Under Question* (first broadcast 28 March 1991) – update of the Stephen Spencer case first highlighted in *When Lightning Strikes Thrice*, which had led to Douglas Hurd, the Home Secretary, ordering a review of the case. This follow-up programme produced evidence suggesting that the review was conducted improperly plus further fresh evidence that Spencer could not have committed the crime.
    + *Who Was that Masked Man?* (first broadcast 4 April 1991) – reinvestigation of the conviction of Robert Campbell for armed robbery at Glasgow in 1989.
    + *Murder or Mystery? The Curious Case of Baby Glen* (first broadcast 5 November 1991) – reinvestigation of the conviction of Jacqueline Fletcher for the murder of her 6-week-old son Glen. Fletcher had been convicted at Birmingham Crown Court in 1988 of drowning Glen, whose death had previously been considered a case of sudden infant death syndrome. Fletcher was not arrested until three years after Glen's death.
* **1992**
    + *The Bordon Baseball Bat Murder* (first broadcast 21 May 1992) – reinvestigation of the conviction of Sam Hill for murder of Malcolm Barker at Bordon, East Hampshire, in 1987, a crime which another man had confessed to.
* **1993**
* **1994**
    + *Code of Silence* (first broadcast 26 January 1994) – reinvestigation of the conviction of John "Mex" Megson, a member of the "Druids" motorcycle club, for the murder of Stephen Rowley at Scarborough Mere, North Yorkshire, in 1989.
    + *True Confessions* (first broadcast 2 June 1994) – follow up to *The Bordon Baseball Bat Murder*. Sam Hill's conviction had gone to appeal and was turned down despite David Smith's public confession to the murder.
    + *The Biker's Tale* (first broadcast 25 August 1994) – follow up to *Code of Silence*, relating Megson's successful appeal, retrial and subsequent release in May 1994.
* **1995**
    + *Death in the Playground* (first broadcast 3 May 1995) -– reinvestigation of the conviction of Paul Esslemont for the manslaughter of 3-year-old Carl Kennedy at Coventry, West Midlands, in 1993.
* **1996**
    + *The Usual Suspect* (first broadcast 12 March 1996) – reinvestigation of the conviction of Paul Berry for armed robbery.
    + *Who Killed Carl Bridgewater?* (first broadcast 10 April 1996) – reinvestigation of the convictions of Patrick Molloy, Jim Robinson, Michael Hickey and Vincent Hickey (the Bridgewater Four) for the murder of 13-year-old Carl Bridgewater at Stourbridge, West Midlands, in 1978.
    + *The Vet's Wife* (first broadcast 26 November 1996) – reinvestigation of the conviction Ryan James for the murder of his wife Sandra James at Burton-upon-Trent, Staffordshire, in 1995.
* **1997**
    + *Murder at the Studio* (first broadcast 1 April 1997) – reinvestigation of the conviction of Stephen Craven for the murder of Penny Laing at the Studio Nightclub, Newcastle upon Tyne in 1990.
    + *Judgement Day* (first broadcast 30 July 1997) – an unscheduled follow up to *Who Killed Carl Bridgewater?* transmitted on the day that the Bridgewater Four won their appeal and were released.
* **1998**
    + *Murder on the M25* (first broadcast 25 March 1998) – reinvestigation of the convictions of Raphael Rowe, Michael Davis, and Randolph Johnson (the "M25 Three") for the murder of Peter Hurburgh at Chelsham, Surrey, in December 1988.
    + *The Jigsaw Murder* (first broadcast 2 June 1998) – a reinvestigation of the 1977 convictions of Reg Dudley and Bob Maynard for the murders of Micky Cornwall and Billy Moseley. Lasting 135 days, it had been the longest murder trial in British history.
* **1999**
    + *The Price of Friendship* (first broadcast 2 June 1999) – reinvestigation of the conviction of Martin O'Halloran for the murder of Thomas Walker of Polesworth, in Bentley, North Warwickshire in 1975.
    + *Ruth Ellis: A Life for a Life* (first broadcast 28 November 1999) – reinvestigation and reconstruction of the trial and conviction of Ruth Ellis revealing evidence which was ignored by the authorities and which might have saved her.
* **2002**
    + *If the Cap Fits* (first broadcast 6 January 2002) – reinvestigation of the conviction of Oliver Campbell for the murder of Baldee Hoondle during a robbery in London in July 1990.
* **2004**
    + *Death on Camera* (first broadcast 14 April 2004) – reinvestigation of the circumstances of the death of former British Army paratrooper Christopher Alder in police custody at Queen's Gardens police station, Kingston upon Hull, in 1998. Alder was left on the floor of the station for 11 minutes and choked to death on his own blood and vomit while police officers stood around him speculating that he was faking illness.
    + *Earmarked* (first broadcast 29 September 2004) – Mark Dallagher
* **2005**
    + *Murder Without A Trace* (first broadcast 24 March 2005) – reinvestigation of the convictions of Barri White and Keith Hyatt. White was convicted of murder and Hyatt of perverting the course of justice after Rachel Manning's body was found at Woburn Golf and Country Club, Milton Keynes, in December 2000. Both had their convictions quashed in 2007. On 4 September 2013 Shahidul Ahmed was found guilty of the murder of Rachel more than a decade after her boyfriend was wrongly jailed for the crime. Ahmed's DNA was found on a steering lock used to disfigure her face after death, and in a hair recovered from her hotpants. Ahmed was convicted of a sex attack in Bletchley in 2011 when his DNA was identified. He was sentenced to life with a minimum term of 17 years.
* **2007**
    + *The Innocents' Brief* (first broadcast 12 April 2007) – reinvestigation of the conviction of Simon Hall for the murder of 79-year-old Joan Albert in Capel St. Mary, Suffolk, December 2001. On 8 August 2013 the BBC reported that Simon Hall had confessed his crime to prison authorities.

## *Retrial by TV: The Rise and Fall of Rough Justice*

As part of the BBC Four *Justice Season* focusing on the state of justice in Britain, a programme called *Retrial by TV: The Rise and Fall of Rough Justice* aired on 3 April 2011 and examined the creation of the programme, its relationship with the charity JUSTICE, and its troubled relations with the UK judiciary (as characterised by criticisms by law lords Denning and Lane), the police, the Home Office and the governors of the BBC.

## InfoBox

| *Rough Justice* | |
| --- | --- |
| Created by | Peter Hill<br>Martin Young |
| Presented by | Martin Young (1982-86)<br>David Jessel (1987-92)<br>John Ware (1993-97)<br>Kirsty Wark (1998-2007) |
| Country of origin | United Kingdom |
| Production | |
| Producers | Peter Hill (1980-86)<br>Steve Haywood (1987-92)<br>Charles Hunter<br>Dinah Lord |
| Original release | |
| Network | BBC One/BBC Two |
| Release | 1982 (1982) <br>2007 (2007) |


title: Up! Live in Chicago

abstract: Up! Live in Chicago is the third live video album by Canadian singer Shania Twain. Directed and produced by Beth McCarthy-Miller, the concert was held and filmed on July 27, 2003 at Hutchinson Field in the south-side of Grant Park in Chicago, Illinois; over 50,000 people attended. The concert itself differed from that of the Up! Tour (2003–04), featuring a different stage, setlist and production. Behind-the-scenes footage of the singer visiting local landmarks and events was filmed the same week. The concert film premiered on the National Broadcasting Company (NBC) on August 19, 2003. The special was watched by over 8.87 million viewers, becoming the second-most-viewed concert film on television, behind Celine Dion's A New Day... Live in Las Vegas (2003). Due to its high television ratings, Up! Live in Chicago was released as a video album on November 18, 2003 by Mercury Records Nashville. Released both in standard DVD packaging and in a jewel case, it featured additional performances not included on the television presentation. The album was also received positively by music critics, who complimented Shania's interaction with the audience; however, some questioned her live singing. The video peaked at number two on Billboard's Top Music Video sales chart, and was certified platinum by the RIAA for shipments of over 100,000 copies in the United States. It was also certified platinum in Australia and gold in Austria and Brazil. Excerpts from Up! Live in Chicago were used as the music videos for "She's Not Just a Pretty Face" (2003) and "It Only Hurts When I'm Breathing" (2004).

text:
# Up! Live in Chicago

***Up! Live in Chicago*** is the third live video album by Canadian singer Shania Twain. Directed and produced by Beth McCarthy-Miller, the concert was held and filmed on July 27, 2003 at Hutchinson Field in the south-side of Grant Park in Chicago, Illinois; over 50,000 people attended. The concert itself differed from that of the Up! Tour (2003–04), featuring a different stage, setlist and production. Behind-the-scenes footage of the singer visiting local landmarks and events was filmed the same week. The concert film premiered on the National Broadcasting Company (NBC) on August 19, 2003. The special was watched by over 8.87 million viewers, becoming the second-most-viewed concert film on television, behind Celine Dion's *A New Day ... Live in Las Vegas* (2003).

