title: 195 Broadway

abstract: 195 Broadway, also known as the Telephone Building, Telegraph Building, or Western Union Building, is an early skyscraper on Broadway in the Financial District of Manhattan in New York City. The building was the longtime headquarters of AT&T Corp. and Western Union. It occupies the entire western side of Broadway from Dey to Fulton Streets. The site of the building formerly was occupied by the Western Union Telegraph Building. The current 29-story, 422-foot-tall (129 m) building was commissioned after AT&T's 1909 acquisition of Western Union. It was constructed from 1912 to 1916 under the leadership of Theodore Newton Vail, to designs by William W. Bosworth, although one section was not completed until 1922. It was the site of one end of the first transcontinental telephone call, the first intercity Picturephone call, and the first transatlantic telephone call. Though AT&T's headquarters relocated to 550 Madison Avenue in 1984, 195 Broadway remains in use as an office building as of 2022. Bosworth's design was heavily Greek-influenced: though the facade is made of white Vermont granite, it features layers of gray granite columns in Doric and Ionic styles, as well as various Greek-inspired ornamentation. The northwestern corner of the building was designed similar to a campanile with a stepped roof, which formerly supported the Spirit of Communication statue. The Greek design carried into the large lobby, clad with marble walls and floors, and containing sculptural ornament by Paul Manship and Gaston Lachaise. The exterior and first-floor interior spaces were designated as city landmarks by the New York City Landmarks Preservation Commission in 2006.

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# 195 Broadway

**195 Broadway**, also known as the **Telephone Building**, **Telegraph Building**, or **Western Union Building**, is an early skyscraper on Broadway in the Financial District of Manhattan in New York City. The building was the longtime headquarters of AT&T Corp. and Western Union. It occupies the entire western side of Broadway from Dey to Fulton Streets.

The site of the building formerly was occupied by the Western Union Telegraph Building. The current 29-story, 422-foot-tall (129 m) building was commissioned after AT&T's 1909 acquisition of Western Union. It was constructed from 1912 to 1916 under the leadership of Theodore Newton Vail, to designs by William W. Bosworth, although one section was not completed until 1922. It was the site of one end of the first transcontinental telephone call, the first intercity Picturephone call, and the first transatlantic telephone call. Though AT&T's headquarters relocated to 550 Madison Avenue in 1984, 195 Broadway remains in use as an office building as of 2022.

Bosworth's design was heavily Greek-influenced: though the facade is made of white Vermont granite, it features layers of gray granite columns in Doric and Ionic styles, as well as various Greek-inspired ornamentation. The northwestern corner of the building was designed similar to a campanile with a stepped roof, which formerly supported the *Spirit of Communication* statue. The Greek design carried into the large lobby, clad with marble walls and floors, and containing sculptural ornament by Paul Manship and Gaston Lachaise. The exterior and first-floor interior spaces were designated as city landmarks by the New York City Landmarks Preservation Commission in 2006.

## Site

195 Broadway is on the west side of Broadway, between Fulton Street to the north and Dey Street to the south, in the Financial District of Lower Manhattan in New York City. The building has a frontage of 275 feet (84 m) on Dey Street, 154 feet (47 m) on Broadway, and 200 feet (61 m) on Fulton Street. According to the New York City Department of City Planning, the lot has an area of 36,775 square feet (3,416.5 m2). 195 Broadway shares a block with the Millennium Hilton New York Downtown hotel to the west. Other nearby buildings include St. Paul's Chapel to the north, the Fulton Center and Corbin Building to the east, and the World Trade Center Transportation Hub and 3 World Trade Center to the west.

## Architecture

Though William Welles Bosworth is credited as the architect, the design of 195 Broadway was largely influenced by AT&T Corp. head Theodore Newton Vail. According to Bosworth, "It was the aim of Mr. Vail that \[195 Broadway\] should express the ideal the Telephone Company stands for." For the lobby, Bosworth was inspired by the design of the Parthenon's porticos and Egyptian hypostyles to create "a forest of polished marble" supported by massive columns.

Bosworth's design was heavily Greek-influenced; it featured layers of gray granite columns in Doric and Ionic styles, and a lobby that included 43 oversized Doric columns made of marble. Many building details, such as the columns and the metal grilles above each entrance bay, were nearly identical copies of similar features on classical Greek buildings such as the Parthenon and the Temple of Artemis. Bosworth also incorporated several "architectural refinements" that Brooklyn Museum professor William H. Goodyear had noted as being characteristic of Greek architecture, including column spacing and progressively smaller columns at higher floors. Ornament was yet another important part of the design and was ubiquitous within 195 Broadway. Bosworth later wrote that he was "immensely proud" of the 195 Broadway design, from which he drew all of his subsequent Greek-inspired designs.

The main structure is 27 stories, including its attic and double-height lobby. The Dey Street annex, along the southern portion of the building, was an L-shaped structure at the corner of Dey Street and Broadway with an extension reaching Fulton Street. The westernmost 33 feet (10 m) on Fulton Street was designed like a campanile to fit with its narrow and tall form. The campanile is 29 stories high.

### Facade

The facade is made of white Vermont granite. It was built in three sections: the western portion of the lot facing Dey Street; the extension east to Broadway with a small wing extending north to Fulton Street; and the corner of Broadway and Fulton Street. There are three sets of four bays on Dey Street and two such sets on Broadway; the "transitional bays" are plainer and slightly set back. On Dey Street and Broadway, each set of four bays is arranged so that the center bays are wider, and the columns at higher stories are slightly set back with smaller diameters. The Fulton Street facade, unlike the Dey Street and Broadway facades, is divided into two sections: the campanile to the west and the continuous eight-bay colonnade to the east. On all three principal facades, the first-floor bays contain entrance frames or window frames made of bronze. Wheelchair ramps are cut into certain entrance bays along both Fulton and Dey Streets.

The building's articulation consists of three horizontal sections similar to the components of a column, namely a base, shaft, and capital. However, unlike in other buildings where the base and capital were more elaborate than the shaft, the entire facade of 195 Broadway consisted of "sustained decoration of superimposed orders", similar to ancient Greek and Roman buildings such as the Septizodium in Rome or the Library of Pergamum in what is now Turkey. The facade was thus composed of a Doric colonnade along the double-height first floor, and eight sets of triple-height Ionic colonnades on subsequent stories. The Doric columns at the base supported a frieze running along the top of the first floor. The lowest story of each layer of Ionic colonnades contained mullions and spandrels made of stone, which contributed to the building's "solidity". A tall parapet at the building's top was intended to show "strength and solidity binding the columns", as did the structure's transitional bays. The entire facade was designed like this except for the campanile-like tower on Fulton Street.

On the Fulton Street side, the westernmost three bays comprise a 422-foot (129 m) tower whose facade consists of an ornate three-story base and a relatively undecorated 22-story granite shaft. The base contains two garage openings on the first floor; two pairs of bronze-framed windows on the second floor, with each pair separated by an Ionic column; and a colonnade on the third floor, articulated by vertical pilasters that contain various decorations. The top stories are flanked by Ionic columns. The roof of this tower is a pyramidal crown inspired by contemporary renderings of the Mausoleum at Halicarnassus.

The minor elevations are along the north side of the Dey Street wing and the west sides of the Dey Street and Fulton Street wings. The western facade of the Fulton Street wing contains relatively plain window openings, and the western facade of the Dey Street wing is a windowless wall mostly blocked by the Millennium Hotel. The northern facade of the Dey Street wing also contains window openings; the center section of this facade is windowless and contained a "light court" which was infilled during the 1960s.

The facade contains ornaments such as swags and wreaths. There are bronze spandrels with decorative friezes within the upper-story bays, and the facade of the top story under the parapet contains bronze lion heads. Foliated reliefs are located within the door and window frames at ground level, and antefixes are located above the shop windows and the Dey and Fulton Street subway entrances. The subway entrances also contained granite faces and bronze gates, and the decoration extended into the basement where the subway platform was located.

### Interior

195 Broadway has almost a million square feet (93,000 m2) of interior floor space, approximately 36,000 square feet (3,300 m2) per floor. According to the Department of City Planning, the building has 1,094,861 square feet (101,715.9 m2) of gross floor area. There were formerly 28 elevators serving the office floors, but as of 2022, there are 22 passenger elevators that travel from the lobby to the upper floors. The elevators are divided into zones, with each elevator only serving a certain range of floors. Specifically, eight elevators travel from the lobby to the 23rd through 28th floors; six elevators travel to the 15th through 22nd floors; and eight cars travel to the 4th through 15th floors. A single freight elevator serves all floors. The office floors contain varying ceiling heights. The 6th, 9th, 12th, 16th, 19th, 22nd and 25th floors have ceilings that are 13.5 feet (4.1 m) tall; the 28th floor's ceiling is 17.5 feet (5.3 m) tall; and the remaining office stories starting from the 4th floor are 12.5 feet (3.8 m) tall.

Sculptor Paul Manship designed decorations for the interior, including elevator doors, floor panels, and drinking fountains made of bronze. The bronze decorations in the lobby were removed when AT&T moved out during 1984. Manship may have also worked on the chandeliers and windows in the lobby, though the extent of his involvement is unclear. Lachaise was given the commission for the frieze lining the elevator bank on Fulton Street.

According to *The New York Times*, 195 Broadway is considered to have the most marble of any New York City office building; the material is so ubiquitous that it was even used for the fire stairs. The structure also incorporates cast bronze or nickel silver on its interior furnishings, such as window frames and door knobs.

