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Vax (brand)
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Vax UK Ltd is a brand that manufactures electrical goods and cleaning products in the floor-care and air treatment sectors, and which has its headquarters in the United Kingdom. The brand is owned by a company called TTI Co. Ltd Group, which is based in Hong Kong, China. Vax UK Ltd has its main headquarters and R&D centre located in the city centre of Birmingham, West Midlands and a service, warehouse and depot operation in the village of Hampton Lovett, near Droitwich, Worcestershire.[1][2]Vax branded machines are manufactured in China. Vax employs over 400 staff across its Birmingham and Droitwich sites in the UK.[3]
History[edit]
Vax UK Ltd was founded in December 1977 by Alan Brazier, who had prior experience in the field of industrial carpet cleaning. Brazier developed a prototype of a machine suitable for a household but capable of washing carpets and handling accident spillages or flooding. In 1979, Vax launched an "orange tub" multi-functional floor-care machine to fulfil this purpose and initially engaged with consumers by door-to-door sales of the device.[4] This product was a world first.[5]
Vax products were first offered for sale by high-street retailers in 1982, and the 111 Orange Tub model went on to become the best-selling vacuum cleaning product in the United Kingdom in 1987.[4]
In June 1990 Vax contracted James Dyson to produce an upright vacuum cleaner aimed at the British market. This deal involved a £75,000 licence. By July 1991, he had left the company to produce this product independently.[6]
In July 2010, Dyson attempted to bring legal action against Vax, over its Mach Zen vacuum cleaner, in the High Court for infringement of design patents.[7] However, in 2011 the UK Court of Appeal rejected this claim.[8]
In 2011, Student Placement Engineer Jake Tyler developed Vax ev, a working prototype of the world's first cardboard vacuum cleaner.[9] This product was featured across a number of tech and environmental online editorials including Gizmag[10] and TreeHugger,[11] and on the BBC Television series Bang Goes the Theory.[12] The cleaner is referenced as a key point in the history of Vacuum Cleaner development by the Best Cordless Vacuum Guide.[13]
In 2014 Vax diversified its product range from vacuums, carpet washers and steam cleaners to include pressure washers, air purifiers and de-humidifiers.[3] The following year Vax introduced a cordless vacuum cleaner with a lift-out cylinder design.[14]

References[edit]
Jump up ^ Comdevelopment Ltd. "VAX LIMITED". Retrieved 26 March 2015.
Jump up ^ TheBusinessDesk.com. "Vax invests £1m in new R&D lab in Birmingham city centre". Retrieved 15 February 2017.
^ Jump up to: a b Insider Media Ltd. "NEW RANGE HELPS VAX CLEAN UP". Retrieved 15 February 2017.
^ Jump up to: a b "Amazon.co.uk -- Vax Store -- History of Vax". Retrieved 26 March 2015.
Jump up ^ "Alan – a man who really cleaned up". Worcester News. Retrieved 26 March 2015.
Jump up ^ Against the Odds: An Autobiography by James Dyson ISBN 978-0752809816
Jump up ^ Rebecca Smithers. "Dyson sues rival Vax over vacuum cleaner design". the Guardian. Retrieved 26 March 2015.
Jump up ^ "Vax’s Court Battle With Dyson: What You Need To Know". spotlessvacuum.co.uk.
Jump up ^ "Background to Vax ev - Industrial design". Retrieved 26 March 2015.
Jump up ^ "Vax unveils a prototype vacuum cleaner made from cardboard". Retrieved 26 March 2015.
Jump up ^ "Vacuum Cleaner Made From Its Own Cardboard Packaging". TreeHugger. Retrieved 26 March 2015.
Jump up ^ Bang Goes the Theory. bbc.co.uk
Jump up ^ "Vacuum Cleaner History". Cordless Vacuum Guide. Retrieved 26 March 2015.
Jump up ^ TrustedReviews.com. "Vax Air Cordless Lift U85-ACLG-B review". Retrieved 15 February 2017.
External links[edit]
Official website
[hide]
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Techtronic Industries
Subsidiaries
AEG
Dirt Devil
Homelite Corporation
The Hoover Company
Milwaukee Electric Tool Corporation
Ryobi
Vax
Retrieved from "https://en.wikipedia.org/w/index.php?title=Vax_(brand)&oldid=801096885"
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text:
'Til I Gain Control Again
From Wikipedia, the free encyclopedia
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"'Til I Gain Control Again" is a country song written by Rodney Crowell and originally recorded by Emmylou Harris in 1975.[1] The song was included on her 1975 studio album Elite Hotel and was performed by Alison Krauss in 2016 as part of a tribute album to Harris titled: The Life & Songs of Emmylou Harris. The song was later covered by Crystal Gayle in 1982 and Blue Rodeo in 1993. Crowell recorded his own version of the song on his 1981 self-titled album. It was also covered by Van Morrison on his Pay the Devil Album out in 2006. The gothic band This Mortal Coil covered this song on their album Blood released on April 22, 1991.
Contents
[hide]
1 Crystal Gayle version
1.1 Chart performance
2 Blue Rodeo version
2.1 Chart performance
3 References
Crystal Gayle version[edit]
"'Til I Gain Control Again"
Single by Crystal Gayle
from the album True Love
B-side
"Easier Said Than Done"
Released
October 27, 1982
Genre
Country
Length
3:56
Label
Elektra
Songwriter(s)
Rodney Crowell
Producer(s)
Jimmy Bowen
Allen Reynolds
Crystal Gayle singles chronology
"Livin' in These Troubled Times"
(1982) "'Til I Gain Control Again"
(1982) "Our Love Is on the Faultline"
(1983)
"Livin' in These Troubled Times"
(1982) "Til I Gain Control Again"
(1982) "Our Love Is on the Faultline"
(1983)
In 1983, the song would be recorded by Crystal Gayle and her recording was her tenth number one on the country chart. Her recording would go to number one for one week and spend a total of twelve weeks on the chart.[2] A music video was filmed for the song.
Chart performance[edit]
Chart (1982–1983)
Peak
position
US Hot Country Songs (Billboard)[3] 1
Canadian RPM Country Tracks 12
Blue Rodeo version[edit]
"'Til I Gain Control Again"
Single by Blue Rodeo
from the album Five Days in July
Released
1994
Genre
Country rock
Length
4:30
Label
Warner Music Canada
Songwriter(s)
Rodney Crowell
Producer(s)
Blue Rodeo
Blue Rodeo singles chronology
"Dark Angel"
(1994) "'Til I Gain Control Again"
(1994) "Head over Heels"
(1995)
"Dark Angel"
(1994) "Til I Gain Control Again"
(1994) "Head over Heels"
(1995)
In 1993, the song was covered by Canadian country rock band Blue Rodeo for their album Five Days in July. Released as a single in 1994, the song peaked at number 24 on the RPM Country Tracks chart.[4]
Chart performance[edit]
Chart (1994-1995)
Peak
position
Canada Country Tracks (RPM)[5] 24
References[edit]
Jump up ^ "Recording: Till I Gain Control Again - Willie Nelson". Second Hand Songs. Retrieved 2012-03-12.