Due to its high television ratings, *Up! Live in Chicago* was released as a video album on November 18, 2003 by Mercury Records Nashville. Released both in standard DVD packaging and in a jewel case, it featured additional performances not included on the television presentation. The album was also received positively by music critics, who complimented Shania's interaction with the audience; however, some questioned her live singing. The video peaked at number two on *Billboard*'s Top Music Video sales chart, and was certified platinum by the RIAA for shipments of over 100,000 copies in the United States. It was also certified platinum in Australia and gold in Austria and Brazil. Excerpts from *Up! Live in Chicago* were used as the music videos for "She's Not Just a Pretty Face" (2003) and "It Only Hurts When I'm Breathing" (2004).

## Background

Over three and a half years after her last live show, Shania performed a series of three outdoor concerts in Europe and North America in July 2003 to promote her fourth studio album *Up!* (2002). The singer scheduled the trek primarily because of her prolonged absence from live performances and to ensure playing a concert in the United States prior to her Up! Tour. At the time, it was to commence in September 2003 in Europe, although it ultimately did so in North America. She said, "With the tour starting in September, I didn't want to miss the summer without staging a concert in the U.S. After living with these 19 songs \[from *Up!*\] and going through the recording process, it's time to get on stage and perform them." She conceptualized the shows to consist mainly of uptempo numbers and to be almost void of ballads to "spend the night rocking" and maintain an energized spirit. She also deliberately left much room for improvisation, stating that she preferred for the performances to be very spontaneous, than choreographed and music video-like. She first performed on July 5, 2003 at Nowlan Park in Kilkenny, Ireland, and then on July 12, 2003 at Hyde Park in London, England with a setlist composed of twenty-two songs.

The singer then headed to Chicago, Illinois to perform a free outdoor concert on July 27, 2003, held at the Hutchinson Field in the south-side of Grant Park. Meanwhile, the National Broadcasting Company (NBC) was seeking an artist to host a prime time television music special, and contacted Twain to discuss the possibilities of filming the concert in Chicago. NBC executives sought Twain for the special because they believed her lengthy career and crossover history would translate into more viewers. She accepted the offer, and the show was directed and produced by Beth McCarthy-Miller. Prior to performing at Grant Park, Twain spent a week in Chicago to film behind-the-scenes footage that would be used for the television special. She visited landmarks and attended local events, such as a Chicago Cubs game where she tossed the first pitch and sang "Take Me Out to the Ballgame" for the audience. The singer also took a riverboat trip and visited outposts of her favorite charity Kids Cafés, a program specialized to feed children in America. The concert was produced by JAM Creative Productions, and sponsored by local radio station WUSN and the *Chicago Tribune*, which disseminated information about obtaining concert tickets. The show was attended by over 50,000 people. The Behind the Scenes featurette was not featured on the DVD.

## Concert synopsis

> It's not a touring show. It's more the idea of a one-off. There isn't a dramatic theme or anything like that. It's pretty much a straight-ahead rock summer concert in the park. That's the feeling I want to give off. It's not the same sort of production direction you might take on a stadium tour. It's a much freer feeling than that, which is great. I've been off tour for three-and-a-half years. We haven't been onstage for so long, and for me, there's something fresh and exciting about it.
>
> —Shania speaking of the concert's difference from the Up! Tour (2003–04).

The concert's setlist consisted primarily of songs from *Up!*, with several hits from *The Woman in Me* (1995) and *Come on Over* (1997). The songs from *Up!* were not performed in a specific format from the three studio versions of the album. Shania desired to approach the live productions as their "own beast". The show commenced with Shania, who was costumed by a "Body Glove" top and black cargo pants, arriving from the back of the stage to perform "Man! I Feel Like a Woman!" alongside her band. The singer then followed with "Up!" and after talking with the audience, the singer says it has been 3 and 1/2 years since she was up on the concert stage and then performed "Honey, I'm Home". Shania continued to perform a total of ten songs during the segment. At one point, she invited an audience member, James Hundt, onstage to propose to his girlfriend, Annelisa Hahn. She accepted and the two slow danced onstage as Shania sang "When You Kiss Me", sitting on a stool placed towards the end of the runway. The segment ended with a performance of the UK Dance Mix of "That Don't Impress Me Much", and "I'm Gonna Getcha Good!", where Shania invited three little girls Shyanne, Meanny and Ashley to join her onstage. In the succeeding segment, Shania donned a tan, multi-patterned halter top with the words "True Love" spelled on the front and black, sequined wide leg trousers. She began with "From This Moment On". Then, she performed "No One Needs to Know" with an acoustic guitar and "Thank You Baby! (For Makin' Someday Come So Soon)" with a small orchestra accompanying her. She concluded the nine-song segment with "In My Car (I'll Be the Driver)" and "(If You're Not in It for Love) I'm Outta Here!". The singer returned to the stage for the third and final segment, wearing a black, long-sleeve top with an American flag imprinted in the center and denim capri pants. She performed a rendition of "You're Still the One" while playing the acoustic guitar again, and ended the show with "Nah!" and "Rock This Country!".

## Release

On June 6, 2003, the *Chicago Tribune* announced the Grant Park concert, which was to be filmed for an August NBC special. Immediately after the show concluded, its premiere date of August 19, 2003 was specified. A two-hour edited version was televised on August 19 at 8:00 P.M. EST to high ratings. *Up! Live in Chicago* was watched by over 8.87 million viewers in the United States, becoming the second-most-watched concert film in television history, behind Celine Dion's CBS special *A New Day ... Live in Las Vegas* earlier that year. Following the concert film's television success, Mercury Records Nashville released the home video album on November 18, 2003 in Region 1 and on November 24, 2003 in Region 2. It was released in DVD format, both in conventional DVD packaging and in a jewel case; both appeared in an aspect ratio of 1.33:1 (4:3). The release featured six additional performances that were not shown on the NBC special and also stereo and 5.1 surround sound mixes. *Up! Live in Chicago* also sourced video material for two of *Up!'*s singles. The performances of "She's Not Just a Pretty Face" (2003) and "It Only Hurts When I'm Breathing" (2004) served as the songs' music videos, while the audio rendition of "It Only Hurts When I'm Breathing" was released as a live CD single and a digital download on March 9, 2004.

## Reception

### Critical reception

*Up! Live in Chicago* received favorable reviews from critics. Matt Bjorke of About.com reviewed the home release of *Up! Live in Chicago*. He had not attended a Shania concert, nor seen the television special, and was surprised by the singer's stage presence. He believed that the video would make the singer's naysayers realize Shania's vocal talents and ability to entertainment and interact with a crowd. Bjorke concluded, "*Up! Live in Chicago* is a dynamic DVD experience that is sure to please fans for years to come." Chris Jones of BBC noted the band's differed from most country bands and wanted a more country-influenced sound. However, Jones complimented the singer's incorporation of the audience, naming it her "inimitable style". He added that the video was "far from \[a\] sterile experience" because of the live setting and crowd ambiance. However, he suspected Shania's "photocopy-perfect" vocal delivery could be attributed to a fair amount of post-production work. "Overall, you know exactly what you're getting with Shania, and for her fans this is bound to be a very good thing indeed." Bobby Reed of the *Chicago Sun Times* believed Shania failed to give insight into her identity or personality, noting she never mentioned her relocation to Switzerland or her then-new son, Eja. He complimented the band's strong, yet rote efforts of bringing the dense production to life. However, he claimed Shania's vocal delivery was at times frail. Reed also noted the absence of guest stars, in contrast to her two previous concert specials, and acknowledged that inviting fans onstage gave the concert a country-fair vibe. Mark Guarino of Arlington Heights' *Daily Herald* believed the concert was evidently tailored for television and that Shania played the proper host. He continued, "As the night wore on, Shania tried different ways, with varying degrees of success, to make the magnitude of such a large event work for the small screen. Her reliance on audience participation was an attempt to humanize things, but it often backfired."

### Commercial performance

On the week ending December 13, 2003, *Up! Live in Chicago* debuted at number three on *Billboard*'s Top Music Video sales chart. Two weeks later, it reached its peak at number two. The video spent fourteen weeks on the chart before returning for a fifteenth and final week at number eighteen on the week ending March 12, 2005. In March 2004, *Up! Live in Chicago* was certified platinum by the Recording Industry Association of America (RIAA) for shipments of 100,000 copies in the United States. On the week ending January 15, 2005, *Up! Live in Chicago* peaked at number eight on New Zealand's Top 10 Music DVDs. The video peaked at number sixty-one on the German Albums Chart, and spent a total of eleven weeks on the chart. It was also certified platinum by the Australian Recording Industry Association (ARIA) for the shipment of 15,000 copies in the country. In Brazil, the video was certified gold by the Associação Brasileira dos Produtores de Discos (ABPD) for the sale of 15,000 copies. In Austria, the video was certified gold by the International Federation of the Phonographic Industry (IFPI) for the sale of 5,000 copies.