#### First floor

The lobby has a ceiling 40 feet (12 m) high and contains 15,000 square feet (1,400 m2) of floor area. The ceiling is supported by white marble columns in the Doric order; the interior partitions are also made of white marble; and the floors are of gray marble. The ceiling contains a grid of coffers punctuated by heavy, green-and-gold decorated beams. The directory boards in the lobby are also brightly colored. There are forty bronze-and-alabaster chandeliers hanging from the ceiling. As with the facade, the lobby includes bronze furnishings and is heavily influenced by Greek architecture. Among the Greek-inspired features of the lobby was a white marble mailbox with eagle carvings, modeled after a Greek stele.

The oldest section of the building, on the southwest side facing Dey Street included a lobby, shops, offices, fire stairs, and a narrow bank of elevators near the east wall. The elevators face eastward, toward the larger Dey Street lobby. The rest of the Dey Street (south) wing, extending eastward to Broadway, includes a main vestibule with revolving doors on Dey Street. It is surrounded to the north, west, and east by elevator banks. Because Dey Street rose gradually as it approached Broadway to the east, there are numerous slightly raised enclosures near the entrance bays on Dey Street. The space is further subdivided by low-height railings and partitions of marble. A corridor extends east to Broadway, where originally there were two revolving-door entrances.

Under the campanile on Fulton Street, there was retail space, later largely converted to a pair of loading docks 35 feet (11 m) deep. The Fulton Street (north) lobby also contains a passageway extending south to the Dey Street wing, and there are elevators on the south and east walls of the lobby. When the corner space at Broadway and Fulton Street was completed, the wall separating the new lobby to the north and the old lobby to the south was removed. The elevator banks on the east wall were installed, and more columns were erected inside the lobby to create a hypostyle-like hall. Cantilevered trusses were installed on the third floor to support the weight originally carried by the wall in the Broadway lobby. The corner section's construction included the addition of two more revolving doors on the northern section of the Broadway facade, three revolving doors on Fulton Street. This section included a store for the Benedict Brothers.

The Broadway lobby, on the eastern side of the lot, is separated from both the Fulton and Dey Street wings by the elevator banks along these wings' eastern walls, as well as a pair of fire stairs. Passageways from both wings' lobbies lead east to the Broadway lobby. The wings contain asymmetrical column arrangements, but this is not immediately visible from the Broadway lobby due to the presence of the elevator banks. Prior to 2016, the lobby contained minimal retail space. Following a renovation that year, the lobby was slightly reconfigured to include three storefronts separated by full-height glass barriers and connected by a galleria.

#### Basements

195 Broadway contains five basement levels, labeled alphabetically from top to bottom (i.e. the lowest level is called basement "E"). Basement levels B, C, and E contain storage areas.

The uppermost basement level, the "A" level, is adjacent to the Fulton Street station complex on the New York City Subway, serving the , , , , , , , and  trains. From the Fulton Street side, there is a direct entrance to the southbound platform of the IRT Lexington Avenue Line station (served by the 4 and 5 trains), which is directly under Broadway. Going west from Broadway, the stairs to the subway are located in the second bay, and are framed by a bronze surround. In the basement, there is a 75-foot-long (23 m) granite wall between the platform and the building. Within the granite wall there are bronze sliding gates and a long window separated by bronze mullions. The sliding gates used to provide access to the station, a purpose that is now served by turnstiles.

### Art

The building originally featured a gilded bronze sculpture originally called *Genius of Telegraphy*, placed atop the pyramidal roof of the campanile in 1916. The artist Evelyn Beatrice Longman created a statue depicting a 24-foot-tall (7.3 m) winged male figure on top of a globe, wrapped by cables, clutching bolts of electricity in his left hand. After a court-ordered divestiture of Western Union, the statue's official title was changed to *Genius of Electricity* by the time it was installed. The statue was renamed again to *Spirit of Communication* in the 1930s, but has been better known by its nickname, *Golden Boy*. In 1984 when AT&T moved to 550 Madison Avenue, the statue was relocated to the foyer of 550 Madison; the statue was later moved yet again to New Jersey. As of 2021, the statue is located at the AT&T corporate campus in Downtown Dallas.

One of Manship's earliest public works was "The Four Elements", a set of four bronze reliefs on the lower facade of the building. The Manship reliefs are located above the revolving doors on the Broadway side, as well as at the spandrels within the four westernmost bays along Dey Street. The reliefs respectively represent earth, air, fire, and water. They were later replaced with copies.

On Fulton Street, above the third story of the campanile, is a stone relief depicting a personification of Electricity with a shield containing the symbol of Western Union; a bronze lion in the center; and a stone relief of Demeter holding a torch.

In the lobby, Gaston Lachaise originally planned to design a 22-foot (6.7 m) "marble statue of a young woman" along the eastern wall of the Broadway elevator lobby, though this work was not installed. Instead, this space was occupied by *Service to the Nation in Peace and War* (1928), an allegorical group by Chester Beach. The piece, in bronze and marble, depicts personifications of telecommunications, war, and peace.

## History

From its 1885 establishment to 1910, AT&T was headquartered at 125 Milk Street in Boston. The current building at 195 Broadway was constructed under the leadership of AT&T's president Theodore Newton Vail, who had taken the role in 1907 and assumed the same title at Western Union in 1909 when that firm was purchased by AT&T. At the time, the site was occupied by the Western Union Telegraph Building.

In 1910, AT&T revealed plans to improve Western Union's offices "for the accommodation of the public and the welfare" of workers. Bosworth, who designed the John D. Rockefeller estate at Kykuit, was offered the commission to design a headquarters building at 195 Broadway in November 1911. Simultaneously, work proceeded on 24 Walker Street, a shared-operations building erected further north between 1911 and 1914.

### Construction

In 1912, plans were devised for a 29-story headquarters building that would be constructed on the western sidewalk of Broadway on the block stretching from Dey Street to Fulton Street. The plan entailed constructing one wing on the Dey Street corner, followed by the second wing on the Fulton Street corner.

To minimize disruption to Western Union's operations, the new building was constructed in several portions, and the 195 Broadway Corporation was organized to take over operation of the existing structure. Work began first on the Dey Street annex; the Western Union Building annex at 14–18 Dey Street was demolished in 1912. The New York Associated Press, an occupant of the old building, moved to 51 Chambers Street in April 1914; Western Union employees moved to Walker Street two months later. The Dey Street annex was completed by late 1914. As the building had not yet been finished, Alexander Graham Bell made the first transcontinental telephone call in January 1915 from a company building on the south side of Dey Street. The Broadway and Fulton Street wings then commenced construction. The new 195 Broadway building was declared completed in 1916, upon which 3,500 employees of AT&T and its subsidiaries moved into the structure.

The 195 Broadway Corporation also bought numerous adjacent plots of land to ensure that the new structure would be compliant with the upcoming 1916 Zoning Resolution, which established limits in building massing at certain heights. Specifically, the Mail and Express Building between Dey and Fulton Streets was acquired in February 1916, followed by the acquisition of the four-story 205 Broadway building at Fulton Street in July, days before the zoning law took effect. An agreement was made with the Interborough Rapid Transit Company (IRT) to construct an entrance and exit from the base of 195 Broadway to the Fulton Street subway station in 1915. An exit on Broadway opened in August 1916, and an entrance on Dey Street opened that October.

Bosworth was then directed to prepare plans for three 27-story annexes. Material shortages due to World War I prevented the expansion, and there were numerous holdouts. The 195 Broadway Corp. purchased the New York Law School structures at 172–174 Fulton Street in August 1918, at which point it owned almost the entire block bounded by Broadway and Dey, Fulton, and Church Streets. However, the building permit had expired the previous month. Bosworth filed plans for a smaller addition to complete the corner of Fulton Street and Broadway in December 1919; it was initially denied for violating the zoning law's height restriction, but the following month, the city board of appeals allowed construction to proceed. The corner section was finished in 1922, thereby completing the original headquarters. This section included a store for the Benedict Brothers, jewelers who held-out during the original construction and only agreed to give up their building in exchange for retail space in the building.

### AT&T headquarters

195 Broadway's name changed several times in its early years, reflecting changes in its ownership. 195 Broadway was referred to as the "Western Union Building" during its construction and as the "Telephone and Telegraph Building" after completion. AT&T settled on the American Telephone & Telegraph Building name in the 1920s, which the building retained through the 1980s. 195 Broadway was closely associated with AT&T, and the 195 Broadway Corporation came to encompass all of the company's real estate holdings until AT&T moved out during the 1980s.

Vail retired in 1919, shortly after 195 Broadway was finished; the new AT&T president, Henry Bates Thayer, helped grow the company into an international telecommunications company. While in use as AT&T headquarters, 195 Broadway was the site of one end of the first transcontinental telephone call in 1923. The same building was the New York end of the first intercity Picturephone call in 1927 and of the first transatlantic telephone call, made to London, England, also in 1927. The company also founded radio station WEAF, which broadcast from 195 Broadway's Fulton Street tower and continued to do so after its 1925 purchase by RCA. In 1941, *The New York Times* reported that work on the then-under-construction radio apparatus at 711 Fifth Avenue, the studios of RCA's NBC division, was controlled from "a single little room" within 195 Broadway.

Western Union started erecting a new headquarters at 60 Hudson Street in 1928. Most of the company's operations moved to its new Hudson Street building two years later. Western Union's ticker and messenger services, as well as the money-order department, were kept at 195 Broadway. Benedict Brothers closed their shop in 195 Broadway's lobby in 1938. The next year, AT&T decided to display "the most accurate clock in the world" on the northernmost window bay along the Broadway facade, a showcase of the successful timekeeping service developed by AT&T's Bell Labs. At that time, AT&T had developed a near-monopoly on the United States' telephone and long-distance service.