Jump up ^ Whitburn, Joel (2004). The Billboard Book Of Top 40 Country Hits: 1944-2006, Second edition. Record Research. p. 31.
Jump up ^ "Crystal Gayle Chart History (Hot Country Songs)". Billboard.
Jump up ^ "Country Tracks chart for January 16, 1995". RPM. Retrieved November 11, 2013.
Jump up ^ "Top RPM Country Tracks: Issue 2706." RPM. Library and Archives Canada. January 16, 1995. Retrieved November 16, 2013.
Preceded by
"Inside"
by Ronnie Milsap Billboard Hot Country Singles
number-one single
February 12, 1983 Succeeded by
"Faking Love"
by T. G. Sheppard and Karen Brooks
[show]
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Crystal Gayle singles
Albums
Singles
1970s
1974
"Wrong Road Again"
1975
"Somebody Loves You"
1976
"I'll Get Over You"
"You Never Miss a Real Good Thing (Till He Says Goodbye)"
1977
"I'll Do It All Over Again"
"Don't It Make My Brown Eyes Blue"
1978
"Ready for the Times to Get Better"
"Talking in Your Sleep"
"Why Have You Left the One You Left Me For"
1979
"When I Dream"
"Your Kisses Will"
"Half the Way"
"Your Old Cold Shoulder"
1980s
1980
"It's Like We Never Said Goodbye"
"The Blue Side"
"If You Ever Change Your Mind"
1981
"Take It Easy"
"Too Many Lovers"
"The Woman in Me"
1982
"You Never Gave Up on Me"
"Livin' in These Troubled Times"
"'Til I Gain Control Again"
You and I" (with Eddie Rabbitt)
1983
"Everything I Own"
"Our Love Is on the Faultline"
"Baby, What About You"
"The Sound of Goodbye"
1984
"I Don't Wanna Lose Your Love"
"Turning Away"
"Me Against the Night"
1985
"Nobody Wants to Be Alone"
"A Long and Lasting Love"
"Makin' Up for Lost Time (The Dallas Lovers' Song)" (with Gary Morris)
1986
"Cry"
"Straight to the Heart"
"Have Yourself a Merry Little Christmas"
1987
"Another World" (with Gary Morris)
"Nobody Should Have to Love This Way"
"Only Love Can Save Me Now"
"O Holy Night"
1988
"Nobody's Angel"
1990s
1990
"Never Ending Song of Love"
1999
"Two Sleepy People" (with Willie Nelson)
2000s
2003
"Hallelujah I Love Him So"
Book
[show]
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Blue Rodeo
Jim Cuddy
Greg Keelor
Bazil Donovan
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Colin Cripps
Cleave Anderson
Kim Deschamps
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Mark French
James Gray
Bob Packwood
Bob Wiseman
Studio albums
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Casino
Lost Together
Five Days in July
Nowhere to Here
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Are You Ready
Small Miracles
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In Our Nature
A Merrie Christmas to You
1000 Arms
Live albums
Just Like a Vacation
Live in Stratford
Blue Road
Live At Massey Hall
Compilations
Greatest Hits, Vol. 1
Box sets
Blue Rodeo: 1987 - 1993
Notable singles
"Try"
"Til I Am Myself Again"
"What Am I Doing Here"
"'Til I Gain Control Again"
"Head Over Heels"
Related articles
Discography
This 1980s country song-related article is a stub. You can help Wikipedia by expanding it.
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Categories:
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Emmylou Harris songs
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text:
Sebastian Shaw (actor)
From Wikipedia, the free encyclopedia
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Sebastian Shaw
Shaw in a 1979 episode of Rumpole of the Bailey
Born
Sebastian Lewis Shaw
(1905-05-29)29 May 1905
Holt, Norfolk, England
Died
23 December 1994(1994-12-23) (aged 89)
Brighton, Sussex, England
Education
Slade School of Fine Art
Alma mater
Royal Academy of Dramatic Arts
Occupation
Actor
director
novelist
playwright
poet
Years active
1914–1991
Spouse(s)
Margaret Delamere (1929–1956)
Sebastian Lewis Shaw (29 May 1905 – 23 December 1994) was an English actor, director, novelist, playwright and poet. During his 65-year career, he appeared in dozens of stage performances and more than 40 film and television productions.
Shaw was born and brought up in Holt, Norfolk, and made his acting debut at age eight at a London theatre. He studied acting at Gresham's School and the Royal Academy of Dramatic Art. Although he worked primarily on the London stage, he made his Broadway debut in 1929, when he played one of the two murderers in Rope's End. He appeared in his first film, Caste, in 1930 and quickly began to create a name for himself in films. He described himself as a "rotten actor"[1] as a youth and said his success was primarily due to his good looks. He claimed to mature as a performer only after returning from service in the Royal Air Force during World War II.
Shaw was particularly known for his performances in productions of Shakespeare plays which were considered daring and ahead of their time. In 1966, he joined the Royal Shakespeare Company, where he remained for a decade and delivered some of his most acclaimed performances. He also wrote several poems and a novel, The Christening, in 1975. He is also known for his brief but important performance in Return of the Jedi, the original third installment in the Star Wars franchise, in which he portrayed an unmasked and redeemed Anakin Skywalker (formerly Darth Vader), and his ghost in the original version of the film.