## Setlist

All tracks are written by Shania Twain and Robert John "Mutt" Lange

| No. | Title | Length |
| --- | --- | --- |
| 1. | "Man! I Feel Like a Woman!" | 4:15 |
| 2. | "Up!" | 3:33 |
| 3. | "Honey, I'm Home" | 4:14 |
| 4. | "She's Not Just a Pretty Face" | 4:16 |
| 5. | "Forever and for Always" | 4:22 |
| 6. | "Ka-Ching!" | 3:41 |
| 7. | "When You Kiss Me" | 7:18 |
| 8. | "Don't Be Stupid (You Know I Love You)" | 3:49 |
| 9. | "That Don't Impress Me Much" | 4:53 |
| 10. | "I'm Gonna Getcha Good!" | 7:36 |
| 11. | "From This Moment On" | 6:08 |
| 12. | "No One Needs to Know" | 3:15 |
| 13. | "Thank You Baby! (For Makin' Someday Come So Soon)" | 4:10 |
| 14. | "It Only Hurts When I'm Breathing" | 3:47 |
| 15. | "Juanita" | 4:20 |
| 16. | "Whose Bed Have Your Boots Been Under?" | 4:40 |
| 17. | "Any Man of Mine" | 4:14 |
| 18. | "In My Car (I'll Be the Driver)" | 4:41 |
| 19. | "(If You're Not in It for Love) I'm Outta Here!" | 5:52 |
| 20. | "You're Still the One" | 3:29 |
| 21. | "Nah!" | 5:00 |
| 22. | "Rock This Country!" | 6:25 |

## Charts and certifications

### Charts

| Charts (2003–05) | Peak
position |
| --- | --- |
| German Albums Chart | 61 |
| New Zealand Top 10 Music DVDs | 8 |
| US *Billboard* Top Music Videos | 2 |
|

### Certifications

Certifications for "Up! Live in Chicago"
| Region | Certification | Certified units/sales |
| --- | --- | --- |
| Australia (ARIA) | Platinum | 15,000^ |
| Austria (IFPI Austria) | Gold | 5,000* |
| Brazil (Pro-Música Brasil) | Gold | 25,000* |
| New Zealand (RMNZ) | Platinum | 5,000^ |
| United Kingdom (BPI) | Gold | 25,000^ |
| United States (RIAA) | Platinum | 100,000^ |
| * Sales figures based on certification alone.
^ Shipments figures based on certification alone.
 | | |

## Credits and personnel

Source:

## InfoBox

| Up! Live in Chicago | |
| --- | --- |
|  | |
| Video by Shania Twain | |
| Released | November 18, 2003 |
| Recorded | July 27, 2003 |
| Venue | Hutchinson Field, Grant Park
(Chicago, Illinois) |
| Genre | Live |
| Length | 105:44 |
| Label | Mercury Nashville |
| Director | Beth McCarthy-Miller |
| Producer | Beth McCarthy-Miller |
| Shania Twain chronology | |
| *A Collection of Video Hits*
(2002) ***Up! Live in Chicago***
(2003) *Up! Close and Personal*
(2004) | |


title: Electric eye

abstract: An electric eye is a photodetector used for detecting obstruction of a light beam. An example is the door safety system used on garage door openers that use a light transmitter and receiver at the bottom of the door to prevent closing if there is any obstruction in the way that breaks the light beam. The device does not provide an image; only the presence of light is detectable. Visible light may be used, but infrared radiation conceals the operation of the device and typically is used in modern systems. Originally, systems used lamps powered by direct current or the power line alternating current frequency, but modern photodetector systems use an infrared light-emitting diode modulated at a few kilohertz, which allows the detector to reject stray light and improves the range, sensitivity, and security of the device.

text:
# Electric eye

An **electric eye** is a photodetector used for detecting obstruction of a light beam. An example is the door safety system used on garage door openers that use a light transmitter and receiver at the bottom of the door to prevent closing if there is any obstruction in the way that breaks the light beam. The device does not provide an image; only the presence of light is detectable. Visible light may be used, but infrared radiation conceals the operation of the device and typically is used in modern systems. Originally, systems used lamps powered by direct current or the power line alternating current frequency, but modern photodetector systems use an infrared light-emitting diode modulated at a few kilohertz, which allows the detector to reject stray light and improves the range, sensitivity, and security of the device.

## Examples

**Highway vehicle counter**

* In the 1930s, an electric eye vehicle counter was introduced in the US using two IR lamps set apart so that only cars and pedestrians would be counted.

**First compact commercial unit**

* A compact type of electric eye was offered in 1931 that was enclosed in a small steel case and much easier to install compared to older models.

**Automatic wrapping machines**

* In the 1930s, an electric eye apparatus was developed to help a wrapping machine wrap 72 boxes a minute.

**Automatic door opener**

* In 1931, General Electric tested the first automatic door openers now popular in hospitals. They called their electric eye the *Magic Eye*.

**Business alarm system**

* In 1931, an electric eye that used invisible UV wavelength was offered to businesses in need of a 24-hour alarm system. A system of this type is demonstrated in the first scene of the 1932 film *Jewel Robbery*.

**Automatic cameras**

* In 1936, Dr. Albert Einstein and Dr. Gustav Bucky received a patent for a design which applied the electric eye to a camera. The camera was capable of automatically determining the proper aperture and exposure.


title: Tell Tayinat

abstract: Tell Ta'yinat is a low-lying ancient tell on the east bank at the bend of the Orontes River where it flows through the Amuq valley, in the Hatay province of southeastern Turkey about 25 kilometers south east of Antakya, and lies near Tell Atchana, the site of the ancient city of Alalakh. Tell Ta'yinat has been proposed as the site of Alalaḫu, inhabited in late 3rd millennium BC, mentioned in Ebla's Palace G archive; and in later times as Kinalua, the capital city of an Iron Age Neo-Hittite kingdom. Among the findings are an Iron Age temple and several 1st millennium BC cuneiform tablets. Chatal Huyuk (Amuq) is another major site that is located in the area.

text:
# Tell Tayinat

**Tell Ta'yinat** is a low-lying ancient tell on the east bank at the bend of the Orontes River where it flows through the Amuq valley, in the Hatay province of southeastern Turkey about 25 kilometers south east of Antakya (ancient Antioch), and lies near Tell Atchana, the site of the ancient city of Alalakh. Tell Ta'yinat has been proposed as the site of **Alalaḫu**, inhabited in late 3rd millennium BC, mentioned in Ebla's Palace G archive; and in later times as **Kinalua**, the capital city of an Iron Age Neo-Hittite kingdom. Among the findings are an Iron Age temple and several 1st millennium BC cuneiform tablets. Chatal Huyuk (Amuq) is another major site that is located in the area.

## Identification

Archaeologist Timothy Harrison, the dig director for many years starting in 2004, supports the identification of the site with Kinalua, the capital of a Neo-Hittite/Aramean Iron Age kingdom. In the period of Neo-Assyrian control it was the center of the Unqi province.

It is a possible site of the city of Calneh mentioned in the Hebrew Bible.

## Archaeological investigation

Four seasons of archaeological excavations were conducted at the site by the University of Chicago's Oriental Institute from 1935 to 1938, led by Robert Braidwood. From 1999 to 2002, the Oriental Institute returned to the site, as part of the Tayinat Archaeological Project, to conduct mapping and surveying and to examine the original excavations.

New excavations at the site were begun by a team from the University of Toronto in 2004, after a survey in 2003. Continued excavations in the summer of 2005 exposed more of the Iron Age temple as well as part of one of the early Iron Age II *bit-hilanis*. A significant amount of earlier Iron Age I material was also uncovered as well as small amounts of Early Bronze Age material. Excavations have continued now for a total of 13 seasons, through 2016. Findings have included a significant Iron Age temple, a number of 1st millennium BC cuneiform tablets, and initial structures from the earlier Bronze Age settlement. The majority of the tablets were found in the inner sanctum of a temple (Building XVI) in the sacred precinct. Most of the tablets are Iqqur Ipuš (a menologium), but they include a copy of the succession treaty of Esarhaddon. A lecture by James Osborne, on "The Syro-Anatolian City States: A Neglected Iron Age Culture" addresses aspects of the site.

## Site layout

The site consists of an upper mound of about 20 hectares and a lower mound (now under floodplain cover, extending to the north (around 200 meters), east (around 100 meters), and southeast (slight extent). About 550 square meters of the upper mound (north and east sides) have been removed by modern bulldozer activities. In the Early Bronze Age the site was somewhat larger than the current upper mound at around 25 hectares, based on coring and surface collection, with the remains measuring in at 3 to 6 meters in depth.

## Periods and findings

Archaeological excavation at the tell has indicated, in conjunction with ancient written sources, that the site was a major urban centre in two separate phases, during the Early Bronze Age and Early Iron Age.