AT&T's Western Electric division outgrew the original headquarters at 195 Broadway in the 1950s, having made significant profits during the Cold War. In 1957, Western Electric started planning its own structure diagonally across Broadway and Fulton Street, and five years later, moved into its new 31-story building at 222 Broadway. As a result of AT&T's increased profits in the 1950s and 1960s, the company performed several renovations at 195 Broadway, including installing air conditioning throughout the building from 1959 to 1961. The attic, which formerly had benches and employee facilities for squash and handball, was replaced with equipment to support the air conditioning system. The facade was given a steam cleaning in 1963, in honor of the 50th anniversary of 195 Broadway's completion. AT&T planned to replace the bronze grilles and alabaster chandeliers, but this was canceled after objections from architecture writer Henry Hope Reed.

### Sale and later usage

In 1978, AT&T commissioned a new building at 550 Madison Avenue. This new AT&T Building was designed by Philip Johnson in the new Postmodern architectural style, and was completed in 1984, the same year of the Bell System divestiture. As part of the divestiture, 195 Broadway, and the rest of the block where it was located, was sold for $70 million to businessman Peter Kalikow in May 1983, using the profits to found a charity. AT&T removed the *Spirit of Communication* sculpture from 195 Broadway in 1981 for restoration and relocation. The company also removed Manship's original relief panels, which Kalikow replaced with replicas.

Subsequently, Kalikow made plans to renovate the structure and lease it out to office tenants. The structure's facade was given a steam cleaning; the paint on the building's bronze finishes was removed; and metal ornaments were painted or shined. Kalikow destroyed two smaller structures near the block's western boundary, and he initially planned to extend 195 Broadway all the way to Church Street as a 29-story office annex. The plans for the western side of the block were then changed to that for a hotel, but decided against that after marketing experts said a hotel would not be profitable. An office use was subsequently again considered, but dismissed since the floor area would have been too small for office tenants. Kalikow bought air rights from the adjacent St. Paul's Chapel to the north and changed the plans for the western part of the block back to a hotel. The plot was ultimately developed as the Millennium Hilton New York Downtown hotel, which opened in 1992.

Kalikow sold 195 Broadway to L&L Holding Co. and Beacon Capital Partners in 2005 for $300 million. At the time, Lois Weiss of the *New York Post* said that the building was estimated to be worth $500 million. The building's exterior and first floor interior were officially designated as city landmarks by the New York City Landmarks Preservation Commission in July 2006. As part of the construction of the nearby Fulton Center transit hub, 195 Broadway was to be connected to the underground Dey Street Passageway. 195 Broadway was sold again in 2013 to a group where JP Morgan Asset Management was the majority stakeholder. The ground-floor lobby was renovated in 2016 with the addition of three retail spaces. JP Morgan put the building for sale in 2019 with an initial asking price of $800 million. The structure was ultimately bought by two Korean organizations for $500 million while the ground story lease was sold to Safehold Inc. for $275 million.

## Tenants

As of 2022, tenants include:

## Critical reception

In 1914, a writer for *The New York Times* stated that Bosworth and AT&T officials had collaborated to provide a building that would serve as "an artistic addition to the towering commercial structures of the lower part of the city", with a well-planned interior design. Kenneth Clark, writing for *Architectural Record*, stated that the detail paid to the Greek-inspired features was among the building's "strongest points". In 1922, an anonymous writer in *The American Architect: Architectural Review* said that the materials of 195 Broadway "stand for permanency both inside and out". At the time, the neoclassical style was being used in headquarters buildings across the U.S., and Bosworth convinced AT&T officials to erect the headquarters in the Greek neoclassical style.

By the time Kalikow took ownership of 195 Broadway in 1984, he saw that the cast-bronze interior ornamentation had been painted, and said that "I got the feeling that what \[AT&T\] were trying to do was play it all down \[...\] They didn't want anyone to know they lived in a palace."

### Notes

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### Sources

## InfoBox

| 195 Broadway | |
| --- | --- |
| Seen from Fulton Street and Broadway | |
|  | |
| Alternative names | American Telephone & Telegraph Company Building, Western Union Building |
| General information | |
| Type | Commercial |
| Architectural style | Neoclassical |
| Address | 195–207 Broadway |
| Town or city | Financial District, Manhattan, New York City, New York |
| Country | United States |
| Coordinates | 40°42′39″N 74°0′34″W / 40.71083°N 74.00944°W / 40.71083; -74.00944 |
| Construction started | 1912 |
| Completed | 1922 |
| Opening | 1916 |
| Owner | L&L Holding Company |
| Height | |
| Tip | 422 ft (129 m) |
| Roof | 398 ft (121 m) |
| Technical details | |
| Floor count | 29 |
| Lifts/elevators | 30 |
| Design and construction | |
| Architect(s) | William Welles Bosworth |
|  | |
| New York City Landmark | |
| Designated | July 25, 2006 |
| Reference no. | 2194 |
| Designated entity | Exterior |
|  | |
| New York City Landmark | |
| Designated | July 25, 2006 |
| Reference no. | 2199 |
| Designated entity | First-story interior |
|  | |
|  | |
| References | |
|  | |


title: Mohamed Mazouz

abstract:
Mohamed Mazouz is a citizen of Morocco who was held in extrajudicial detention in the United States Guantanamo Bay detention camps, in Cuba. His Guantanamo Internment Serial Number was 294.
Joint Task Force Guantanamo counter-terrorism analysts report he was born on December 31, 1973, in Casablanca, Morocco. He was designated as a terrorist entity by the Moroccan Ministry of Justice in 2023, and an international arrest warrant has been issued for his arrest for alleged terrorist acts.

text:
# Mohamed Mazouz

**Mohamed Mazouz** is a citizen of Morocco who was held in extrajudicial detention in the United States Guantanamo Bay detention camps, in Cuba. His Guantanamo Internment Serial Number was 294. Joint Task Force Guantanamo counter-terrorism analysts report he was born on December 31, 1973, in Casablanca, Morocco. He was designated as a terrorist entity by the Moroccan Ministry of Justice in 2023, and an international arrest warrant has been issued for his arrest for alleged terrorist acts.

## Release

Mazouz was one of the 201 Guantanamo captives released prior to the completion of the Combatant Status Review Tribunals that were initiated in August 2004, following the United States Supreme Court's ruling in Rasul v. Bush.

## April 2005 interview

During an interview on April 11, 2005, in the *La Gazette du Maroc* Mazouz described his capture, and the conditions of his detention and interrogation. According to Mazouz he had gone to Pakistan to get married. He was arrested in Pakistan, by Pakistani authorities, on August 26, 2001, while walking with his brother-in-law in Karachi.

He said he hadn't heard from his wife since his capture, and didn't know what had happened to her.

Mazouz described cruel treatment in Pakistani custody. He described being transferred to American custody in the Kandahar detention facility.

> I underwent every form of torture from the Pakistani authorities, without the police having laid any charge against me. I was tortured and I did not even know for what reason I was arrested. Nobody told me the reason for my presence in this horrible prison. We were beaten, trampled underfoot, kept without food, without water, being unable to wash ourselves, being unable to cut our beard and hair, agglutinated the ones on the others, under inhuman conditions. The most important thing to raise here is that all of us were put in chains of iron using a steel stick which bound our feet to our belt. This literally paralyzed us. It was if we had a stake, stuck in our body. We ate with it, we relieved our natural needs with it and that lasted for several weeks. They removed these iron bars on the last day before the transfer to Kandahar.

According to Mazouz, his transfer to American custody was in December 2001. Prior to his transfer, he was visited by some Americans who said they were from Amnesty International, who he was sure were actually American counter-terrorism analysts.

Mazouz expressed dissatisfaction with efforts of the International Committee of the Red Cross on their behalf, and expressing suspicion that the Red Cross was assisting the American effort:

> But I want to underline a point that your readers and the public opinion must know. The Red Cross did not do anything at all for us for all this period of detention in Afghanistan or in Guantanamo. Its presence was useless. The only thing that it did was to procure us some letters. I am even sure that they were there to serve the Americans and to bring assistance to them. In short, the Red Cross contented itself to play the role of postman and that's all.

Mazouz described brutal beatings in Kandahar, being exposed to the freezing cold winter weather, prior to interrogations, and the use of electric shock, during his interrogations, and immersions in freezing cold water.

Mazouz was then transferred to the Bagram Collection Point. Mazouz said that after his release, when he read about the Abu Ghraib torture and abuse that occurred in 2003 he recognized that all of these techniques were techniques used when he was being held in Bagram in 2002. He also described injections with psychotropic drugs.

And Mazouz described Americans in Bagram urinating on the Koran.

Mazouz said he was transferred to Guantanamo on June 15, 2006. Beatings by the guards, mystery injections continued. He also described all the captives suffering from painful hemorrhoids from the humiliating body cavity searches, forced enemas, and the introduction of drugs via the anus.

With very few exceptions, American spokesmen decline to address claims of abuse from specific Guantanamo captives. But, they have offered general assurances that American captives receive humane care and treatment.

## Moroccan arrest

Mazouz, another former Guantanamo captive named Brahim Benchekroun, and fifteen other Moroccans who were not former Guantanamo captives, were rounded up on November 11, 2005.

## Defense Intelligence Agency claims he "returned to terrorism"

The Defense Intelligence Agency asserted Ibrahim Bin Shakaran had "returned to terrorism".

The DIA reported:

> Ibrahi Bin Shakaran and Mohammed Bin Ahmad Mizouz were transferred to Morocco in July 2004. In September 2007, they were convicted for their post-release involvement in a terrorist network recruiting Moroccans to fight for Abu-Musab al-Zarqawi's al-Qaida in Iraq (AQI). Recruits were to receive weapons and explosives training in Algeria from the Salafist Group for Preaching and Combat, which has since become al Qaida in the Lands of the Maghreb, before going to fight in Iraq or returning to Morocco as sleeper cells. The organizers of the group reportedly intended to create an al-Qaida-affiliated network in the Maghreb similar to AQI. According to testimony presented at the trial, Bin Shakaran had already recruited other jihadists when Moroccan authorities broke up the plot in November 2005. Bin Shakaran received a 10-year sentence for his role in the plot, while Mizouz received a two-year sentence.