Contents
[hide]
1 Early life and career
2 World War II and post-war career
3 Royal Shakespeare Company
4 Writing career
5 Return of the Jedi
6 Later career and death
7 TV and filmography
8 References
9 External links
Early life and career[edit]
Shaw was one of three children born to Dr. Geoffrey Shaw, the music master at Gresham's School, a Norfolk independent boarding school, where Shaw began his education.[2] His uncle, Martin Shaw, was a composer of church music, and his family's love of music heavily influenced Shaw's career path.[3] Shaw made his acting debut at age eight on the London stage as one of the juvenile band in The Cockyolly Bird at the Royal Court Theatre in Chelsea[2] on New Year's Day of 1914.[3] During his time at Gresham's, he also played Petruchio in The Taming of the Shrew, his first of many performances from the works of William Shakespeare; schoolmate W. H. Auden, who would go on to become a highly regarded poet, portrayed Katherina in the play opposite him.[3] After Gresham's, Shaw planned to become a painter and spent two years at the Slade School of Fine Art before switching his interests to acting; regarding the change, his father informed him, "I wondered when you would come to your senses."[3] He earned a scholarship to the Royal Academy of Dramatic Art in Bloomsbury, London.[2] Actor Charles Laughton enrolled in the Academy at the same time as Shaw, who later said his first impression of Laughton was "a poor fat boy".[4] Although Shaw and his fellow students initially felt pity for Laughton, they were quickly impressed with his talent.[4]
A young Sebastian Shaw
Shaw appeared in regional theatres in Bristol, Liverpool and Hull. In 1925, he performed in London as the Archangel in The Sign of the Sun, and played first Lewis Dodd and then the Major in separate productions of The Constant Nymph.[1] He received instruction in verse speaking under famed theatre director William Bridges-Adams in the Stratford Festival Company at Stratford-upon-Avon,[3] where he played some of his early Shakespeare roles, including Romeo in Romeo and Juliet, Ferdinand in The Tempest and Prince Hal in Henry IV in 1926. He was criticised for the audacity he displayed in the latter role. When Prince Hal takes on his kingship and rejects the self-indulgent character Falstaff, convention of the day called for Prince Hal to change from a jovial drinking partner to an arrogant snob, but Shaw saw the view as simple-minded and contradictory toward Shakespeare's script. Instead, he displayed inward regrets about leaving Falstaff and accepting the new responsibilities. The interpretation was criticised at the time but, years later, became the standard approach to the character.[5]
Shaw made his Broadway debut in 1929, when he played the murderer Wyndham Brandon in Patrick Hamilton's stage thriller, Rope's End. In 1929, he married Margaret Delamere and lived with her in the Albany, an apartment complex off of Piccadilly in London.[2] The two would eventually have a daughter together named Drusilla (born 1932).[6] He returned to the works of William Shakespeare in 1931, playing Claudio in Measure for Measure at London's Fortune Playhouse. In 1932 he once again played Romeo at the Embassy Theatre.[1] Other works around this period included productions of Ivor Novello's Sunshine Sisters in 1933, Double Door alongside actress Sybil Thorndike in 1934, J.M. Barrie's A Kiss for Cinderella in 1937, and Robert Morley's Goodness, How Sad in 1938.[3]
The first film Shaw appeared in was Caste in 1930. He soon began to make a name for himself in films such as Brewster's Millions in 1935, Men Are Not Gods in 1936 and Farewell Again in 1937.[1] He was making about £300 a week during this stage of his career,[2] a significant sum higher than the salary of the British Prime Minister of the time. He brought what the Daily Telegraph described as a "smooth villainy"[1] to the role of Frank Sutton in The Squeaker in 1937, while in 1939 he played the hero Cmdr. David Blacklock alongside Conrad Veidt and Valerie Hobson in The Spy in Black, Michael Powell and Emeric Pressburger's first collaboration.[1] Shaw described himself as a film buff and called Academy Award-winning actor Spencer Tracy his "great god of all screen actors";[7] he was so impressed by Tracy's technique that he claimed to become depressed while watching his films because Tracy made acting look simple, while Shaw claimed to find it so difficult to master himself.[7]
World War II and post-war career[edit]
When World War II broke out, Shaw took a break from acting and joined the Royal Air Force.[2] He was commissioned as an Acting-Pilot Officer on probation in the Administrative and Special Duties Branch on 25 April 1941[8] and over the next three months was promoted to Pilot Officer on probation,[9] then Flying Officer[10] and then Flight Lieutenant.[11] According to his obituary in the Guardian, he saw little action in the service and was told the only chance he would have to fly would be as a rear gunner. Some of his fellow airmen hounded Shaw for autographs while others mocked his posh accent, to which he retaliated with an excellent and unflattering imitation of their less refined speech.[2] He continued to hold a Royal Air Force Volunteer Reserve commission after the war until he resigned the commission on 10 February 1954; he was permitted to retain his rank.[12]
Immediately upon returning to London after the war, Shaw lost his Albany flat and his acting contract, and essentially had to restart his acting career.[2] Although he made 20 films before the war and had already begun to develop a reputation as a strong leading man, in later years he would describe himself as "a rotten actor"[1] in the 1930s who landed roles based mainly on his good looks. He used the phrase "a piece of cinema beefcake"[1] to describe himself as an actor during that period.[1] He felt that after his return home from military service, he learned to act properly and began to mature as a performer.[2] Shaw's Royal Air Force experience was put to good use when he played a pilot in Journey Together, the 1946 RAF training film in which actor Edward G. Robinson coached actor Richard Attenborough in the rudiments of flying.[13]
In 1945, Shaw returned to the Embassy Theatre to direct Fyodor Dostoevsky's The Gambler. Significant theatre roles that decade included Hercules in The Thracian Horses at the Lyric Theatre, Hammersmith in 1946, Mr. Hern-Lawrence in Florida Scott-Maxwell's experimental I Said to Myself at the Mercury Theatre, Notting Hill Gate in 1947,[14] Sir James Kirkham in His Excellency at Prince's Theatre in 1950, and Filmer Jesson, MP, in Arthur Wing Pinero's His House In Order at New Theatre in 1951. In 1956, he played the title role in the first British production of Hugo von Hofmannsthal's Everyman.[1] That same year, he wrote the lyrics to his father's ballad-opera, All at Sea, which played at the Royal College of Music. In 1957, he played Lucifer in Brother Lucifer in Shrewsbury, Shropshire, and a sinister Venetian agent in Jonathan Griffin's The Hidden King in Edinburgh.[3]
As Shaw grew older, his reputation as a dramatic actor grew stronger, and he became known for a sharp intelligence and dignified style. Although his good looks diminished, reviewers felt that he used his florid and weatherbeaten face well in evoking grandeur and self-assuredness in such roles as generals, priests and his familiar Shakespearean parts.[1][13] In 1956, his wife Margaret Delamere died; she was survived by their daughter Drusilla.[6] Shaw began a romantic relationship in the mid-1950s with Joan Ingpen, the well-known classical music and opera talent agent who had previously represented him. The two were romantically involved, to the point that she took his surname, until Shaw's death.[15] During the 1980s, however, Shaw also had a brief relationship with Harriet Ravenscroft, the mother of the disc jockey John Peel, whom he met while performing at Ludlow Castle at Ludlow. He split his time between Ingpen and Ravenscroft on a four-day rotating basis to which both women consented. Although Peel got along with Shaw and said he made his mother happy, he said he did not feel comfortable with the arrangement. He felt it disrupted his mother's friendships and prospects for a more stable relationship.[16]