### Early Bronze Age

*Red-black burnished ware* (Khirbet Kerak ware) was found in Phases H and I, corresponding to the Early Dynastic period in Mesopotamia. This type of pottery diminishes through the end of the last phase of EBA. This pottery is believed to be influenced by the Kura-Araxes culture, arriving into this area around 3000 BC.

In the Amuq Plain, Tell Tayinat was the largest settlement in the EBIVB. The structural remains from Tell Tayinat have been from the Early Bronze IVB period (Phase J). Among the finds are 17 anthropomorphic and zoomorphic figurines in a style typical of the region at that time. Also found were two wheels, copper alloy metal fragments, spindle whorls and loom weights. Notable finds were a cylinder seal and two clay sealings.

### Iron Age

During the Iron Age II, this is thought likely to be the site of ancient Kinalua, the capital of one of the Neo-Hittite/Aramean city-kingdoms of *Walistin* (Aramaic) or *Palistin* (neo-Hittite), of which a follow-up kingdom is the one known as Pattin or Patina, the shortened form of Palistin (together c. 1000-738 BC). Among the culturally diverse Syro-Hittite states in the north Syrian river-plain the rulers of Kinalua continued to bear royal Hittite names in the 8th century BC. With the rise of the Neo-Assyrians in the 9th century BC, rulers of Patina (thought to be the same as Kinalua) began to pay tribute to them. Ashurnasirpal II reports receiving silver and gold, 100 talents of tin, essential for making bronze, and 100 talents of iron, 1000 oxen and 10,000 sheep, linen robes and decorated couches and beds of boxwood, as well as "10 female singers, the king's brother's daughter with a rich dowry, a large female monkey and ducks" from the ruler Labarna. At a later campaign the Assyrians forced its king Tutammu to submit according to an inscription of king Tiglath-pileser III (745–727 BC). Other documents indicate Assyrian control lasted until the reign of Ashurbanipal (669–631 BC).

A worn stone with cuneiform writing from the top of the mound was turned into the local museum by a farmer who had used it as a paving stone. Combined with 4 fragments found during the 1930 excavation it turned out to be part of a stele of Sargon II (722–705 BC).

The city had a citadel placed at a higher elevation, connected to the lower city by a monumental gate complex (see Site layout).

#### Iron Age temple

One of the key finds of the Oriental Institute (1935–38) made at the site was a temple reminiscent in plan to Solomon's Temple in Jerusalem as described in the Hebrew Bible (Old Testament of Christianity).

#### *Bit-hilani* palaces

The Oriental Institute campaigns (1935–38) brought to light several large palaces in the style known as *bit-hilani*. A wood sample from a bit-hilani burned in c. 675 BC was carbon-dated to 2625 +/- 50 years BP. The 2005 excavations exposed part of one of the early Iron Age II *bit-hilanis*.

#### King Suppiluliuma statue

In August 2012, a team from the University of Toronto announced they had uncovered the head and torso of a human figure, intact to just above its waist. The remains of the figure stand approximately 1.5 meters in height, suggesting a total height of 3.5 to 4 meters. The figure is bearded with eyes made of black and white stone. The figure's hair has been styled in an elaborate series of curls arranged in rows. The arms of the figure extend forward from the elbow. Each arm has two arm bracelets adorned with lion heads. The figure's left hand holds a shaft of wheat and its right hand holds a spear. The figure's chest is adorned with a crescent-shaped pectoral. A lengthy carved, raised relief inscription in Hieroglyphic Luwian runs across the figure's back. The inscription records the accomplishments and campaigns of King Suppiluliuma. He is likely the same king who as part of a Syrian-Hittite coalition in 858 BC fought against the Neo-Assyrian invasion of Shalmaneser III.

#### Female statue

In August 2017, it was reported that a majestic female statue was discovered at the site, within the monumental gate complex leading to the upper citadel. This may be an image of Kubaba, divine mother of the gods of ancient Anatolia. Or it may be Kupapiyas, who was the wife – or possibly mother – of Taita, the dynastic founder of ancient Tayinat. But it's also possible that the statue represents the wife of King Suppiluliuma. Archaeologist Timothy Harrison raised the possibility that women played quite a prominent role in the political and religious lives of these early Iron Age communities.

## Future reading

## InfoBox

Tell Ta'yinat
| Tell Tayinat | |
| --- | --- |
| Shown within Turkey | |
| Location | Hatay Province, Turkey |
| Region | Levant |
| Coordinates | 36°14′51″N 36°22′35″E / 36.24750°N 36.37639°E / 36.24750; 36.37639 |
| Type | Settlement |
| History | |
| Periods | Early Bronze Age, Early Iron Age |
| Cultures | Neo-Hittite, Aramean |
| Site notes | |
| Excavation dates | 1935-1938, 2003-present |
| Archaeologists | Robert Braidwood, Timothy Harrison |
| Condition | In ruins |


title: Crucifixion in the Philippines

abstract: Crucifixion in the Philippines is a devotional practice held every Good Friday, and is part of the local observance of Holy Week. Devotees or penitents called magdarame in Kapampangan willingly have themselves crucified to reenact Jesus Christ's suffering and death, while related practices include carrying wooden crosses, crawling on rough pavement, and self-flagellation. Penitents consider these acts to be mortification of the flesh, and undertake these to ask forgiveness for sins, to fulfil a panatà, or to express gratitude for favours granted. In the most famous case, Ruben Enaje drives four-inch nails into both hands and feet and then he is lifted on a wooden cross for around five minutes.

text:
# Crucifixion in the Philippines

**Crucifixion in the Philippines** is a devotional practice held every Good Friday, and is part of the local observance of Holy Week. Devotees or penitents called *magdarame* in Kapampangan willingly have themselves crucified to reenact Jesus Christ's suffering and death, while related practices include carrying wooden crosses, crawling on rough pavement, and self-flagellation. Penitents consider these acts to be mortification of the flesh, and undertake these to ask forgiveness for sins, to fulfil a *panatà* (Filipino, "vow"), or to express gratitude for favours granted. In the most famous case, Ruben Enaje drives four-inch nails into both hands and feet and then he is lifted on a wooden cross for around five minutes.

## San Pedro Cutud, San Fernando

The **San Pedro Cutud Lenten Rites** are a re-enactment of Christ’s Passion and crucifixion held in Barangay San Pedro Cutud, San Fernando, Pampanga. It includes a passion play, culminating in the actual nailing of at least three penitents to wooden crosses atop a makeshift Calvary.

* Ruben Enaje has been crucified 35 times as of 2024. He began his yearly rite after surviving a fall from a three-story billboard in 1986. Other penitents crucified with Enaje on Good Friday 2013 were Angelito Mengillo; Arnold Meniego; Byron Gómez; Willy Salvador; Angelito Manansala; Jonny Manansala; Marben Unquico; Arnel Sanggalang; Victor Caparas; Rolando Ocampo; Orlando Valentin; Arnel Reyes; Rolando Baking; and four others.
* Ramíl Lázaro – a dishwasher, wheeler, and pedicab driver, also got his share of stainless steel nails along with five penitents on Good Friday at San Pedro Cutud, on Good Friday, April 6, 2012. He is expected to take the role of Christ, replacing Enaje
* Alex Laranang – 59, who claims to have been crucified every year since 2000.
* Arturo Bating – 44 (last 2012) had four-inch nails driven through his palms for the first time in Good Friday of 2012.

## Paombong, Bulacan

Crucifixions are also held in Barangay Kapitangan, Paombong, Bulacan which is a locally-known pilgrimage area and haven for faith healers. Many women have been nailed to the cross, acting on directions "from above", claiming mediumship of Christ either as the *Santo Niño* or the Black Nazarene.

* Precy Valencia – 41, one of a handful of women who are also crucified annually. Nailed to the cross on April 6, 2012.
* Rady Gonzáles – of Barangay Sto. Rosario, stayed nailed on the wooden cross for about 10 minutes as the crowd sang the Lord's Prayer.
* Buboy Dionisio – also of Barangay Sto. Rosario, nailed for the 16 consecutive years from 1997 to 2013. He claims receiving a vision of the Virgin Mary giving him three nails the first time he underwent crucifixion. He said that every year, he saw different visions which came before Holy Week.
* JonJon Tanael – of Barangay Bulihan, Malolos City, on April 6, 2012.
* Rolando Ocampo – 56, has been crucified every year since 1990 as a sign of his gratitude to God. He says God miraculously saved his wife from a difficult childbirth in that year. Ocampo prepares for his crucifixion for days in advance. He spends time alone and engages in deep meditation before the day on which he will share in Christ's suffering.
* John Safran (pseudonym John Michael) – a 37-year-old Australian media personality and author from Melbourne who wore a long wig and a tin crown of thorns on April 10, 2009.
* A 15-year-old boy and 18-year-old girl in 2008.