*Middle East Eye* named Mazouz, Mohamed Alami, and Brahim Benchekroun, three former Guantanamo detainees who joined Harakat Sham al-Islam – an organization for Moroccans who planned to travel to Syria to fight in the conflict there.

## InfoBox

| Mohamed Mazouz | |
| --- | --- |
| Born | (1973-12-31) December 31, 1973
Casablanca, Morocco |
| Detained at | Kandahar detention facility
Bagram
Guantanamo |
| ISN | 294 |
| Charge(s) | No charge |
| Status | Released |


title: Vogt–Koyanagi–Harada disease

abstract: Vogt–Koyanagi–Harada disease (VKH) is a multisystem disease of presumed autoimmune cause that affects melanin-pigmented tissues. The most significant manifestation is bilateral, diffuse uveitis, which affects the eyes. VKH may variably also involve the inner ear, with effects on hearing, the skin, and the meninges of the central nervous system.

text:
# Vogt–Koyanagi–Harada disease

**Vogt–Koyanagi–Harada disease** (**VKH**) is a multisystem disease of presumed autoimmune cause that affects melanin-pigmented tissues. The most significant manifestation is bilateral, diffuse uveitis, which affects the eyes. VKH may variably also involve the inner ear, with effects on hearing, the skin, and the meninges of the central nervous system.

## Signs and symptoms

### Overview

The disease is characterised by bilateral diffuse uveitis, with pain, redness and blurring of vision. The eye symptoms may be accompanied by a varying constellation of systemic symptoms, such as auditory (tinnitus, vertigo, and hypoacusis), neurological (meningismus, with malaise, fever, headache, nausea, abdominal pain, stiffness of the neck and back, or a combination of these factors; meningitis, CSF pleocytosis, cranial nerve palsies, hemiparesis, transverse myelitis and ciliary ganglionitis), and cutaneous manifestations, including poliosis, vitiligo, and alopecia. The vitiligo often is found at the sacral region.

### Phases

The sequence of clinical events in VKH is divided into four phases - prodromal, acute uveitic, convalescent, and chronic recurrent.

The prodromal phase may have no symptoms, or may mimic a nonspecific viral infection, marked by flu-like symptoms that typically last for a few days. Fever, headache, nausea, meningismus, dysacusia (discomfort caused by loud noises or a distortion in the quality of the sounds being heard), tinnitus, and/or vertigo may occur. Eye symptoms can include orbital pain, photophobia, and tearing. The skin and hair may be sensitive to touch. Cranial nerve palsies and optic neuritis are uncommon.

The acute uveitic phase occurs a few days later and typically lasts for several weeks. This phase is heralded by bilateral panuveitis causing blurring of vision. In 70% of VKH cases, the onset of visual blurring is bilaterally contemporaneous; if initially unilateral, the other eye is involved within several days. The process can include bilateral granulomatous anterior uveitis, variable degree of vitritis, thickening of the posterior choroid with elevation of the peripapillary retinal choroidal layer, optic nerve hyperemia and papillitis, and multiple exudative bullous serous retinal detachments.

The convalescent phase is characterized by gradual tissue depigmentation of skin with vitiligo and poliosis, sometimes with nummular depigmented scars, as well as alopecia and diffuse fundus depigmentation resulting in a classic orange-red discoloration ("sunset glow fundus") and retinal pigment epithelium clumping and/or migration.

The chronic recurrent phase may be marked by repeated bouts of uveitis, but is more commonly a chronic, low-grade, often subclinical, uveitis that may lead to granulomatous anterior inflammation, cataracts, glaucoma, and ocular hypertension. Full-blown recurrences, though, are rare after the acute stage is over. Dysacusia may occur in this phase.

## Cause

Although sometimes a viral infection, or skin or eye trauma precedes an outbreak, the exact underlying initiator of VKH disease remains unknown. VKH is attributed, however, to aberrant T-cell-mediated immune response directed against self-antigens found on melanocytes. Stimulated by interleukin 23 (IL-23), T helper 17 cells and cytokines, such as interleukin 17, appear to target proteins in the melanocytes.

## Risk factors

Affected individuals are typically 20 to 50 years old. The female-to-male ratio is 2:1. By definition, affected people have no history of either surgical or accidental ocular trauma. VKH is more common in Asians, Latinos, Middle Easterners, American Indians, and Mexican Mestizos; it is much less common in Caucasians and in Blacks from sub-Saharan Africa.

VKH is associated with a variety of genetic polymorphisms that relate to immune function. For example, it has been associated with human leukocyte antigens (HLA) HLA-DR4 and DRB1/DQA1, copy-number variations of complement component 4, a variant IL-23R locus and with various other non-HLA genes. HLA-DRB1\*0405 in particular appears to play an important susceptibility role.

## Diagnosis

If tested in the prodromal phase, cerebrospinal fluid pleocytosis is found in more than 80% of cases, with mainly lymphocytes. This pleocytosis resolves in about 8 weeks even if chronic uveitis persists.

Functional tests may include electroretinogram and visual field testing. Diagnostic confirmation and an estimation of disease severity may involve imaging tests such as retinography, fluorescein or indocyanine green angiography, optical coherence tomography and ultrasound. For example, indocyanine green angiography may detect continuing choroidal inflammation in the eyes without clinical symptoms or signs. Ocular MRI may be helpful and auditory symptoms should undergo audiologic testing. Histopathology findings from eye and skin are discussed by Walton.

The diagnosis of VKH is based on the clinical presentation; the diagnostic differential is extensive, and includes sympathetic ophthalmia, sarcoidosis, primary intraocular B-cell lymphoma, posterior scleritis, uveal effusion syndrome, tuberculosis, syphilis, and multifocal choroidopathy syndromes.

### Types

Based on the presence of extraocular findings, such as neurological, auditory, and integumentary manifestations, the "revised diagnostic criteria" of 2001 classify the disease as complete (eyes along with both neurological and skin), incomplete (eyes along with either neurological or skin), or probable (eyes without either neurological or skin) . By definition, for research homogeneity purposes, the two exclusion criteria are previous ocular penetrating trauma or surgery, and other concomitant ocular disease similar to VKH disease.

## Management

The acute uveitis phase of VKH is usually responsive to high-dose oral corticosteroids; parenteral administration is usually not required. However, ocular complications may require a subtenon or intravitreous injection of corticosteroids or bevacizumab. In refractory situations, other immunosuppressives such as cyclosporine, or tacrolimus, antimetabolites (azathioprine, mycophenolate mofetil or methotrexate), or biological agents such as intravenous immunoglobulins (IVIG) or infliximab may be needed.

## Outcomes

Visual prognosis is generally good with prompt diagnosis and aggressive immunomodulatory treatment. Inner ear symptoms usually respond to corticosteroid therapy within weeks to months; hearing usually recovers completely. Chronic eye effects such as cataracts, glaucoma, and optic atrophy can occur. Skin changes usually persist despite therapy.

## Eponym

VKH syndrome is named for ophthalmologists Alfred Vogt from Switzerland and Yoshizo Koyanagi and Einosuke Harada from Japan. Several authors, including Arabic doctor Mohammad-al-Ghâfiqî in the 12th century ,as well as Jacobi, Nettelship, and Tay in the 19th century, had described poliosis, neuralgias, and hearing disorders. This constellation was probably often due to sympathetic ophthalmia, but likely included examples of VKH. Koyanagi's first description of the disease was in 1914, but was preceded by Jujiro Komoto, professor of ophthalmology at the University of Tokyo, in 1911. A much later article, published in 1929, definitively associated Koyanagi with the disease. Harada's 1926 paper is recognized for its comprehensive description of what is now known as Vogt–Koyanagi–Harada disease.

## InfoBox

| Vogt–Koyanagi–Harada disease | |
| --- | --- |
| Other names | Vogt–Koyanagi–Harada syndrome, uveomeningitis syndrome, uveomeningoencephalitic syndrome |
|  | |
| Dermatologic manifestation of VKH | |
| Specialty | Ophthalmology |


title: Miyajima Ropeway

abstract: Miyajima Ropeway The Miyajima Ropeway refers to Japanese aerial lift lines in Hatsukaichi, Hiroshima. This is the only route Hiroshima Tourism Promoting operates. The company is a subsidiary of Hiroshima Electric Railway. The route, consisted of two lines, climbs Mount Misen of Miyajima Island. It opened in 1959. The route accepts PASPY, a smart card ticketing system.

text:
# Miyajima Ropeway

The **Miyajima Ropeway** (宮島ロープウエー, *Miyajima Rōpuuē*) refers to Japanese aerial lift lines in Hatsukaichi, Hiroshima. This is the only route **Hiroshima Tourism Promoting** (広島観光開発, *Hiroshima Kankō Kaihatsu*) operates. The company is a subsidiary of Hiroshima Electric Railway. The route, consisted of two lines, climbs Mount Misen of Miyajima Island. It opened in 1959. The route accepts PASPY, a smart card ticketing system.