In 1965, British theatre director William Gaskill was named artistic director of the Royal Court Theatre, where he hoped to re-establish a repertoire. He approached Shaw, who had made his acting début at the Royal Court Theatre as a youth, and Shaw agreed to return.[13] There he delivered several performances over the next year, including General Conrad von Hotzendorf in John Osborne's A Patriot for Me; various roles in Ann Jellicoe's Shelley; Sir Francis Harker in N.F. Simpson's The Cresta Run and Pte Atterclife in John Arden's Serjeant Musgrave's Dance.[1]
Royal Shakespeare Company[edit]
In 1966, Shaw joined the Royal Shakespeare Company, where he spent the next decade of his career[2] and eventually became an associate artist.[3] He mostly appeared in Shakespeare plays, including the title role in Cymbeline, Edmund of Langley in Richard II,[1] the King in All's Well That Ends Well, Ulysses in Troilus and Cressida, and Leonato in Much Ado About Nothing.[3] The Times described his performance in the title role of Cymbeline as "awe-inspiring",[3] and The Independent described his performance as Polonius in Hamlet as "unrivalled in his complacency and sense of circumstance".[13] The Telegraph described his performance of Gloucester in King Lear as "doleful"[1] and his performance of Duncan in Macbeth as "decent".[1] Many of the company's Shakespearean productions at the time were considered interpretive and modern, which drew criticism from some traditionalists, but Shaw defended the experimental nature of the shows and rejected the notion that plays should be restricted to preconceived interpretations.[5]
During his time with the company, he also demonstrated what the Daily Telegraph called a "crusty charm"[1] as Sir Oblong Fitz Oblong in Robert Bolt's children's play The Thwarting of Baron Bolligrew.[1] He was also noted as possessing a gift for dry comedy during this period of his acting career, exemplified by his roles in Maxim Gorky's plays Enemies and Summerfolk. He demonstrated a particular knack for Russian comedy in Jonathan Miller's productions of the Anton Chekhov plays Three Sisters and Ivanov.[1]
In 1978, Shaw earned acclaim for his performance as a judge in the stage debut of Whose Life Is It Anyway? at the Mermaid Theatre. The production won Laurence Olivier Awards for Best Play and Best Actor (Tom Conti).[1] Although 73 years old, Shaw did not let his age slow down his career. During the run of this production a mugger tried to steal his money, but Shaw chased him down, tackled him and recovered his property. Later that year, he was painted in the nude by his nephew, Brian Ocean.[2] During his later years, Shaw suffered a physical disability that made him tremble, which had a negative impact on his television roles, particularly when handling cups or trays of drinks. One of his later television appearances was in The Old Curiosity Shop, a 1979 mini-series based on the novel by Charles Dickens. Around this time, he also voiced the part of Squire Beltham in a radio production of The Adventures of Harry Richmond, which the Daily Telegraph said was "remembered with affection".[1] He lent his voice to several radio performances, both Shakespearean and modern, including protagonist John Tanner in the five-hour Man and Superman by George Bernard Shaw.[3]
Writing career[edit]
Shaw wrote Take a Life, his first play, in 1961. He directed a production of the show at London's Mermaid Theatre, where he also played the lead role of the Detective.[2] That same year he played two lead roles in George Bernard Shaw plays at the Dublin Theatre Festival: Mrs. Warren's Profession and Candida.[1] Around this time, he also wrote an outline for a television comedy series about four girls sharing a flat, inspired by his real-life daughter, who was in her early twenties and living in a flat with other girls her age. The series was submitted to the Granada Television company, which expressed interest in the show and said it was one of two under consideration for television. The company ultimately chose the other show, the long-running British soap opera Coronation Street.[5]
Shaw agreed to take certain roles only on the condition that he have complete freedom to rewrite his dialogue. When he appeared in It Happened Here, a 1966 World War II film, he wrote many of his own lines, which the filmmakers later said "gave his dialogue an individual slant which enhanced his performance".[13] He also helped in other aspects of the filmmaking, including casting; he introduced the filmmakers to Fiona Leland, who would be cast as Shaw's wife in It Happened Here.[13] He wrote other plays, including The Ship's Bell, The Cliff Walk, The Glass Maze and Cul de Sac.[4] He also wrote Poems, a collection of his personal poetry, which saw a limited print of 300 editions by publisher Exeter University.[17]
Shaw wrote The Christening, his only novel, in 1975.[1] It centres around Miles Madgwick, who believes that he is bisexual but is too timid to find out through physical intercourse, so he instead describes his most intimate thoughts in his diary. He then meets a married woman named Alice and her son, Rodney; he comes to identify with Rodney's childhood innocence, and in Alice sees a symbol both of his mother and a heterosexual lover. Alice starts to tire of her husband and grow fonder of Madgwick, who experiences mixed emotions in his continued interactions with her and Rodney. One night, Rodney stays overnight at Madgwick's house and, when he takes the boy home in a taxicab, the driver observes their strange behaviour and accuses Madgwick of being a pederast. When Alice asks Madgwick to become the godfather to her new child, the driver threatens to expose Madgwick, creating a conflict between losing his first feelings of intimacy with others or facing humiliation and ridicule at the driver's exposure.[18]
A description in the book cover flap reads, "In this tender, sensitive and blackly comic novel, Sebastian Shaw, the distinguished Shakespearean actor, explores areas of sexual and emotional encounter that are rarely seen and, unfortunately, too rarely understood."[1] Shaw originally planned to call the novel The Godfather, but later said he was glad he did not due to the popularity of Mario Puzo's book of that name.[5] He was said to have been working on another novel shortly after The Christening was completed, but no others were ever published.[5]
Return of the Jedi[edit]
Shaw in his portrayal as redeemed Anakin Skywalker, unmasked in Return of the Jedi
In 1982, Shaw was chosen for the small but crucial role of unmasked and dying Anakin Skywalker in Return of the Jedi, the third and final film in the original Star Wars trilogy. Although David Prowse played the costumed scenes and James Earl Jones voiced Darth Vader, just as they had in the first two films, Shaw was cast in a single scene with Mark Hamill, during the moment aboard Death Star II when Luke Skywalker unmasks his dying father. Since the scene was unquestionably the emotional climax of the film, the casting crew sought an experienced actor for the role.[7]
When Shaw arrived at the set for filming, he ran into his friend Ian McDiarmid, the actor playing Emperor Palpatine. When McDiarmid asked him what he was doing there, Shaw responded, "I don't know, dear boy, I think it's something to do with science-fiction."[19] His presence during the filming was kept secret from all but the minimum cast and crew, and Shaw was contractually obliged not to discuss any film secrets with anyone, even his family. The unmasking scene, directed by Richard Marquand, was filmed in one day and required only a few takes, with no alteration from the original dialogue.[7] When the film was re-released on DVD in 2004, a few changes were made: the unmasking scene with Hamill remained mostly the same, but Shaw's eyebrows were digitally removed to tie in with the injuries Anakin Skywalker suffers at the end of Revenge of the Sith. Shaw's eyes were also digitally coloured to look like those of Hayden Christensen, the actor who played Anakin in Attack of the Clones and Revenge of the Sith.