## Duljo-Fatima, Cebu City

* Gilbert Bargayo – crucified for the 15th time in Carcar, Cebu, and for the 17th time in Barangay Duljo-Fatima, Cebu City in 2012. Six-inch nails pierced his palms and feet, and took 45 minutes to all be hammered in.

## Angeles

The *Siete Palabras* (*Seven Last Words*) play in Angeles, Pampanga, depicts the sufferings of Christ from his sentencing by Pontius Pilate to his death. This takes the form of a colourful street play, with dozens of men carrying wooden crosses as heavy as 50 kg (110 pounds) and scores flagellating themselves in Barangay Lourdes Northwest, Angeles, between 14:00 and 15:00 PST (GMT+8).

## Reception

The Catholic Church in the Philippines opposes the practice of crucifixion and self-flagellation. The bishops see the practices as spiritual vanity, with the Archbishop of Lingayen–Dagupan, Socrates Villegas, encouraging the public in 2014 to show more "love for others" instead of exhibiting "extreme forms" of sacrifice. Likewise, the Bishop of Legazpi, Joel Baylon, emphasized that spiritual conversion, and not "public display of suffering", is more meaningful. A priest from the CBCP in 2023 said that the crucifixions, which devotees believe that their sins would be forgiven, are contrary to the teachings of the Church. Bishops instead invited the public to observe the traditional *Visita Iglesia* (Seven Churches Visitation) and offering prayers at churches.

The Department of Health in 2019 warned about the health risks of such activities, as open wounds cause various infections and diseases, like the deadly tetanus. Likewise, the department also warned that self-flagellating under the heat of the sun may cause heat stroke and dehydration.

## Bibliography

* *The Crucifixion of Jesus, Completely Revised and Expanded: A Forensic Inquiry* by Frederick T. Zugibe / Hardcover: 352 pages, Publisher: M. Evans & Company; 2nd Edition (April 1, 2005) ISBN 978-1590770702


title: Elaphromyia transversa

abstract: Elaphromyia transversa is a species of tephritid or fruit flies in the genus Elaphromyia of the family Tephritidae.

text:
# Elaphromyia transversa

***Elaphromyia transversa*** is a species of tephritid or fruit flies in the genus *Elaphromyia* of the family Tephritidae.

## Distribution

New Guinea.

## InfoBox

| *Elaphromyia transversa* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Diptera |
| Family: | Tephritidae |
| Subfamily: | Tephritinae |
| Tribe: | Tephrellini |
| Genus: | *Elaphromyia* |
| Species: | ***E. transversa*** |
| Binomial name | |
| ***Elaphromyia transversa***<br>Hardy, 1988 | |
|


title: Empire State Aerosciences Museum

abstract: The Empire State Aerosciences Museum is a non-profit museum which strives to "educate, entertain and excite with experiences in air and space". Established in 1984 and chartered by the New York State Department of Education, the museum is located on 27 acres (110,000 m⁲) of land on the western perimeter of the Schenectady County Airport in Glenville, New York, United States. ESAM sponsors an annual air show at the Schenectady Airport.

text:
# Empire State Aerosciences Museum

The **Empire State Aerosciences Museum** (commonly referred to as **ESAM**) is a non-profit museum which strives to "educate, entertain and excite with experiences in air and space". Established in 1984 and chartered by the New York State Department of Education, the museum is located on 27 acres (110,000 m2) of land on the western perimeter of the Schenectady County Airport in Glenville, New York, United States.

ESAM sponsors an annual air show at the Schenectady Airport.

## History

The museum is located on the site of the former General Electric Flight Test Center.

The museum received an F-15C in August 2024.

## Exhibits

The museum has a collection of military aircraft outside the main building, in the Agneta Airpark including:

ESAM's two galleries contain more fragile aircraft, detailed models, artifacts, memorabilia and photographs. Other exhibits include the Amelia Earhart Exhibit, the DePischoff "flying motorcycle", and a 32' scale model of the Japanese World War II aircraft carrier *Akagi*, used in the film *Tora! Tora! Tora!* There are also several interactive displays. In addition, the museum houses the Wallace Holbrook Restoration Center which treats aircraft in various stages of restoration. Examples on display indoors include:

## Research Library

The primary mission of the Janz Vander Veer Research Center/Library is to support the museum's education, exhibit and restoration programs. In addition, it serves as a resource to the general public for historical and technical aeroscience related information, such as a student with a term paper assignment, a model builder, a media reporter or an author doing research.

The library contents are made up of a broad collection of books, brochures, photographs, technical manuals, periodicals, scrapbooks, artwork and audiovisual items. Its content is particularly strong in the Pioneer, World War I, "Golden Era" and World War II periods (1910–1950).

The Attil Pasquini Collection has over 2,100 photographs that can be searched using a PastPerfect software database. The Frank Coffyn Collection is a gift from the estate of Kingsland Adams Coffyn by the Green family to the Empire State Aerosciences Museum. The collection contains about 200 photos of Wright Flyers aircraft taken by Coffyn who worked for the Wright Brothers.

The Rick Allen Collection has added many books and a large amount of research materials to the library catalog.

The library is open on Friday and Saturday from 9 am to 12 noon. Arrangements for research may be made by contacting the library office.

## Empire State Aviation Hall of Fame

The **Empire State Aviation Hall of Fame**, located on museum grounds, recognizes the contributions made by New York State aviation pioneers.

## Hours and prices

During the summer from Father's Day to Labor day, ESAM is open Tuesday to Sunday, 10:00 am to 4:00 pm. For the remainder of the year, ESAM is open on Fridays, Saturdays and Sundays from 10:00 am to 4:00 pm. Private tours for groups of 10 or more are available with reservation.

General admission costs are as follows:

* $11.00 for adults
* $9.00 for senior citizens and military personnel (with ID)
* $8.00 for children aged 6 to 16
* Those under six are admitted free of charge.
* ESAM Members are granted free admission with a current ESAM membership card.

The museum has a virtual reality ride that costs $5.00 per person in addition to the admission charge.

42°51′38″N 73°55′55″W / 42.8606°N 73.9320°W / 42.8606; -73.9320

## InfoBox

Empire State Aerosciences Museum
|  | |
| --- | --- |
|  | |
| Established | 1984 |
| Location | 250 Rudy Chase Drive
Glenville, New York, 12302
United States |
| Type | Aerospace museum |
| Founder | * Carl Battaglia * James Delmonaco * Steven Israel * Ernie Tetrault |
| Website | esam.org |


title: Endgame (Rise Against album)

abstract: Endgame is the sixth studio album by American punk rock band Rise Against. It was released on March 15, 2011, by DGC Records and Interscope Records. A melodic hardcore album, Endgame continues the trend by Rise Against towards more crisp, polished production, which began with the band's previous album Appeal to Reason. Social and political commentary constitute the majority of the lyrical content on Endgame, and a major theme revolves around the end of humanity. After a lengthy tour in support of Appeal to Reason, Rise Against began recording Endgame in September 2010, with producers Bill Stevenson and Jason Livermore. Endgame debuted at number two on the Billboard 200, with 85,000 copies sold in its first week. It holds the record for the band's highest position on the chart. The album also charted highly in several other countries such as Canada, where it became Rise Against's second consecutive album to reach number one on the Canadian Albums Chart. Three songs from Endgame were released as singles: "Help Is on the Way", "Make It Stop", and "Satellite". All three songs appeared on various Billboard charts, in particular "Help Is on the Way", which became Rise Against's only song to reach the Billboard Hot 100. Critical appraisal was mainly positive, with reviewers complimenting the music, and Rise Against's ability to integrate its hardcore punk roots with a mainstream rock sound. Most reviewers liked the politically driven lyrics, although some felt the lyrics were either lacking or melodramatic.

text:
# Endgame (Rise Against album)

***Endgame*** is the sixth studio album by American punk rock band Rise Against. It was released on March 15, 2011, by DGC Records and Interscope Records. A melodic hardcore album, *Endgame* continues the trend by Rise Against towards more crisp, polished production, which began with the band's previous album *Appeal to Reason*. Social and political commentary constitute the majority of the lyrical content on *Endgame*, and a major theme revolves around the end of humanity.

After a lengthy tour in support of *Appeal to Reason*, Rise Against began recording *Endgame* in September 2010, with producers Bill Stevenson and Jason Livermore. *Endgame* debuted at number two on the *Billboard* 200, with 85,000 copies sold in its first week. It holds the record for the band's highest position on the chart. The album also charted highly in several other countries such as Canada, where it became Rise Against's second consecutive album to reach number one on the Canadian Albums Chart.

Three songs from *Endgame* were released as singles: "Help Is on the Way", "Make It Stop (September's Children)", and "Satellite". All three songs appeared on various *Billboard* charts, in particular "Help Is on the Way", which became Rise Against's only song to reach the *Billboard* Hot 100. Critical appraisal was mainly positive, with reviewers complimenting the music, and Rise Against's ability to integrate its hardcore punk roots with a mainstream rock sound. Most reviewers liked the politically driven lyrics, although some felt the lyrics were either lacking or melodramatic.