## Basic data

### Momijidani Line

* System: Gondola lift, 3 cables
* Distance: 1.1 kilometres (0.7 mi)
* Vertical interval: 288  (945 ft)
* Maximum gradient: 26°24′
* Operational speed: 2.0 m/s
* Passenger capacity per a cabin: 8
* Cabins: 22
* Stations: 2
* Time required for single ride: 10 minutes

### Shishiiwa Line

* System: Aerial tramway, 3 cables
* Distance: 0.5 kilometres (0.3 mi)
* Vertical interval: 62 m (203 ft)
* Maximum gradient: 15°13′
* Operational speed: 3.6 m/s
* Passenger capacity per a cabin: 30
* Cabins: 2
* Stations: 2
* Time required for single ride: 3.5 minutes

34°17′4.2″N 132°19′41.3″E / 34.284500°N 132.328139°E / 34.284500; 132.328139


title: Maverick Concert Hall

abstract: Maverick Concert Hall was built in 1916 and was part of the Maverick Artist Colony in Hurley, New York. The concert hall hosts the Maverick Concerts, a summer chamber music festival. Alexander Platt is the current music director. The mainstay of the series, which runs from the end of June through early September, is to be found in the chamber music concerts performed by distinguished soloists and ensembles on Saturday evenings and Sunday afternoons. The Maverick Festival, a precursor to the Maverick Concerts, was founded in 1915 by Hervey White, and by 1931 the festival suspended.

text:
# Maverick Concert Hall

**Maverick Concert Hall** was built in 1916 and was part of the Maverick Artist Colony in Hurley, New York.

The concert hall hosts the Maverick Concerts, a summer chamber music festival. Alexander Platt is the current music director. The mainstay of the series, which runs from the end of June through early September, is to be found in the chamber music concerts performed by distinguished soloists and ensembles on Saturday evenings and Sunday afternoons.

The **Maverick Festival**, a precursor to the Maverick Concerts, was founded in 1915 by Hervey White, and by 1931 the festival suspended.

## Maverick Artist Colony history

“Maverick” is the name given to the collaborative colony for artists that Hervey White, a “freethinker, socialist, writer, and printer with a genius for friendship,” established on the outskirts of the town of Woodstock, on 102 acres he had bought in 1905. White's intention was to offer “young talent a chance to earn its living until its recognition.”

Hervey White had been an early founder and worker at the nearby Byrdcliffe Colony and he was one of the first to leave and start a new colony independently. The Byrdcliffe Colony had been "well-financed and run somewhat autocratically" with a strong sense of designing and planning a legacy and Maverick was "scruffier, more truly communal and anarchic".

## Maverick Festival (1915–1931)

The Maverick Festival's opening concert was in August 1915 to raise funds in order to build a well for the colony, and was patterned after the European fairs. The following year in July 1916, a substantial article about the event was published in The New York Times, under the headline “Music Goes Back to Nature.” The program consisted of Haydn's String Quartet Op. 77, No. 1, Max Bruch's Kol Nidrei for cello and piano, and Robert Schumann's piano quintet.

The festival was popular and as the audience grew larger, they introduced concert camping, and became harder to control. There was a lot of drinking and hard partying happened at the festival, even during the Prohibition banning alcohol. After 1931, the Maverick Festival was suspended indefinitely due to unsavory crowds and financial pressures.

The Maverick Festival is often named as being one of the precursors to the 1969 Woodstock festival.

## Maverick Concert Hall

The historic concert hall is located in Hurley, New York, on the outskirts of Woodstock, in Ulster County. The barn-like, rectangular building with its gambrel roof was built in 1916 with a roof of asphalt and wood shingles and a frame of heavy timber, to which the walls—sheaths of wide planks—are nailed directly. The hall was constructed without the services of an architect and with volunteer labor, as part of the arts community known as the Maverick Colony.

The wooden construction and acoustics create an environment well suited to the intimacy of live chamber music, and the Maverick has been listed on the National Register of Historic Places since 1999.

### Maverick Horse

In the summer of 1924, Mr. White commissioned John Flannagan, a gifted but penniless sculptor, to create a symbol for the colony. Flannagan, one of the first direct carvers to work in the United States, was paid the prevailing wage of fifty cents an hour. Using an ax as his major tool, in a few days he had carved a monumental piece from the trunk of a chestnut tree.

The statue depicts the horse emerging from the outstretched hands of a man, who appears, in turn, to be emerging from the earth. The iconic 18-foot sculpture stood, for 36 years, at the entrance of the road to the concert hall and the now-vanished theater. After the horse began to weather alarmingly, it was moved to a nearby studio until 1979, when it was moved to the stage of the Maverick Concert Hall. A plaque at its base indicates that it was restored in 2006. It stands there still.

## John Cage and 4’33"

On August 29, 1952, the young pianist and composer David Tudor premiered at the Maverick a well-known and controversial work by the American exponent of experimental music John Cage, one of the leading post-war avant-garde composers. Arguably Cage's most famous piece, 4′33″ (which was originally scored for piano) has commonly been referred to as “four minutes and thirty-three seconds of silence.” Cage demonstrated, however, that the absence of notes was not the same thing as silence. The composer's stated intention was for the audience to listen to the “accidental” sounds around them: the birdsong, the wind in the trees, the rain on the roof, the sounds of the audience members themselves.

## Recent history and Maverick Concerts

The concert hall hosts the Maverick Concerts, a summer chamber music festival. Alexander Platt is the current music director. The mainstay of the series, which runs from the end of June through early September, is to be found in the chamber music concerts performed by distinguished soloists and ensembles on Sunday afternoons. Jazz and contemporary music have been given more prominence in recent seasons, and Saturday morning Maverick Family Concerts are popular with music lovers of all ages.

## InfoBox

|  | |
| --- | --- |
| Maverick Concert Hall | |
| U.S. National Register of Historic Places | |
|  | |
| Maverick Concert Hall, Summer 2006 | |
|  | |
| Location | Off Maverick Rd., Hurley, New York |
| Coordinates | 42°0′51″N 74°7′6″W / 42.01417°N 74.11833°W / 42.01417; -74.11833 |
| Area | 29.5 acres (11.9 ha) |
| Built | 1916 |
| Architect | White, Hervey |
| NRHP reference No. | 99001492 |
| Added to NRHP | December 9, 1999 |


title: Vojin Lazarević

abstract: Vojin Lazarević is a former Yugoslav and Montenegrin football manager and player.

text:
# Vojin Lazarević

**Vojin Lazarević** (Serbian Cyrillic: Војин Лазаревић; born 22 February 1942) is a former Yugoslav and Montenegrin football manager and player.

## Club career

A prolific striker, Lazarević started out at his hometown club Sutjeska Nikšić. He was the Yugoslav Second League (Group East) top scorer on three occasions, before moving to Red Star Belgrade in 1966. Over the next four seasons, Lazarević scored 68 goals in 112 appearances in the Yugoslav First League, helping the club win three consecutive championships (1968, 1969, and 1970). He subsequently moved abroad, spending some time at RFC Liège (Belgium) and Nancy (France), before returning to Red Star in 1972. During his second spell in Belgrade, Lazarević was the league's joint top scorer in the 1972–73 season with 25 goals, as the club won the title. He moved abroad again in 1974, this time to Canada, and joined the Toronto Metros. Shortly after, Lazarević returned to his homeland and played one season with Vrbas, before retiring from the game.

## International career

At international level, Lazarević was capped five times for Yugoslavia between 1964 and 1969, scoring one goal.

## Managerial career

After hanging up his boots, Lazarević served twice as manager of Red Star Belgrade in the late 1990s, winning two national cups. He was also manager of Milicionar (2000) and Sutjeska Nikšić (2001).

## Career statistics

### Club

Appearances and goals by club, season and competition
| Club | Season | League | | |
| --- | --- | --- | --- | --- |
| | | Division | Apps | Goals |
| Sutjeska Nikšić | 1959–60 | Yugoslav Second League | 1 | 0 |
| | 1960–61 | Yugoslav Second League | 13 | 3 |
| | 1961–62 | Yugoslav Second League | 21 | 9 |
| | 1962–63 | Yugoslav Second League | 30 | 20 |
| | 1963–64 | Yugoslav Second League | 30 | 27 |
| | 1964–65 | Yugoslav First League | 25 | 6 |
| | 1965–66 | Yugoslav Second League | 30 | 21 |
| | Total | | 150 | 86 |
| Red Star Belgrade | 1966–67 | Yugoslav First League | 23 | 14 |
| | 1967–68 | Yugoslav First League | 29 | 20 |
| | 1968–69 | Yugoslav First League | 34 | 21 |
| | 1969–70 | Yugoslav First League | 26 | 13 |
| | Total | | 112 | 68 |
| RFC Liège | 1970–71 | Belgian First Division | 6 | 1 |
| Nancy | 1970–71 | French Division 1 | 19 | 8 |
| | 1971–72 | French Division 1 | 12 | 3 |
| | Total | | 31 | 11 |
| Red Star Belgrade | 1971–72 | Yugoslav First League | 6 | 9 |
| | 1972–73 | Yugoslav First League | 34 | 24 |
| | 1973–74 | Yugoslav First League | 11 | 2 |
| | Total | | 51 | 35 |
| Toronto Metros | 1974 | North American Soccer League | 6 | 4 |
| Vrbas | 1974–75 | Yugoslav Second League | 24 | 7 |
| Career total | | | 380 | 212 |

### International

Appearances and goals by national team and year
| National team | Year | Apps | Goals |
| --- | --- | --- | --- |
| Yugoslavia | 1964 | 1 | 0 |
| | 1965 | 0 | 0 |
| | 1966 | 0 | 0 |
| | 1967 | 2 | 1 |
| | 1968 | 1 | 0 |
| | 1969 | 1 | 0 |
| Total | | 5 | 1 |