Star Wars creator George Lucas personally directed Shaw for his appearance in the final scene of the film, in which he is a Force Ghost of Anakin.[7] Shaw's image in this scene was replaced with that of Christensen in the 2004 release. This last attempt to tie the prequel and original trilogies together proved to be possibly the most controversial change in the Star Wars re-releases.[20][21]
Although Shaw's unmasking scene lasted only two minutes and seven seconds and included just 24 words of dialogue spoken by Shaw,[22] he received more fan mail and autograph requests from Return of the Jedi than he had for any role in the rest of his career. He later reflected that he very much enjoyed his experience filming for Return of the Jedi and expressed particular surprise that an action figure was made of him from the film.[7]
Later career and death[edit]
Shaw remained active in his later years; along with fellow Royal Shakespeare Company actors Ian Richardson, John Nettles, Martin Best and Ann Firbank, he engaged in discussions and workshops with acting teachers and students in the early 1980s.[4][23] Although appearances in films became far less common in his later career, he received much acclaim for his performance as the Cold War spy Sharp in Clare Peploe's High Season at the New York Film Festival in 1987;[3] The San Diego Union-Tribune said Shaw played the role with "endearing, sweet gravity".[24] One of his last performances was in the Christmas season of 1988 and 1989, when he played the wizard in a stage production of The Wizard of Oz at the Barbican Centre. The Times said audiences were "delighted to recognise his honeyed threats from behind the great carapace that disguised the Wizard of Oz".[3] Shaw became an honorary life-member at the Garrick Club, which included such past members as writers Charles Dickens, J.M. Barrie, Kingsley Amis and A.A. Milne; artists Dante Gabriel Rossetti and John Everett Millais; and composer Edward Elgar.[3]
Shaw died of natural causes on 23 December 1994 at age 89 in Brighton, Sussex, England.[1] A memorial service was held 15 February 1995 at St Paul's, Covent Garden, commonly known as the Actors' Church due to its long association with the theatre community. Actors Ian Richardson and Ben Kingsley read works by William Shakespeare, stage actress Estelle Kohler read How Do I Love Thee? by Victorian poet Elizabeth Barrett Browning, actress Sheila Allen read Life by Welsh poet George Herbert and actor Kenneth Branagh read from the works of Canon Henry Scott Holland. One of Shaw's own poems, Gemini, was also read. Baritone Stephen Varcoe sang Wie bist du meine Königin by Johannes Brahms, accompanied by Graham Johnson on the piano, and guitarist Martin Best performed and sang his composition of Ariel's Songs from The Tempest. Shaw was survived by his partner Joan Ingpen, daughter Drusilla MacLeod, sisters Susan Bonner-Morgan and Penelope Harness, and sister-in-law Olga Young.[6]
TV and filmography[edit]
Year
Title
Role
Notes
1930 Caste Hon. George d'Alroy
1933 Little Miss Nobody Pat Carey
1933 House of Dreams Unknown
1933 Taxi to Paradise Tom Fanshawe
1934 The Way of Youth Alan Marmon
1934 The Four Masked Men Arthur Phillips
1934 Get Your Man Robert Halbean
1934 Adventure Ltd. Bruce Blandford
1935 Brewster's Millions Frank
1935 The Lad Jimmy
1935 The Ace of Spades Trent
1935 Three Witnesses Roger Truscott
1935 Jubilee Window Peter Ward
1935 Department Store John Goodman Johnson
1936 Tomorrow We Live Eric Morton
1936 Birds of a Feather Jack Wortle
1936 Jury's Evidence Philip
1936 Men Are Not Gods Edmund Davey
1937 Farewell Again Capt. Gilbert Reed
1937 The Squeaker Frank Sutton
1938 Julius Caesar Marcus Brutus
1939 Too Dangerous to Live Jacques Leclerc
1939 Prison Without Bars Doctor
1939 Table d'Hote Adam "Doubting Hall" section
1939 The Spy in Black Lieutenant Ashington
Commander David Blacklock
1940 Now You're Talking Charles Hampton
1940 Three Silent Men Sir James Quentin
1940 Bulldog Sees It Through Derek Sinclair
1940 The Flying Squad Inspector Bradley
1941 East of Piccadilly Tamsie Green
1945 Journey Together Squadron Leader Marshall
1947 Hamlet Claudius
1949 The Glass Mountain Bruce McLeod
1949 Landfall Wing Commander Dickens
1952 BBC Sunday Night Theatre Archdeacon Adam Brandon Episode: "The Cathedral"
1953 Laxdale Hall Hugh Marvell, MP
1958 Armchair Theatre Unknown Episode: "The Terrorist"
1960 Here Lies Miss Sabry James "Cracker" Talbot
1966 It Happened Here Dr. Richard Fletcher
1966 Out of the Unknown Major Gregory Episode: "Walk's End"
1968 All's Well That Ends Well King of France
1968 A Midsummer Night's Dream Quince
1972 Thirty-Minute Theatre Judge Episode: "The Judge's Wife"
1972 Dead of Night Powys Jubb Episode: "Death Cancels All Debts"
1975 Village Hall Ralph Episode: "Lot 23"
1977 Play for Today Abbot General Episode: "A Choice of Evils"
1978 BBC2 Play of the Week Unknown Episode: "Liza"
1979 Rumpole of the Bailey Mr. Justice Skelton Episode: "Rumpole and the Show Folk"
1979 The Old Curiosity Shop Grandfather
1981 Nanny Mr. Starkie Episode: "Goats and Tigers"
1981 Timon of Athens Old Athenian
1983 Reilly: Ace of Spies Reverend Thomas Episode: "An Affair with a Married Woman"
1983 The Weather in the Streets Mr. Curtis
1983 Return of the Jedi Anakin Skywalker Also appears as Skywalker's ghost in original release and 1997 Special Edition
1983 The Nation's Health Dr. Thurson Episodes: "Collapse" and "Decline"
1984 Crown Court Justice Bewes Episodes: "There Was an Old Woman" and "Drunk, Who Cares"
1987 High Season Sharp
1988 The Master Builder Knut Brovik
1988 Casualty Charles Howlett Episode: "Drake's Drum"
1989 Chelworth Lord Toller
1991 Chernobyl: The Final Warning Grandpa
1991 Chimera Dr. Liawski
References[edit]
^ Jump up to: a b c d e f g h i j k l m n o p q r s t u v w x "Sebastian Shaw Obituary," the Daily Telegraph, 2 January 1995.
^ Jump up to: a b c d e f g h i j k l Leech, Richard. "Better Than Beefcake: Sebastian Shaw," The Guardian, 29 December 1994, Features (section), pg. T12.
^ Jump up to: a b c d e f g h i j k l m n "Sebastian Shaw," The Times, 30 December 1994, Features (section).
^ Jump up to: a b c d Kernan, Michael. "Sebastian Shaw & the Shades of the Bard" The Washington Post, 1 March 1980, Style (section), pg. B2.
^ Jump up to: a b c d e Seaton, Ray. "Mr. Shaw's Voyage of Discovery," Express and Star, 29 April 1974.
^ Jump up to: a b c "IN MEMORIAM Mr. Sebastian Shaw," The Daily Telegraph, 15 February 1995.
^ Jump up to: a b c d e f Pirani, Adam. "Sebastian Shaw: The Return of Anakin Skywalker," Starlog, July 1987, Vol. 11, Iss. 120, pg. 56–57,+96.
Jump up ^ "No. 35171". The London Gazette. 23 May 1941. p. 2952.
Jump up ^ "No. 35391". The London Gazette. 23 December 1941. p. 7255.
Jump up ^ "No. 35606". The London Gazette. 23 June 1942. p. 2767.
Jump up ^ "No. 36618". The London Gazette (Supplement). 18 July 1944. pp. 3402–3403.
Jump up ^ "No. 40271". The London Gazette (Supplement). 3 September 1954. pp. 5138–5140.
^ Jump up to: a b c d e f Benedick, Adan. "Sebastian Shaw," The Independent, 13 February 1995 Gazette (section), pg. 12.