## Background and recording

In 2008, Rise Against released its fifth studio album, *Appeal to Reason*. It was the band's highest charting album on the *Billboard* 200, where it peaked at number three. Despite sales of nearly 500,000 copies, critics were divided in their opinions of the album. To promote the album, Rise Against embarked on the Appeal To Reason Tour, which concluded in mid-2010 with performances at several European festivals. That September, the band members reconvened at the Blasting Room in Fort Collins, Colorado to record *Endgame*.

Bassist Joe Principe noted that although the band members booked the Blasting Room six months in advance, they left for the studio later than expected. Once they arrived, the band members wrote and finalized song ideas Principe and lead vocalist Tim McIlrath had written while on tour. This writing process took place over a three-week period before recording. Principe said the members were underprepared once they entered the studio, and described the writing process as "a race-the-clock kind of thing". *Endgame* was produced by Bill Stevenson and Jason Livermore, the duo that produced three of Rise Against's last four albums.

## Composition

### Music and lyrics

*Endgame* is a melodic hardcore album, with songs that feature aggressive movements, catchy hooks, and rapid drumming. *Consequence of Sound*'s Alex Young described the music as "the missing link between Propaghandi-esque brutality and the easily consumed energy of something along NOFX lines". *Endgame* continues a trend by Rise Against towards a more polished sound. Gregory Heaney of AllMusic wrote the change in sound was more of a logical progression as opposed to selling out, a sentiment which was shared by Kiel Hauck of *PopMatters*. Hauck further stated that while the music featured in *Endgame* is more aggressive than the music in *Appeal to Reason*, it still maintains the polished sound they had previously achieved.

Social and political commentary constitute the majority of the lyrical content on *Endgame*. The main theme of the album revolves around the end of humanity. When asked about the lyrics, McIlrath said: "Every day, there's news about our financial system or the environment collapsing or stories about nuclear proliferation". Instead of writing cynical songs however, McIlrath took a more positive approach. "We're looking at Endgame from the perspective of, 'What if this is a good thing? What if this grotesque world we created doesn't deserve to go on? What if the place on the other \[side\] of this transition is \[a\] place we'd all rather be living in?'"

Andrew David King of *PopMatters* expanded upon these statements, commenting how the album's lyrics tell of a frustrated generation, from creation to demise. He wrote how the lyrics "personify the anger beneath modern malaise, and document what happens when the inability to discern right from wrong collides with the desire to do so." He also wrote how *Endgame* is a partial re-interpretation of the Book of Job, with songs about theodicy and revolution.

### Songs

The first song on *Endgame* is "Architects", which has a fast tempo described by one critic as "a rapidly draining fuse running toward the explosion". The song features the lines "Don't you remember when you were young / and you wanted to set the world on fire / somewhere deep down I know you do", which are similar to lyrics found the Against Me! song "I Was a Teenage Anarchist". Some critics felt Rise Against was calling out Against Me! for fake passion, while other critics felt the lyrics were more focused on general apathy from the public. The second song, "Help Is on the Way", is about the slow response time for providing disaster relief, with lyrics that allude to Hurricane Katrina and the *Deepwater Horizon* oil spill. McIlrath maintains clean vocals throughout the majority of the song, but temporarily switches to screaming vocals during the bridge.

Critics wrote how "Make It Stop (September's Children)" best exemplified Rise Against's musical shift toward a more mainstream sound. It begins with a delayed guitar and a chorus of children, and transitions into a more pop punk-driven melody. The lyrics decry homophobia and bullying among LGBT youth, with a spoken word section that features the names of teenagers who committed suicide due to bullying. According to McIlrath, "Disparity by Design" is about "holding people accountable for their actions. It's a novel idea...to hold their feet to the fire". John Gentile of Punknews also noted the themes of economic injustice in the lyrics. The fifth song, "Satellite", was written as a way of expressing that Rise Against would continue to stand by their beliefs and not conform. McIlrath took inspiration from the Dixie Chicks song "Not Ready to Make Nice", which in turn was based on the events after lead vocalist Natalie Maines said that the band was ashamed that then-United States President George W. Bush was from Texas.

"Midnight Hands" is the longest song on the album, and features heavy metal-influenced guitar riffs. John Fortunato of *The Aquarian Weekly* offered his interpretation of the lyrics, calling the song "a radical, working class, pilgrimage saluting hard-won freedom". Bassist Joe Principe says the seventh song, "Survivor Guilt", serves as an extension of their 2008 song "Hero of War", and tells of the harsh realities a soldier experiences during war. "Broken Mirrors" is another heavy metal influenced song, with lyrics revolving around the days before Judgement Day. The ninth song, "Wait for Me", is one of the slower songs on the album, which McIlrath described as "more ballad-esque". "A Gentleman's Coup" continues on the theme of Judgment day presented in "Broken Mirrors", with the topic of nuclear annihilation.

"This Is Letting Go", is one of the more melody driven songs on the album, with a consistent flow. The lyrics tell of both romantic discontent and letting go of a preconceived direction to pursue one's own desires. McIlrath wrote the song with a character in mind, who is following his parents' dreams, but eventually tells them "It's not mine, it's yours". The final song, "Endgame", concludes the apocalyptic imagery saga from "Broken Mirrors" and "A Gentleman's Coup". In the song, Judgement Day came, and the remaining survivors wonder progress has been made toward restoring peace and order, or if humanity is doomed to extinction.

## Release and promotion

*Endgame* was released on March 15, 2011, and debuted at number two on the *Billboard* 200 chart, with 85,000 copies sold in its first week. It remains Rise Against's highest position on the chart. *Endgame* fell to number twenty-two the following week, with an additional 21,000 copies sold. Elsewhere on *Billboard* charts, *Endgame* topped the Top Rock Albums and the Top Hard Rock Albums charts, becoming the band's first album to do so on either chart. On the Canadian Albums Chart, *Endgame* became Rise Against's second consecutive number-one album. It was certified platinum by Music Canada in 2012, denoting shipments of more than 80,000 copies. *Endgame* found success on other charts outside of North America, such as number two in Australia, number one in Germany, and number six in Sweden.

Three songs from *Endgame* were released as singles: "Help Is on the Way", "Make It Stop (September's Children)", and "Satellite". "Help Is on the Way" in particular became one of Rise Against's most commercially successful singles. It is the band's only single to appear on the *Billboard* Hot 100, where it peaked at number eighty-nine. "Help Is on the Way" also reached number forty-five on the Canadian Hot 100, number two on both the Hot Rock Songs and Alternative Songs charts, and number six on the Mainstream Rock chart. "Make It Stop (September's Children)" and "Satellite" were also commercially successful on the *Billboard* rock charts, reaching the top ten on both the Hot Rock Songs and Alternative Songs charts.

Accompanying music videos were shot for the three singles. The video for "Help Is on the Way" plays on the natural disaster themes found in the lyrics, as it depicts an African-American family attempting to escape increasing floodwater levels that engulf their neighborhood. It ends with a message encouraging donations, and a link to the band's activism website. In the "Make It Stop (September's Children)" video, three gay teenagers are bullied, and contemplate suicide, before they realize they have much to live for. Rise Against partnered with the It Gets Better Project, and the video was filmed at McIlrath's alma mater Rolling Meadows High School. The video for "Satellite" features behind the scenes footage of production crews setting up the stage, soundchecks, and shots of fans at Rise Against concerts.

## Critical reception

Professional ratings
| Aggregate scores | |
| --- | --- |
| Source | Rating |
| Metacritic | 76/100 |
| Review scores | |
| Source | Rating |
| *AbsolutePunk* | 78% |
| AllMusic |  |
| *Alternative Press* |  |
| *Consequence of Sound* | C+ |
| *Entertainment Weekly* | B |
| *NME* | 8/10 |
| *PopMatters* |  |
| *Rock Sound* | 9/10 |
| *Rolling Stone* |  |
| *Spin* | 5/10 |
| Sputnikmusic | 4/5 |

*Endgame* currently holds a 76/100 on the review aggregator website Metacritic, which indicates "generally favorable reviews". Tim Newbound of *Rock Sound* wrote "'Endgame is bona fide awesomeness", while Stephen Thomas Erlewine of AllMusic said "Rise Against deliver another blast of driving, politically charged, melodic hardcore". *NME*'s Rob Parker opined that while it was not as good as the 2003 album *Revolutions per Minute*, he called *Endgame* "a hugely exhilarating album ... a fine record from an ever-impressive band. Jon Dolan *Rolling Stone* commented "Rise Against's mastery of anthemic punk rock is second only to their mastery of being pissed off." Kenny Herzog of *Spin* wrote a more critical review of *Endgame*, in which he described most of the songs as "turgidly overlong and underfed".