## Honours

### Player

**Sutjeska Nikšić**

**Red Star Belgrade**

**Individual**

### Manager

**Red Star Belgrade**

## InfoBox

Vojin Lazarević
| Personal information | | | |
| --- | --- | --- | --- |
| Full name | Vojin Lazarević | | |
| Date of birth | (1942-02-22) 22 February 1942 | | |
| Place of birth | Nikšić, Italian-occupied Montenegro | | |
| Height | 1.78 m (5 ft 10 in) | | |
| Position(s) | Striker | | |
| Youth career | | | |
| 1957–1959 | Sutjeska Nikšić | | |
| Senior career\* | | | |
| Years | **Team** | **Apps** | **(Gls)** |
| 1959–1966 | Sutjeska Nikšić | 150 | (86) |
| 1966–1970 | Red Star Belgrade | 112 | (68) |
| 1970 | RFC Liège | 6 | (1) |
| 1970–1971 | Nancy | 31 | (11) |
| 1972–1974 | Red Star Belgrade | 51 | (35) |
| 1974 | Toronto Metros | 6 | (4) |
| 1974–1975 | Vrbas | 24 | (7) |
| Total |  | **380** | **(212)** |
| International career | | | |
| 1964–1969 | Yugoslavia | 5 | (1) |
| Managerial career | | | |
| 1975 | Vrbas | | |
| 1997 | Red Star Belgrade | | |
| 1998–1999 | Red Star Belgrade | | |
| 2000 | Milicionar | | |
| 2001 | Sutjeska Nikšić | | |
| \*Club domestic league appearances and goals | | | |


# Volleyball at the 1984 Summer Olympics – Men's team rosters

The following teams and players took part in the men's volleyball tournament at the 1984 Summer Olympics, in Los Angeles.

## Group A

### Argentina

The following volleyball players represented  Argentina:

### Brazil

The following volleyball players represented  Brazil:

### South Korea

The following volleyball players represented  South Korea:

### Tunisia

The following volleyball players represented  Tunisia:

### United States

The following volleyball players represented the  United States:

## Group B

### Canada

The following volleyball players represented  Canada:

Coach: Ken Maeda

### China

The following volleyball players represented  China:

### Egypt

The following volleyball players represented  Egypt:

### Italy

The following volleyball players represented  Italy:

### Japan

The following volleyball players represented  Japan:


title: Maybe It Was Memphis

abstract: "Maybe It Was Memphis" is a song recorded by American country music artist Pam Tillis on two occasions. The second recording was released in 1991 as the fourth single from her album Put Yourself in My Place.

text:
# Maybe It Was Memphis

**"Maybe It Was Memphis"** is a song recorded by American country music artist Pam Tillis on two occasions. The second recording was released in 1991 as the fourth single from her album *Put Yourself in My Place*.

## History

Pam Tillis first cut the song on Warner Bros. Records in the late 1980s under the production of Josh Leo, but did not release this version until Warner issued the album *Pam Tillis Collection* in the mid-1990s.

Her second and more successful version of the song was recorded on her 1991 album *Put Yourself in My Place*. It was released in November 1991 as the album's fourth single and became her third Top Ten hit on the *Billboard* country charts, peaking at number 3 in February 1992. "Maybe It Was Memphis" was also nominated for the Country Music Association's Song of the Year in 1992. This version also earned Tillis a Grammy nomination for Best Country Vocal Performance, Female.

According to Arista Records' then-senior director of marketing Mike Dungan, executives were reluctant to release the song due to its more pop sound, and held off on doing so until Tillis had established herself.

## Content

The song is a mid-tempo ballad in which the female narrator recalls a former lover whom she met in Memphis, Tennessee. It is composed in the key of A major with a vocal range of A3-E5. The main chord pattern on the verses is A-D twice, E-D twice, and E-G-A.

Michael Anderson wrote the song in 1983. In an article for TAXI, he described the song writing process:

> I believe I wrote the last verse soon after the first verse – may have been the same night - and I knew it was the last verse. I didn't want the standard "happy ever after" storyline – and I couldn't see it ending badly – so I left it open – just the way it was. I imagined myself back in LA remembering it all and just wrote that...I decided to just write a filler verse and then I would record it that way and change it when I got back to LA. So I made up some stuff about Tennessee Williams, William Faulkner, and country love songs ("summer night beauty took my breath away" was directly from "Southern Nights" by Glen Campbell and one of the song books – never even liked that song but the concept worked in context). I recorded it the next day and never changed the verse.

## Critical reception

In 2024, *Rolling Stone* ranked "Maybe It Was Memphis" at #177 on its 200 Greatest Country Songs of All Time ranking.

## *American Idol* & *The Voice*

On May 24, 2011, Lauren Alaina performed the song during the finale of *American Idol*. Carrie Underwood selected the song as part of the round of competition in which each contestant's idol chose their song. On May 8, 2013, during the live rounds of the fourth season of *The Voice*, Danielle Bradbery from Blake Shelton's team sang it as her song. On season 23 of *The Voice*, Grace West sang the song for her blind audition.

## Chart positions

| Chart (1991-1992) | Peak
position |
| --- | --- |
| Canada Country Tracks (*RPM*) | 4 |
| US Hot Country Songs (*Billboard*) | 3 |

### Year-end charts

| Chart (1992) | Position |
| --- | --- |
| Canada Country Tracks (*RPM*) | 60 |
| US Country Songs (*Billboard*) | 29 |

### Danielle Bradbery

| Chart (2013) | Peak
position |
| --- | --- |
| US Hot Country Songs (*Billboard*) | 25 |
| US *Billboard* Hot 100 | 92 |

## InfoBox

| "Maybe It Was Memphis" | |
| --- | --- |
|  | |
| Single by Pam Tillis | |
| from the album  *Put Yourself in My Place* | |
| B-side | "Draggin' My Chains" |
| Released | November 25, 1991 |
| Recorded | 1990 |
| Genre | Country |
| Length | 3:59 (album version) |
| Label | Arista Nashville |
| Songwriter(s) | Michael Anderson |
| Producer(s) | Paul Worley, Ed Seay |
| Pam Tillis singles chronology | |
| "Put Yourself in My Place"
(1991) "**Maybe It Was Memphis**"
(1991) "Blue Rose Is"
(1992) | |


title: Max Yalden

abstract: Maxwell Freeman Yalden, was a Canadian civil servant and diplomat. Born in Toronto, Ontario, he received a Bachelor of Arts degree from the University of Toronto in 1952, a Master of Arts degree in 1954 and a Ph.D in 1956 from the University of Michigan. He joined the Department of External Affairs in 1956. From 1969 to 1973, he was assistant under-secretary of state and in 1973 was deputy minister of communications. He was the second Commissioner of Official Languages from 1977 until 1984. He was Ambassador to Belgium and Luxembourg from 1984 to 1987. From 1987 to 1996 he was the Chief Commissioner of the Canadian Human Rights Commission. In 1996 he was elected to a four-year term a member of the United Nations Human Rights Committee. He was re-elected for a second term in 2000. In 1988 he was made an Officer of the Order of Canada and was promoted to Companion in 1999. In 1998 he was awarded an Honorary LL.D. from Carleton University. He died at Ottawa, Ontario, at age 84, from pneumonia complications.

text:
# Max Yalden

**Maxwell Freeman Yalden**, CC (April 12, 1930 – February 9, 2015) was a Canadian civil servant and diplomat.

Born in Toronto, Ontario, he received a Bachelor of Arts degree from the University of Toronto in 1952, a Master of Arts degree in 1954 and a Ph.D in 1956 from the University of Michigan. He joined the Department of External Affairs in 1956. From 1969 to 1973, he was assistant under-secretary of state and in 1973 was deputy minister of communications.

He was the second Commissioner of Official Languages from 1977 until 1984. He was Ambassador to Belgium and Luxembourg from 1984 to 1987. From 1987 to 1996 he was the Chief Commissioner of the Canadian Human Rights Commission. In 1996 he was elected to a four-year term a member of the United Nations Human Rights Committee. He was re-elected for a second term in 2000.

In 1988 he was made an Officer of the Order of Canada and was promoted to Companion in 1999. In 1998 he was awarded an Honorary LL.D. from Carleton University.

He died at Ottawa, Ontario, at age 84, from pneumonia complications.

## InfoBox

| Max YaldenCC | |
| --- | --- |
|  | |
| 2nd Commissioner of Official Languages | |
| **In office**
1977–1984 | |
| Preceded by | Keith Spicer |
| Succeeded by | D'Iberville Fortier |
| Canadian Ambassador to Luxembourg | |
| **In office**
1984–1988 | |
| Preceded by | D'Iberville Fortier |
| Succeeded by | Jacques J.A. Asselin |
| Canadian Ambassador to Belgium | |
| **In office**
1984–1987 | |
| Preceded by | D'Iberville Fortier |
| Succeeded by | Jacques J.A. Asselin |
|  | |
| Personal details | |
| Born | Maxwell Freeman Yalden
(1930-04-12)April 12, 1930
Toronto, Ontario, Canada |
| Died | February 9, 2015(2015-02-09) (aged 84)
Ottawa, Ontario, Canada |
| Spouse | Janice Yalden |
| Children | Robert Yalden
Cicely Yalden (deceased) |
| Alma mater | University of Michigan |
| Occupation | Diplomat, civil servant |
|  | |


title: Von Hernandez

abstract: Von Hernandez is a leading environmental activist from the Philippines. He was Executive Director of Greenpeace Southeast Asia (GPSEA) from 2008 to 2014, where he led the environmental group's programs and operations in the Southeast Asian region. Prior to that, he served as Campaigns Director for the organization, and was responsible for driving the group's campaigns in Thailand, Indonesia and the Philippines on a number of issues including climate change, forests, sustainable agriculture and toxics pollution. Currently, he serves as Development Director for Greenpeace International.

text:
# Von Hernandez

**Von Hernandez** is a leading environmental activist from the Philippines. He was Executive Director of Greenpeace Southeast Asia (GPSEA) from 2008 to 2014, where he led the environmental group's programs and operations in the Southeast Asian region. Prior to that, he served as Campaigns Director for the organization, and was responsible for driving the group's campaigns in Thailand, Indonesia and the Philippines on a number of issues including climate change, forests, sustainable agriculture and toxics pollution. Currently, he serves as Development Director for Greenpeace International.