Jump up ^ "Classified Advertising: Theatre". The Times. London (50803): 10. 3 July 1947.
Jump up ^ Sutcliffe, Tom. "Obituary: Joan Ingpen, Inspirational artistic organiser at Covent Garden, Paris Opera and the New York Met," Archived 6 March 2016 at the Wayback Machine. the Guardian, 14 January 2008, Obituaries Pages (section), pg. 34.
Jump up ^ Peel, John and Ravenscroft, Sheila (2007). Margrave of the Marches, Chicago: Chicago Review Press, pg. 87–89. ISBN 978-1-55652-652-7.
Jump up ^ Shaw, Sebastian (1969). Poems – Sebastian Shaw, Exeter: University of Exeter. ISBN n/a.
Jump up ^ Shaw, Sebastian (1975). The Christening, London: W.H. Allen Ltd. ISBN 978-0-491-01823-4.
Jump up ^ Chernoff, Scott. "Ian McDiarmid: An Interview with the Emperor." Star Wars Insider, iss. 37, April/May 1998, pg. 33.
Jump up ^ Johnson, Derek. "Star Wars fans, DVD, and cultural ownership: an interview with Will Brooker; Interview," Velvet Light Trap, 22 September 2005, pg. 36–44.
Jump up ^ Ebert, Roger. "Anakin's fans strike back," Chicago Sun-Times, 1 May 2005, Sunday Showcase (section), pg. 3.
Jump up ^ Return of the Jedi (1983), written by George Lucas and Lawrence Kasdan, directed by Richard Marquand.
Jump up ^ Lardner, James. "Theatre Notes" The Washington Post, 28 February 1980, Style (section), pg. D9.
Jump up ^ Elliott, David. "Paradise found in witty, sensual 'High Tension'," The San Diego Union-Tribune, 6 July 1988, Lifestyle (section), pg. D-1.
External links[edit]
Biography portal
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Sebastian Shaw at Find a Grave
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WorldCat Identities
VIAF: 68493236
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Roger (American Dad!)
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Roger Smith
American Dad! character
First appearance
"Pilot"
Created by
Seth MacFarlane

Voiced by
Seth MacFarlane
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Roger Smith
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List[show]
Meredith Fields
Cecilia Takaro
Raider Dave
Samantha Kingsbury
The Legman
Scotch Bingington
Tearjerker
Applebee McFridays
Sidney Huffman
Chilly
Arbuckle T. Boone
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Reaganomics Lamborghini
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Clip Clop
Professor Jordan Edelstein
Warren Beanstalk
Ruby Zeldastein
Emmylou Sugarbean
Ace Crouton
Skylar Montessori
Madeleine Carpal Tunnel
Burt Jarvis
Frankie Marconi
Morris Buttermaker
Horse Renoir
Professor Baxter
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LeVar Crush
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Species
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Gender
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Roger Smith (born Wogir) is a fictional character in the adult animated sitcom American Dad!, voiced by Seth MacFarlane. The character was created and designed by Seth MacFarlane. Roger is a centuries-old grey space alien living with the Smith family, around whom the show revolves. Having lived on Earth since 1947, Roger came to live with the Smiths after rescuing main character Stan Smith at Area 51 four years prior to the beginning of the series.[1][2]
Roger began the series as a sensitive pushover who is often taken advantage of, cheated, and ridiculed. Over time, the character has become increasingly cruel, selfish, devious, and depraved,[1][3] although the Smith family are curiously oblivious to his nature. In early episodes of the show, Roger is disallowed from leaving the Smith house in order to conceal his being an alien.[4] This restriction is soon abandoned and Roger begins adopting disguises and fictitious personas in order to have a life outside the house.
Roger's personas have become a major plot device, with his myriad alter egos frequently being the subject or facilitator of an episode's main story or subplot. This also helps to amplify his pansexuality and androgynous nature, which varies dependent on the plot situation and persona he has adopted. Aside from catalyzing the plot or subplot with his various personas, and despite his increasingly evident self-interest, he often serves to counsel the show's main characters, by humorously affirming or bluntly disregarding their opinions.
When voicing the character, MacFarlane speaks in a swish accent intended to resemble Paul Lynde (who played Uncle Arthur in Bewitched).[5] In 2014, Roger was voted "Gayest Cartoon Character of All Time" in a first-ever March Madness style competition held by Logo TV.[6]
Contents
[hide]
1 Character
1.1 History
1.2 Roger's disguises
2 Potential film adaptation
3 References
Character[edit]
Roger is selfish, cranky, depraved, cynical, devious and cruel but, ironically, deeply sensitive. Having his feelings hurt usually spurs the creation of his egos and schemes. Roger typically displays a lighthearted, carefree temperament while at the same time engaging in his freakish grossness, outrageous malice, and rascally shenanigans.[1][3][7] Crude and brazen, Roger has no qualms with randomly saying and doing whatever is on his mind no matter how outrageously cruel, depraved or devious. Most heavily emphasized, Roger is devious and crafty, regularly misleading and finagling others to achieve his desired ends.
History[edit]
According to the episode "Frannie 911", Roger has been on earth for over 60 years, having arrived in 1947 as a result of being tricked[8], led to believe he was "The Decider" in whose hands the fate of mankind rested. In the episode "Naked to the Limit, One More Time" however, it is evidenced that Roger remains on Earth by will, the episode revealing that he can simply call for his aliens' spaceship to return him to his birth planet if he so desires.
Details on Roger's actual family and pre-Earth life have yet to be shown on the series. Although in the episode "Lost in Space", a brief clip revealed that prior to Roger's life on Earth, he was involved in a homosexual romantic relationship with another member of his alien race, Zing; however, Roger cheated on Zing, blatantly making out with a human male in front of him. It's also been revealed that Roger has lived on Earth for many years prior to his life spent with the Smith family.
Roger came into contact with the Smith family when he saved Stan's life back when Roger was a fugitive of Area 51 (four years prior to the show's beginnings). Feeling he owed Roger a life debt because of this, Stan rescued him from government capture and allowed him to live in his home. Stan has allowed this in defiance of his employer, the CIA. Roger now covertly lives in the Smith home. The Smiths use their attic as a hideout/bedroom for Roger.
Roger's disguises[edit]
After Stan took Roger in for saving his life, he felt that it would endanger him and the rest of his family if it were to be discovered that Roger is an alien and living with them. Consequently, Stan disallowed him from leaving the house when the series first began, even in disguise. Confined to the house in the first couple of seasons, Roger was miserable and malcontent.[4] However, Roger is able to skillfully use disguises to exist in the outside world, which has become a major plot device in later episodes. Adding to this, he's created countless alter egos to go along with them.[7]
Roger has, however, abused this practice, leading numerous lives and outrageously deceiving numerous people. In fact, some of Roger's characters are in prison, while others are widely despised, and others somehow have full-fledged human families and are even married; he sometimes says that he is a graduate of Howard University. Roger also uses several of these personas to act in a criminal manner, as several of his personas have been seen to engage in robbery, sexual assault, police corruption, identity theft, drug trafficking, child abuse and with one persona even admitting to being wanted "for a series of prostitute murders".