Newbound called *Endgame* one of the most punk inspired albums Rise Against had ever recorded, and wrote: "it's an album drenched in hugely anthemic, melodic movements that could bring stadium crowds to a frenzy while never deviating from a punk blueprint." *Consequence of Sound*'s Alex Young commented how the music would satisfy listeners who wanted hardcore movements with a straight edge dynamic, as well as casual listeners who simply want a steady rhythm to mosh to. Writing for *AbsolutePunk*, Thomas Nassiff liked how nearly every song was had a catchy and memorable chorus rooted in punk, but said how the formula ultimately became repetitive. Davey Boy of Sputnikmusic criticized the indistinguishable sound of the album, which believed was due to guitarist Zach Blair's use of recycled guitar licks and riffs.

Several critics noted Rise Against's continued trend toward a more accessible and radio-friendly sound. Kiel Hauck of *PopMatters* wrote: "they're not reinventing the wheel here, only tinkering with the formula that's gotten them to where they are in the first place." Young said although Rise Against may never return to its hardcore roots, this was not selling out, but is instead "expanding the horizon to broaden who receives the calling". Nassiff felt the band lost some of its passion with the move toward a more accessible sound, but ultimately noted how many of the songs on the album were still better than most mainstream rock songs. "Listeners are lucky that Rise Against can still create a worthwhile and entertaining record while their music moves beyond its origins" said Nassiff.

Most critics liked the politically driven lyrics. Erlewine felt the lyrics provided listeners with an honest depiction of the world, and were often about topics listeners needed to hear as opposed to what they wanted to hear. Boy described the lyrics as passionate and motivated, regardless of the listener's political beliefs. Writing for *Entertainment Weekly*, Greg Kot found some of the lyrics to be overly melodramatic, while Hauck felt the lyrics would not have a lasting impact on the listener. Scott Heisel of *Alternative Press* praised the lyrics, and wrote: "that's really why Rise Against are so important to rock on a large spectrum these days, and why it's a relief that they made an album as strong as their ethics and beliefs this time around."

## Track listing

All lyrics written by Tim McIlrath; all music composed by Rise Against.

| No. | Title | Length |
| --- | --- | --- |
| 1. | "Architects" | 3:42 |
| 2. | "Help Is on the Way" | 3:57 |
| 3. | "Make It Stop (September's Children)" | 3:55 |
| 4. | "Disparity by Design" | 3:49 |
| 5. | "Satellite" | 3:59 |
| 6. | "Midnight Hands" | 4:18 |
| 7. | "Survivor Guilt" | 4:00 |
| 8. | "Broken Mirrors" | 3:55 |
| 9. | "Wait for Me" | 3:40 |
| 10. | "A Gentlemen's Coup" | 3:46 |
| 11. | "This Is Letting Go" | 3:41 |
| 12. | "Endgame" | 3:24 |
| Total length: | | 46:05 |

iTunes Store bonus track
| No. | Title | Length |
| --- | --- | --- |
| 13. | "Lanterns" | 3:49 |
| Total length: | | 49:54 |

Australian bonus track
| No. | Title | Length |
| --- | --- | --- |
| 13. | "The Good Left Undone" (Live) | 3:02 |
| Total length: | | 49:07 |

## Personnel

Credits adapted from the liner notes of *Endgame*.

## Charts and certifications

## Release history

| Country | Date | Format | Label | Ref. |
| --- | --- | --- | --- | --- |
| Australia | March 11, 2011 | LP | Universal Music Group |  |
| Germany | | CD | |  |
| Poland | |  | |
| United Kingdom | | March 14, 2011 | Polydor |  |
| Portugal | | Universal Music Group |  |
| Canada | | March 15, 2011 |  |
| France | |  |
| | | LP |  |
| Japan | | CD |  |
| United States | |  |
| | | LP |  |
| | | Digital download |  |
| Australia | | March 24, 2011 | CD |  |

### Notes

### Footnotes

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7. Young, Alex (March 17, 2011). "Rise Against – Endgame". *Consequence of Sound*. Archived from the original on August 13, 2011. Retrieved December 8, 2012.
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11. Boy, Davey (March 14, 2011). "Rise Against - Endgame". *Sputnikmusic*. Archived from the original on June 30, 2013. Retrieved October 15, 2011.
12. King, Andrew David (May 26, 2011). "Punk Rock Rapture: Rise Against and the Eschatology of 'Endgame'". *PopMatters*. Archived from the original on June 29, 2018. Retrieved June 24, 2018.
13. Grischow, Chad (March 14, 2011). "Rise Against: Endgame Review". IGN. Archived from the original on September 26, 2015. Retrieved March 14, 2011.
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27. "Swedishcharts.com – Rise Against – Endgame". Hung Medien. Retrieved August 27, 2015.
28. "Rise Against Album & Song Chart History – The Hot 100". *Billboard*. Archived from the original on May 10, 2018. Retrieved May 22, 2016.
29. "Rise Against Album & Song Chart History – Canadian Hot 100". *Billboard*. Archived from the original on May 10, 2018. Retrieved August 1, 2010.
30. "Rise Against Album & Song Chart History – Rock Songs". *Billboard*. Archived from the original on May 7, 2018. Retrieved May 22, 2016.
31. "Rise Against Album & Song Chart History – Alternative Songs". *Billboard*. Archived from the original on May 10, 2018. Retrieved March 9, 2011.
32. "Rise Against Album & Song Chart History – Mainstream Rock Songs". *Billboard*. Archived from the original on May 10, 2018. Retrieved May 22, 2016.
33. Garner, George (February 15, 2015). "The Ultimate Rise Against Videography". *Kerrang!*. Archived from the original on January 20, 2016. Retrieved June 5, 2017.
34. Hasty, Katie (March 23, 2011). "Watch: Rise Against reveals compelling 'Help Is on the Way' music video". HitFix. Archived from the original on May 29, 2011. Retrieved January 12, 2016.
35. Montgomery, James (June 20, 2011). "Rise Against 'Make It Stop' Tackles Bullying, Suicide". *MTV*. Archived from the original on June 20, 2019. Retrieved June 19, 2019.
36. Kim, Dave (November 2, 2011). "Rise Against Pay Tribute to Fans in 'Satellite' Music Video". *WGRD-FM*. Archived from the original on June 20, 2019. Retrieved June 19, 2019.
37. "Endgame by Rise Against". Metacritic. Archived from the original on October 26, 2012. Retrieved October 13, 2015.
38. Kot, Greg (March 17, 2011). "Endgame". *Entertainment Weekly*. Archived from the original on June 17, 2019. Retrieved December 8, 2012.
39. Parker, Rob (March 16, 2011). "Album Review: Rise Against - Endgame (DGC/Interscope)". *NME*. Archived from the original on July 10, 2015. Retrieved December 8, 2012.
40. Dolan, Jon (March 15, 2011). "Endgame". *Rolling Stone*. Archived from the original on September 25, 2015. Retrieved March 17, 2011.
41. Herzog, Kenny (March 15, 2011). "Rise Against, 'Endgame' (DGC/Interscope)". *Spin*. Archived from the original on December 19, 2015. Retrieved March 17, 2011.
42. *Endgame* (Booklet). Rise Against. DGC Records, Interscope Records. 2011.`{{cite AV media notes}}`: CS1 maint: others in cite AV media (notes) (link)
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44. "Endgame by Rise Against" (select "Tracks" tab). Sanity. Archived from the original on March 4, 2016. Retrieved October 15, 2015.
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## InfoBox

| Endgame | |
| --- | --- |
|  | |
| Studio album by Rise Against | |
| Released | March 15, 2011 (2011-03-15) |
| Recorded | September 2010 – January 2011 |
| Studio | The Blasting Room, Fort Collins, Colorado |
| Genre | Melodic hardcore |
| Length | 46:05 |
| Label |  |
| Producer |  |
| Rise Against chronology | |
| *Appeal to Reason*<br>(2008) ***Endgame***<br>(2011) *Long Forgotten Songs: B-Sides & Covers 2000–2013*<br>(2013) | |
|  | |
| Singles from  *Endgame* | |
| 1. "Help Is on the Way"<br>Released: January 25, 2011 2. "Make It Stop (September's Children)"<br>Released: May 30, 2011 3. "Satellite"<br>Released: November 1, 2011 4. "Wait for Me"<br>Released: June 12, 2012 | |
|  | |


title: Endgame (2007 film)

abstract: Endgame: Blueprint for Global Enslavement is a 2007 documentary film directed by Alex Jones. The film explores various conspiracy theories, focusing on the idea that a secretive elite group is working towards establishing a New World Order to achieve global control and enslavement. It discusses topics such as eugenics, population control, and the loss of national sovereignty, and it presents historical and contemporary events as evidence supporting these theories. The film combines interviews, archival footage, and Jones' commentary to argue that global institutions and powerful individuals are manipulating political and economic systems for their benefit at the expense of individual freedoms and national independence.

text:
# Endgame (2007 film)

**Endgame: Blueprint for Global Enslavement** is a 2007 documentary film directed by Alex Jones. The film explores various conspiracy theories, focusing on the idea that a secretive elite group is working towards establishing a New World Order to achieve global control and enslavement. It discusses topics such as eugenics, population control, and the loss of national sovereignty, and it presents historical and contemporary events as evidence supporting these theories. The film combines interviews, archival footage, and Jones' commentary to argue that global institutions and powerful individuals are manipulating political and economic systems for their benefit at the expense of individual freedoms and national independence.