## History

An environmental activist for more than 20 years, Von initiated and led a number of campaigns in the Philippines including the approval of landmark laws like the Ecological Waste Management Act and the Clean Air Act. He also spearheaded campaigns to rehabilitate the Pasig River as well as efforts to clean up toxic sites in former US military bases in the country. He founded and spearheaded various environmental coalitions at the national and international levels including the Global Alliance for Incinerator Alternatives (GAIA), Waste Not Asia, Lakbay Kalikasan, the Ecowaste coalition, and the Sagip Pasig Movement.

Von Hernandez is a former literature professor and well-known environmental activist from the Philippines. He has spoken up against the processing of imported garbage, when waste incinerators pump out clouds of dioxin and other harmful chemicals. The Philippines was the first nation in the world to ban waste incineration nationwide, in 1999. Hernandez now works with Greenpeace Southeast Asia, serving as its executive director.

## Education

**Von Hernandez** graduated from the University of the Philippines, with a bachelor's degree in English. He recently completed his Master in Public Management (MPM) degree from the National University of Singapore. The MPM is a prestigious program designed for senior managers by the Lee Kuan Yew School of Public Policy, and which includes spending a full semester at the Harvard Kennedy School of Government.

## Awards

In 2003, Von was awarded the Goldman Environmental Prize for his work which led to the first national ban on waste incineration. The Goldman Prize is considered to be the equivalent of the Nobel Prize for grassroots environmental activists. Being the first Prize recipient from the Philippines, *Asia Inc.* magazine named him as one of Asia's young movers and shakers in 2004. In 2007, he was also included in *Time* magazine's Heroes of the Environment, joining other innovative and influential protectors of the environment like Al Gore and Nobel Peace Prize laureate Wangari Maathai. More recently, Von was listed among the top 20 most trusted Filipinos by Reader's Digest in its nationwide Trust Poll in 2010.

## InfoBox

| **Von Hernandez** | |
| --- | --- |
|  | |
| Born | Philippines |
| Awards | 2003 Goldman Environmental Prize awardee |


title: Vorunah

abstract: Vorunah is the debut album by Norwegian black/thrash metal band Sarke. It was released on 6 April 2009 via Indie Recordings.

text:
# Vorunah

***Vorunah*** is the debut album by Norwegian black/thrash metal band Sarke. It was released on 6 April 2009 via Indie Recordings.

## History

In 2008, Thomas "Sarke" Bergli, drummer for Khold, decided to form a solo project. Sarke contacted Darkthrone vocalist/guitarist Ted "Nocturno Culto" Skjellum, and in November of the same year they entered the studio and recorded *Vorunah*. In February 2009, it was announced that Sarke signed with Norwegian record label Indie Recordings.

## Track listing

| No. | Title | Length |
| --- | --- | --- |
| 1. | "Primitive Killing" | 4:23 |
| 2. | "Vorunah" | 4:04 |
| 3. | "The Drunken Priest" | 3:26 |
| 4. | "Frost Junkie" | 6:26 |
| 5. | "Old" | 3:44 |
| 6. | "Cult Ritual" | 6:35 |
| 7. | "13 Candles" | 6:59 |
| 8. | "Dead Universe" | 2:06 |
| Total length: | | 37:43 |

## Credits

Production * Lars-Erik Westby – producer

## InfoBox

| Vorunah | |
| --- | --- |
|  | |
| Studio album by Sarke | |
| Released | 6 April 2009 |
| Recorded | November 2008 |
| Studio | H-10 Productions, Oslo |
| Genre | Black metal, thrash metal |
| Length | 37:43 |
| Label | Indie Recordings |
| Producer | Lars-Erik Westby |
| Sarke chronology | |
| ***Vorunah***
(2009) *Oldarhian*
(2011) | |


title: Vlastimil Pták

abstract: Vlastimil Pták was a Czech mathematician, who worked in functional analysis, theoretical numerical analysis, and linear algebra. Notable early work include generalizations of the open mapping theorem. During 1945–49 Vlastimil Pták studied mathematics and physics at the Charles University in Prague. Later, he worked at the university and since 1952 in Mathematical Institute of Czechoslovak Academy of Sciences. In 1965 he was named professor at the Charles University. He has published more than 160 mathematical research papers. He had three Ph.D. students: Nicholas Young, Michal Zajac and Miroslav Engliš.

text:
# Vlastimil Pták

**Vlastimil Pták** (Czech pronunciation: \[ˈvlascɪmɪl ˈptaːk\]; November 8, 1925 in Prague – May 5 1999) was a Czech mathematician, who worked in functional analysis, theoretical numerical analysis, and linear algebra. Notable early work include generalizations of the open mapping theorem.

During 1945–49 Vlastimil Pták studied mathematics and physics at the Charles University in Prague. Later, he worked at the university and since 1952 in Mathematical Institute of Czechoslovak Academy of Sciences. In 1965 he was named professor at the Charles University. He has published more than 160 mathematical research papers. He had three Ph.D. students: Nicholas Young, Michal Zajac and Miroslav Engliš.

## Selected publications

* *Completeness and the open mapping theorem.* Bull. Soc. Math. France 86 1958 41–74. Text online
* *On complete topological linear spaces.* Czechoslovak Math. J. 3(78), (1953). 301–364.
* *On matrices with non-positive off-diagonal elements and positive principal minors.* (with Miroslav Fiedler) Czechoslovak Math. J. 12 (87) 1962 382–400.

1. See *Completeness and the open mapping theorem* (an English-language summary of his work in this area), in § Selected publications, and its reviews by Victor Klee (MR0105606) and Ákos Császár (Zbl 0082.32502, in German)
2. Vlastimil Pták at the Mathematics Genealogy Project


title: Vlastimil Tusar

abstract: Vlastimil Tusar was a Czech journalist and political figure. He served as prime minister of Czechoslovakia from 1919 to 1920, in a two periods. Tusar was born as the son of a civil servant he attended a gymnasium and an economical school in Prague. Between 1900 and 1903 he worked for a bank, in 1903 he became a journalist for various social democratic papers. In 1908 he became editor in chief of the weekly magazine "Rovnost" in Brno and change it into daily newspaper. In 1911 he was elected Member of the Austrian Reichsrat for the constituency of Brno. At first he was pro-Austrian oriented, but later he changed his mind and in 1918 he played a vital role in the formation of Czechoslovakia as new state. On 27 October 1918 from Wien he informed Alois Rašín, that is best moment to declare independence of Czechoslovakia. Then he became a member of the new Czechoslovak parliament, but till 1919 he stayed in Wien as negotiator with new formed Republic of Austria, he negotiate mainly about bordering issues. 8 July 1919 he became prime minister of a new coalition government of Social Democrats and Agrarian party. After parliamentary elections in 1920 he became prime minister again. On 14 August the government resigned because of the rising activity of the communist wing in Social Democracy. On 1 March 1921 he left his seat in parliament, having been made Czechoslovak ambassador in Berlin, where he died in 1924.

text:
# Vlastimil Tusar

**Vlastimil Tusar** (18 October 1880  22 March 1924) was a Czech journalist and political figure. He served as prime minister of Czechoslovakia from 1919 to 1920, in a two periods.

Tusar was born as the son of a civil servant he attended a gymnasium and an economical school in Prague. Between 1900 and 1903 he worked for a bank, in 1903 he became a journalist for various social democratic papers. In 1908 he became editor in chief of the weekly magazine "*Rovnost*" in Brno and change it into daily newspaper.

In 1911 he was elected Member of the Austrian Reichsrat (the parliament of the Austro-Hungary) for the constituency of Brno. At first he was pro-Austrian oriented, but later he changed his mind and in 1918 he played a vital role in the formation of Czechoslovakia as new state. On 27 October 1918 from Wien he informed Alois Rašín, that is best moment to declare independence of Czechoslovakia. Then he became a member of the new Czechoslovak parliament, but till 1919 he stayed in Wien as negotiator with new formed Republic of Austria, he negotiate mainly about bordering issues.

8 July 1919 he became prime minister of a new coalition government of Social Democrats and Agrarian party. After parliamentary elections in 1920 he became prime minister again. On 14 August the government resigned because of the rising activity of the communist wing in Social Democracy.

On 1 March 1921 he left his seat in parliament, having been made Czechoslovak ambassador in Berlin, where he died in 1924.

List of social democrats

## InfoBox

| Vlastimil Tusar | |
| --- | --- |
|  | |
|  | |
| Prime Minister of Czechoslovakia | |
| **In office**
8 July 1919  15 September 1920 | |
| Preceded by | Karel Kramář |
| Succeeded by | Jan Černý |
| Member of the Austrian Imperial Council | |
| **In office**
1911–1918 | |
| Member of the Czechoslovak National Assembly | |
| **In office**
27 October 1918  1 March 1921 | |
|  | |
| Personal details | |
| Born | (1880-10-18)18 October 1880
Prague, Austria-Hungary |
| Died | 22 March 1924(1924-03-22) (aged 43)
Berlin, Weimar Republic |
| Political party | Social Democratic Party |
| Occupation | Journalist |
|  | |


title: Mboa language

abstract: Mboa, also known as Mbonga, is an apparently extinct language of Cameroon. Ethnologue reports 1,490 speakers cited to 2000, possibly the ethnic population.

text:
# Mboa language

**Mboa**, also known as **Mbonga**, is an apparently extinct language of Cameroon. *Ethnologue* reports 1,490 speakers cited to 2000, possibly the ethnic population.