Despite his numerous disguises consisting in only a different set of garment and hair with no effort to disguise his skin or face whatsoever (with some exceptions, like additional body weight, facial hair or wrinkles), Roger has been capable of deceiving virtually every single person he interacts with and never be discovered as an alien; not even by Stan's colleagues from CIA, who according to him, have "an entire floor" looking for Roger. The Smith family is the only exception; however, for each member of the family there is one individual alter ego they can not recognize as Roger. On top of that, Roger has been sent to the hospital several times over the course of the series, and medical personnel, for some reason, have never found out that he's not even human.[9]
Potential film adaptation[edit]
At Comic-Con 2013 on July 20, Mike Barker revealed that an American Dad! film centering on Roger and set on his birth planet may take place in the future. Barker didn't announce any specifics as it relates to the nature and type of film he and the rest of the show's creators had in mind for the series; however, he strongly suggested that a film is where the show's staff and creators would like to take things. Barker further hinted that an American Dad! film may already be in the works and partially written.[10]
According to a Seth McFarlane interview on the late show the American Dad movie will be released on December 24, 2017 with a Christmas theme. The movie will finally reveal Roger Smith's home planet and what day he arrived on earth.
References[edit]
^ Jump up to: a b c "Roger Video | Movie Clips & Character Interview". Ovguide.com. Retrieved 2013-04-09.
Jump up ^ McEwen, Lauren (2012-10-08). "'American Dad': One of the most sophisticated mainstream shows on African American culture - The Root DC Live". The Washington Post. Retrieved 2013-02-22.
^ Jump up to: a b Todd VanDerWerff September 28, 2012 (2012-09-28). "Comedy Showrunners Week: American Dad's co-creators on the show's weird evolution | TV | Interview". The A.V. Club. Retrieved 2013-04-10.
^ Jump up to: a b AWN. "American Dad Touchdown | AWN |". AWN. Retrieved 2013-06-22.
Jump up ^ "A Chat with Seth MacFarlane". Bullz-eye.com. 2007-05-21. Retrieved 2010-01-30.
Jump up ^ Nichols, James (2014-04-08). "Roger Of 'American Dad' Crowned LOGO's 'Gayest Cartoon Of All Time'". www.huffingtonpost.com. The Huffington Post. Retrieved 2017-01-18.
^ Jump up to: a b McFarland, Kevin (February 18, 2013). ""Naked To The Limit, One More Time" | American Dad | TV Club | TV". The A.V. Club. Retrieved April 1, 2013.
Jump up ^ "American Dad Scripts". American Dad Scripts. Retrieved 2013-06-22.
Jump up ^ "American Dad!" Roger Passes the Bar (TV Episode 2014), retrieved 2017-06-21
Jump up ^ ' + data.results.personName + ' (2013-07-20). "Comic-Con 2013: 'American Dad' Season 10 guest stars include Zooey Deschanel, Alison Brie and Mariah Carey - Zap2it". Blog.zap2it.com. Retrieved 2013-08-17.
[show]
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Klaus
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Season 1
"Pilot"
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"All About Steve"
"Stan of Arabia: Part 1"
"Stan of Arabia: Part 2"
"Stannie Get Your Gun"
"Finances with Wolves"
Season 3
"Camp Refoogee"
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Season 5
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Season 6
"In Country...Club"
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"G-String Circus"
"Rapture's Delight"
"Don't Look a Smith Horse in the Mouth"
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"Best Little Horror House in Langley Falls"
"Stan's Food Restaurant"
"White Rice"
"For Whom the Sleigh Bell Tolls"
"Fart-Break Hotel"
"Stanny Boy and Frantastic"
"A Piñata Named Desire"
"You Debt Your Life"
"I Am the Walrus"
"Jenny Fromdabloc"
"Home Wrecker"
"Flirting with Disaster"
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"Hot Water"
"Hurricane!"
"A Ward Show"
"Virtual In-Stanity"
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"Ricky Spanish"
"Toy Whorey"
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"National Treasure 4: Baby Franny: She's Doing Well: The Hole Story"
"The Missing Kink"
"Lost in Space"
"Da Flippity Flop"
Season 10
"Minstrel Krampus"
Season 11
"Blagsnarst, a Love Story"
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'"The Two Hundred'"
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Related
Night of the Hurricane
Family Guy
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Novels
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Roger
See also
Fuzzy Door Productions
The Life of Larry and Larry & Steve
Rachael MacFarlane
"Everybody Needs a Best Friend"
Night of the Hurricane
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Free cash flow
From Wikipedia, the free encyclopedia
Jump to navigation Jump to search
In corporate finance, free cash flow (FCF) or free cash flow to firm (FCFF) is a way of looking at a business's cash flow to see what is available for distribution among all the securities holders of a corporate entity. This may be useful to parties such as equity holders, debt holders, preferred stock holders, and convertible security holders when they want to see how much cash can be extracted from a company without causing issues to its operations.
Free cash flow can be calculated in various ways, depending on audience and available data. A common measure is to take the earnings before interest and taxes multiplied by (1 − tax rate), add depreciation and amortization, and then subtract changes in working capital and capital expenditure. Depending on the audience, a number of refinements and adjustments may also be made to try to eliminate distortions.
Free cash flow may be different from net income, as free cash flow takes into account the purchase of capital goods and changes in working capital.
Contents
1 Calculations
2 Difference with net income
3 Alternative formula
4 Uses
5 Problems with capital expenditures
6 Agency costs
7 See also
8 References
9 External links
Calculations[edit]
Free cash flow can be calculated as follows:
Element
Source
EBIT x (1-Tax rate) Current Income Statement
+ Depreciation & Amortization Current Income Statement
- Changes in Working Capital Prior & Current Balance Sheets: Current Assets and Liability accounts
- Capital expenditure (CAPEX) Prior & Current Balance Sheets: Property, Plant and Equipment accounts
= Free Cash Flow
Note that the first three lines above are calculated on the standard Statement of Cash Flows.
When net profit and tax rate applicable are given, you can also calculate it by taking:
Element
Source
Net Profit Current Income Statement
+ Interest expense Current Income Statement
- Net Capital Expenditure (CAPEX) Current Income Statement
- Net changes in Working Capital Prior & Current Balance Sheets: Current Assets and Liability accounts
- Tax shield on Interest Expense Current Income Statement
= Free Cash Flow
where
Net Capital Expenditure (CAPEX) = Capex - Depreciation & Amortization
Tax Shield = Net Interest Expense X Marginal Tax Rate
When PAT and Debt/Equity ratio is available:
Element
Source
Profit after Tax (PAT) Income Statement
- Changes in Capital expenditure X (1-d) Balance Sheets, Cash Flow Statements
+ Depreciation & Amortization X (1-d) Prior & Current Balance Sheets
- Changes in Working Capital X (1-d) Balance Sheets, Cash Flow Statements
= Free Cash Flow
where d - is the debt/equity ratio. e.g.: For a 3:4 mix it will be 3/7.