## Content

In the film, Alex Jones presents his claim of a eugenics-obsessed group leading the world, whose mission is the elimination of most of the Earth's population and the enslavement of the remainder. He claims that an international network has been "steering planetary affairs for hundreds of years." and that fundamental theories of eugenics are used by governments as a form of control.

## Cast

## Critical reception

Glenn Erickson of *DVD Talk* wrote that the film is "so obnoxious and pernicious, it's scary", and found that "*Endgame* instead sells a wild and moronic conspiracy fantasy with something to offer every malcontent and paranoid on the planet." The Courier Online described it as, "...conspiracy ridden... written and directed by professional nutter Alex Jones."

## InfoBox

| Endgame: Blueprint for Global Enslavement | |
| --- | --- |
| *Endgame* DVD cover | |
| Directed by | Alex Jones |
| Written by | Alex Jones |
| Produced by | Alex Jones |
| Narrated by | Alex Jones |
| Edited by | Alex Jones
Rob Jacobson |
| Music by | Graham Reynolds |
| Production
companies | Magnolia Management
Alex Jones Productions |
| Distributed by | Disinformation Company (2007 US DVD) |
| Release date | * November 1, 2007 (2007-11-01) |
| Running time | 139 minutes |
| Country | United States |
| Language | English |


title: Ender Chávez

abstract: Ender James Chávez is a Venezuelan professional baseball coach. He is the former batting practice pitcher for the New York Mets of Major League Baseball (MLB). He is the younger brother of former Major League Baseball outfielder Endy Chávez.

text:
# Ender Chávez

**Ender James Chávez** (born March 9, 1981) is a Venezuelan professional baseball coach. He is the former batting practice pitcher for the New York Mets of Major League Baseball (MLB). He is the younger brother of former Major League Baseball outfielder Endy Chávez.

## Career

### Playing career

Chávez signed with the Colorado Rockies as a non-drafted free agent on Aug. 31, 1998, playing his first two seasons in the Venezuelan Summer League in 1999 and 2000. In 2001, Chávez played for the Casper Rockies before being traded to the New York Mets on August 23, 2001, as the player to be named later for Gary Bennett. Chávez played for the St. Lucie Mets for the 2002 season before being promoted to the Brooklyn Cyclones where he played from 2002 to 2003 before splitting the '03 season with the Cyclones, Capital City Bombers, and St. Lucie.

After the 2003 season, he was acquired by the Montreal Expos in the Rule 5 draft. After the Expos moved to Washington becoming the Washington Nationals starting the 2005 season, Chávez remained in the organization. At this time, his older brother Endy was traded to the Philadelphia Phillies. Ender played for the Brevard County Manatees in 2004 and the Potomac Nationals in 2005. In 2006, he was promoted to the double-AA level for the first time playing for the Harrisburg Senators and Potomac. He would conclude the 2006 season playing for Pastora de Occidente of the VSL into early 2007.

Chávez returned to the Mets organization playing for the Brooklyn Cyclones and St. Lucie Mets in 2007, hitting .170 for the former and .279 for the latter. In 2008, he played for the Yuma Scorpions of the Golden Baseball League, hitting .400 in 10 at-bats before retiring.

### Coaching career

Chávez was hired as a Venezuelan-area scout for the New York Mets in 2010. He began his minor league coaching career as the hitting coach for the DSL Mets 2 from 2011 to 2012. From 2013 to 2015 he was the hitting coach for the Gulf Coast League Mets. From 2016 to 2017 he was the hitting coach for the Kingsport Mets. In 2018, he was named the hitting coach for the Columbia Fireflies. In 2019, he was named the bench coach for the Binghamton Rumble Ponies. In 2020, Chávez was promoted to the Mets coaching staff as the batting practice pitcher. In 2021, he was replaced by Rafael Fernandez as the batting practice pitcher and hired as the co-bench coach with his brother Endy for the realigned second minor league team in Port St. Lucie.

## InfoBox

| Ender Chávez | |
| --- | --- |
| **Outfielder / Coach** | |
| **Born:**  (1981-03-09) March 9, 1981<br>Valencia, Carabobo, Venezuela | |
| **Bats:** Left**Throws:** Left | |
|  | |
| Teams | |
|  | |


title: Endocrinology of reproduction

text:
# Endocrinology of reproduction

Hormonal regulation occurs at every stage of development. A milieu of hormones simultaneously affects development of the fetus during embryogenesis and the mother, including human chorionic gonadotropin (hCG) and progesterone (P4).

## Embryogenesis

Human chorionic gonadotropin (hCG), progesterone, 17β-estradiol, endorphins and gonadotropin-releasing hormone (GnRH) synthesis are rapidly upregulated by the developing embryo following fertilization of the ovum.

During early embryonic development, paracrine/juxtacrine signaling of hCG induces blastulation and neurulation. An in vitro model of early human embryogenesis (human embryonic stem cells (hESCs)) has demonstrated that hCG promotes cell proliferation via the LH/hCG receptor (LHCGR). hCG signaling upregulates the expression of steroidogenic acute regulatory protein (StAR)-mediated cholesterol transport and the synthesis of progesterone in hESC. The production of progesterone at this time induces embryroid body (akin to blastulation) and rosette (akin to neurulation) formation in vitro. Progesterone induces the differentiation of pluripotent hESC to neural precursor cells.

Suppression of P4 signaling following withdrawal of progesterone, or treatment with the progesterone receptor antagonist RU-486 (mifepristone), inhibits the differentiation of hESC colonies into embryoid bodies (blastulation) or rosettes (neurulation). RU-486, a drug commonly used to terminate pregnancy in its early stages, acts not only to abort the embryo, but also to inhibit normal embryonic development.

## Influence of maternal hormones

Pregnancy-associated hormones such as hCG and sex steroids regulate numerous biological processes in the maternal system prior to and during pregnancy. The embryo orchestrates biological changes that occur in both the embryo and the mother. The embryo upregulates hCG, drives growth of the cell, and upregulates P4 production driving development. hCG and P4 direct changes in the mother to enable successful pregnancy (see below) via upregulation of specific hormones that act to direct both endocrinological and biological changes within the mother for successful pregnancy.

### Maintenance of the endometrial lining

The early embryo has 1–2 weeks in order to produce sufficient hCG in order to stabilize the endometrial lining to allow for blastocyst attachment. The dramatic increase in trophoblastic and corpus luteal hCG synthesis signals both blastocyst and corpus luteal production of P4, crucial for the maintenance of the endometrium.

### Attachment and invasion of cytotrophoblast into endometrium

hCG secreted by cytotrophoblastic cells of the blastocyst controls endometrial tissue remodeling by both activation of matrix matalloproteinases (MMP) that control the maternal extracellular matrix and inhibition of tissue-inhibitors of matrix-metalloproteinases (TIMP). hCG mediates invasion and attachment to the endometrium. Low levels of hCG increase risk of pre-eclampsia.

### Uterine angiogenesis

Uterine angiogenesis is upregulated by human chorionic gonadotropin and progesterone and downregulated by estrogen. The balance of influences of progesterone and estrogen determine the state of angiogenesis in the uterus during early pregnancy.

### Suppression of the maternal immune system

High levels of progesterone produced by the embryonic placenta regulate lymphocyte proliferation at the maternal-fetal interface, locally suppressing maternal immune response against the developing embryo.

### Suppression of GnRH secretion to prevent further follicular maturation

Negative feedback of progesterone inhibits hypothalamic pulsatile GnRH neurosecretion, ovulatory GnRH release and pituitary gonadotropin surges thereby effectively preventing further follicular maturation.

### Preparation of maternal metabolic systems

Progesterone regulates metabolism of carbohydrates, proteins, and lipids, resulting in physiological changes associated with pregnancy. The mix of hormones characteristic of early pregnancy promote natural growth of maternal tissues and weight gain. In the second half of pregnancy, progesterone and prolactin prepare the mammary glands for lactation.

### Preparation of mammary glands for lactation

Estrogens and progesterone promote mammary epithelial cell proliferation resulting in the formation of the primary and secondary ductal structure. Progesterone induces formation of tertiary side-branches in the mammary glands during puberty and during the luteal phase of the menstrual cycle upon which lobuloalveolar structures form under the influence of prolactin. Prolactin stimulates lactogenesis.

### Induction of sleep

hCG appears to be soporific during pregnancy; levels of hCG correlate with sleep changes during pregnancy, and administration of hCG increases sleep in rats likely via neuronal LHCGR.