## InfoBox

| Mboa | |
| --- | --- |
| Mbonga | |
| Region | Cameroon |
| Extinct | (date missing) |
| Language family | Niger–Congo? |
| Language codes | |
| ISO 639-3 | `xmb` |
| *Glottolog* | `mbon1252` |
| ELP | Mbonga |


title: Maurolicus inventionis

abstract: Maurolicus inventionis is a species of ray-finned fish in the genus Maurolicus. It lives in the Southeast Atlantic.

text:
# Maurolicus inventionis

***Maurolicus inventionis*** is a species of ray-finned fish in the genus *Maurolicus*. It lives in the Southeast Atlantic.

## InfoBox

| *Maurolicus inventionis* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Chordata |
| Class: | Actinopterygii |
| Order: | Stomiiformes |
| Family: | Sternoptychidae |
| Genus: | *Maurolicus* |
| Species: | ***M. inventionis*** |
| Binomial name | |
| ***Maurolicus inventionis***<br>Parin & Kobyliansky, 1993 | |
|


title: Maurolicus amethystinopunctatus

abstract: Maurolicus amethystinopunctatus is a species of ray-finned fish in the genus Maurolicus. It lives in deep-water environments in the Northeast Atlantic Ocean.

text:
# Maurolicus amethystinopunctatus

***Maurolicus amethystinopunctatus*** is a species of ray-finned fish in the genus *Maurolicus*. It lives in deep-water environments in the Northeast Atlantic Ocean.

## InfoBox

| *Maurolicus amethystinopunctatus* | |
| --- | --- |
| Conservation status | |
|
Least Concern  (IUCN 3.1) | |
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Chordata |
| Class: | Actinopterygii |
| Order: | Stomiiformes |
| Family: | Sternoptychidae |
| Genus: | *Maurolicus* |
| Species: | ***M. amethystinopunctatus*** |
| Binomial name | |
| ***Maurolicus amethystinopunctatus***
Cocco, 1838 | |
|


title: Maurolicus kornilovorum

abstract: Maurolicus kornilovorum is a species of ray-finned fish in the genus Maurolicus. It lives in the Western Indian Ocean.

text:
# Maurolicus kornilovorum

***Maurolicus kornilovorum*** is a species of ray-finned fish in the genus *Maurolicus*. It lives in the Western Indian Ocean.

## InfoBox

| *Maurolicus kornilovorum* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Chordata |
| Class: | Actinopterygii |
| Order: | Stomiiformes |
| Family: | Sternoptychidae |
| Genus: | *Maurolicus* |
| Species: | ***M. kornilovorum*** |
| Binomial name | |
| ***Maurolicus kornilovorum***<br>Parin & Kobyliansky, 1993 | |
|


title: Mazdacis consimilis

abstract: Mazdacis consimilis is a species of snout moth in the genus Mazdacis. It was described by Paul Dognin in 1911. It is found in Guyana.

text:
# Mazdacis consimilis

***Mazdacis consimilis*** is a species of snout moth in the genus *Mazdacis*. It was described by Paul Dognin in 1911. It is found in Guyana.

## InfoBox

| *Mazdacis consimilis* | |
| --- | --- |
|
| Scientific classification | |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Lepidoptera |
| Family: | Pyralidae |
| Genus: | *Mazdacis* |
| Species: | ***M. consimilis*** |
| Binomial name | |
| ***Mazdacis consimilis***<br>(Dognin, 1911) | |
|
| Synonyms | |
| * *Epipaschia consimilis* Dognin, 1911 | |


title: Volvo M90 transmission

abstract:
M90 is the model designation for an automotive rear-wheel drive gearbox that was introduced in mid-1994 Volvo 940/960. The M90 RWD gearbox and the M56 FWD gearbox are considered to be brother and sister because they are built on the same gearbox platform and have many parts in common. All turbocars have the M90 gearbox as standard from 1995. The gearbox is made by Getrag in Germany and it is of a 3-axle design, deriving from the Volvo M56 gearbox of the front wheel driven 850 series. There are three variations of the gearbox. There is a version for the cast-iron 4-cylinder engines of the 940 (redblock), the all aluminum 6-cylinder of the 960 (whiteblock), and the version for the Volkswagen 6-cylinder diesel engine D24TIC. The differences are the bell housing bolt pattern and the output shaft flange with a 3-bolt flange for the redblock/diesel engines and a 4 bolt flange for whiteblock engines.
The variant for the 6-cylinder Volvo engine will fit on all 4/5/6 all-aluminum Volvo N/RN-series engines. The clutch is hydraulically operated by a master/slave cylinder setup with a normal clutch fork and throw out bearing. The flywheels used with these gearboxes are dual mass versions to eliminate the noise that 3-axle (3-shift) gearboxes can make in neutral, and a regular flywheels for the diesel engine. All gears, including the reverse gear, are synchronized. The M90 gearbox is available with different gear ratios. This gearbox is the strongest manual transmission that Volvo fitted to their rear-wheel-drive cars. The H2 and L2 versions are stronger than the H and L versions.
There is a common belief that H is stronger than L, but the only difference between H and L is the gear ratio.
In 1997, M90 H2 and M90 L2 were introduced. This revised model of the M90, had an improved design of the 3rd gear synchronous ring; to prevent premature failure of the transmission. But they did not improve on the stopring flange for 3rd gear. It is possible to modify the stopring of the M90 H and M90 L gearboxes, to eliminate the problem.
To do so, one must open up the transmission and weld the stopring in its place.
There is a misconception that you can weld the synchronous ring, when its in fact the stopring that needs welding in order for the 3rd gear to not travel out of reach from the ingresses.
It's an easy fix for both the old and revised transmissions.

text:
# Volvo M90 transmission

**M90** is the model designation for an automotive rear-wheel drive gearbox that was introduced in mid-1994 Volvo 940/960. The M90 RWD gearbox and the M56 FWD gearbox are considered to be brother and sister because they are built on the same gearbox platform and have many parts in common. All turbocars have the M90 gearbox as standard from 1995.

The gearbox is made by Getrag in Germany and it is of a 3-axle design, deriving from the Volvo M56 gearbox of the front wheel driven 850 series.

There are three variations of the gearbox. There is a version for the cast-iron 4-cylinder engines of the 940 (redblock), the all aluminum 6-cylinder of the 960 (whiteblock), and the version for the Volkswagen 6-cylinder diesel engine D24TIC. The differences are the bell housing bolt pattern and the output shaft flange with a 3-bolt flange for the redblock/diesel engines and a 4 bolt flange for whiteblock engines. The variant for the 6-cylinder Volvo engine will fit on all 4/5/6 all-aluminum Volvo N/RN-series engines.

The clutch is hydraulically operated by a master/slave cylinder setup with a normal clutch fork and throw out bearing. The flywheels used with these gearboxes are dual mass versions (petrol engines) to eliminate the noise that 3-axle (3-shift) gearboxes can make in neutral, and a regular (single mass) flywheels for the diesel engine.

All gears, including the reverse gear, are synchronized.

The M90 gearbox is available with different gear ratios.

| Gear | M90H1 | M90H2 | M90L1 | M90L2 |
| --- | --- | --- | --- | --- |
| 1 | 3.54:1 | 3.54:1 | 3.91:1 | 3.91:1 |
| 2 | 2.05:1 | 2.05:1 | 2.20:1 | 2.20:1 |
| 3 | 1.38:1 | 1.38:1 | 1.38:1 | 1.38:1 |
| 4 | 1.00:1 | 1.00:1 | 1.00:1 | 1.00:1 |
| 5 | 0.81:1 | 0.70:1 | 0.81:1 | 0.70:1 |
| Reverse | 3.00:1 | 3.00:1 | 3.00:1 | 3.00:1 |

This gearbox is the strongest manual transmission that Volvo fitted to their rear-wheel-drive cars. The H2 and L2 versions are stronger than the H and L versions. There is a common belief that H is stronger than L, but the only difference between H and L is the gear ratio. In 1997, M90 H2 and M90 L2 were introduced. This revised model of the M90, had an improved design of the 3rd gear synchronous ring; to prevent premature failure of the transmission. But they did not improve on the stopring flange for 3rd gear.

It is possible to modify the stopring of the M90 H and M90 L gearboxes, to eliminate the problem. To do so, one must open up the transmission and weld the stopring in its place. There is a misconception that you can weld the synchronous ring, when its in fact the stopring that needs welding in order for the 3rd gear to not travel out of reach from the ingresses. It's an easy fix for both the old and revised transmissions.


title: Volvo M40 transmission

abstract: M40 and M41 are both gearboxes produced by Koping Engineering for Volvo and used in Volvo Duett, Volvo Valp, Volvo Amazon, Volvo 142 and many more. It is a four speed gearbox. It was also available in a stronger version called M400 and a three speed version called M30.

text:
# Volvo M40 transmission

**M40** and **M41** are both gearboxes produced by Koping Engineering for Volvo and used in Volvo Duett, Volvo Valp, Volvo Amazon, Volvo 142 and many more. It is a four speed gearbox. It was also available in a stronger version called M400 and a three speed version called M30.

## Gear Ratios

| Gear | M40 | M41 |
| --- | --- | --- |
| 1st | 3.13 | 3.13 |
| 2nd | 1.99 | 1.99 |
| 3rd | 1.359 | 1.359 |
| 4th | 1.00 | 1.00 |
| Overdrive | - | 0.77 |
| Reverse | 3.25 |

1. Innehållsförteckning
2. "Specifications PV".
3. "Volvo Transmission Page".