Element
Source
Net Income Income Statement
+ Depreciation & Amortization Income Statement
- Changes in Working Capital Prior & Current Balance Sheets
= Cash Flows from Operations same as Statement of Cash Flows: section 1, from Operations
Therefore,
Element
Data Source
Cash Flows from Operations Statement of Cash Flows: section 1, from Operations
- Investment in operating Capital Statement of Cash Flows: section 2, from Investment
= Free Cash Flow
Difference with net income[edit]
There are two differences between net income and free cash flow. The first is the accounting for the purchase of capital goods. Net income deducts depreciation, while the free cash flow measure uses last period's net capital purchases.
Measurement Type
Component
Advantage
Disadvantage
Free Cash Flow Prior period net investment spending Spending is in current dollars Capital investments are at the discretion of management, so spending may be sporadic.
Net Income Depreciation charge Charges are smoothed, related to cumulative prior purchases Allowing for typical 2% inflation per year, equipment purchased 10 years ago for $100 would now cost about $122. With 10 year straight line depreciation the old machine would have an annual depreciation of $10, but the new, identical machine would have depreciation of $12.2, or 22% more.
The second difference is that the free cash flow measurement adjusts changes in net working capital, where the net income approach does not. Typically, in a growing company with a 30-day collection period for receivables, a 30-day payment period for purchases, and a weekly payroll, it will require more working capital to finance the labor and profit components embedded in the growing receivables balance.
When a company has negative sales growth, it's likely to lower its capital spending. Receivables, provided they are being timely collected, will also ratchet down. All this "deceleration" will show up as additions to free cash flow. However, over the long term, decelerating sales trends will eventually catch up.
Net free cash Flow definition should also allow for cash available to pay off the company's short term debt. It should also take into account any dividends that the company means to pay.
Net Free Cash Flow = Operation Cash flow – Capital Expenses to keep current level of operation – dividends – Current Portion of long term debt – Depreciation
Here Capex Definition should not include additional investment on new equipment. However maintenance cost can be added.
Dividends - This will be base dividend that the company intends to distribute to its share holders.
Current portion of LTD - This will be minimum debt that the company needs to pay in order to not default.
Depreciation - This should be taken out since this will account for future investment for replacing the current PPE.
If the net income category includes the income from discontinued operation and extraordinary income make sure it is not part of Free Cash Flow.
Net of all the above give free cash available to be reinvested in operations without having to take more debt.
Alternative formula[edit]
FCF measures:
operating cash flow (OCF)
less expenditures necessary to maintain assets (capital expenditures or "capex") but this does not include increase in working capital.
less interest charges.
In symbols:
F C F t = O C B t − I t {\displaystyle FCF_{t}=OCB_{t}-I_{t}\,}
where
OCBt is the firm's net operating profit after taxes (Also known as NOPAT) during period t
It is the firm's investment during period t including variation of working capital
Investment is simply the net increase (decrease) in the firm's capital, from the end of one period to the end of the next period:
I t = K t − K t − 1 {\displaystyle I_{t}=K_{t}-K_{t-1}\,}
where Kt represents the firm's invested capital at the end of period t. Increases in non-cash current assets may, or may not be deducted, depending on whether they are considered to be maintaining the status quo, or to be investments for growth.
Unlevered free cash flow (i.e., cash flows before interest payments) is defined as EBITDA - CAPEX - changes in net working capital - taxes. This is the generally accepted definition. If there are mandatory repayments of debt, then some analysts utilize levered free cash flow, which is the same formula above, but less interest and mandatory principal repayments. The unlevered cash flow (UFCF) is usually used as the industry norm, because it allows for easier comparison of different companies’ cash flows. It is also preferred over the levered cash flow when conducting analyses to test the impact of different capital structures on the company.[1]
Investment bankers compute free cash flow using the following formulae:
FCFF = After tax operating income + Noncash charges (such as D&A) - CAPEX - Working capital expenditures = Free cash flow to firm (FCFF)
FCFE = Net income + Noncash charges (such as D&A) - CAPEX - Change in non-cash working capital + Net borrowing = Free cash flow to equity (FCFE)
Or simply:
FCFE = FCFF + Net borrowing - Interest*(1-t)
Uses[edit]
Free cash flow measures the ease with which businesses can grow and pay dividends to shareholders. Even profitable businesses may have negative cash flows. Their requirement for increased financing will result in increased financing cost reducing future income.
According to the discounted cash flow valuation model, the intrinsic value of a company is the present value of all future free cash flows, plus the cash proceeds from its eventual sale. The presumption is that the cash flows are used to pay dividends to the shareholders. Bear in mind the lumpiness discussed below.
Some investors prefer using free cash flow instead of net income to measure a company's financial performance, because free cash flow is more difficult to manipulate than net income. The problems with this presumption are itemized at cash flow and return of capital.
The payout ratio is a metric used to evaluate the sustainability of distributions from REITs, Oil and Gas Royalty Trusts, and Income Trust. The distributions are divided by the free cash flow. Distributions may include any of income, flowed-through capital gains or return of capital.
Problems with capital expenditures[edit]
The expenditures for maintenances of assets is only part of the capex reported on the Statement of Cash Flows. It must be separated from the expenditures for growth purposes. This split is not a requirement under GAAP, and is not audited. Management is free to disclose maintenance capex or not. Therefore, this input to the calculation of free cash flow may be subject to manipulation, or require estimation. Since it may be a large number, maintenance capex's uncertainty is the basis for some people's dismissal of 'free cash flow'.
A second problem with the maintenance capex measurement is its intrinsic 'lumpiness'. By their nature, expenditures for capital assets that will last decades may be infrequent, but costly when they occur. 'Free cash flow', in turn, will be very different from year to year. No particular year will be a 'norm' that can be expected to be repeated. For companies that have stable capital expenditures, free cash flow will (over the long term) be roughly equal to earnings
Agency costs[edit]
In a 1986 paper in the American Economic Review, Michael Jensen noted that free cash flows allowed firms' managers to finance projects earning low returns which, therefore, might not be funded by the equity or bond markets. Examining the US oil industry, which had earned substantial free cash flows in the 1970s and the early 1980s, he wrote that:
[the] 1984 cash flows of the ten largest oil companies were $48.5 billion, 28 percent of the total cash flows of the top 200 firms in Dun's Business Month survey. Consistent with the agency costs of free cash flow, management did not pay out the excess resources to shareholders. Instead, the industry continued to spend heavily on [exploration and development] activity even though average returns were below the cost of capital.
Jensen also noted a negative correlation between exploration announcements and the market valuation of these firms—the opposite effect to research announcements in other industries.
See also[edit]
Business valuation
Discounted cash flow
Enterprise value
Economic value added
Owner earnings
Weighted average cost of capital
References[edit]
Jump up ^ "Discounted Cash Flow Analysis | Street Of Walls". www.streetofwalls.com. Retrieved 2016-12-13.
Brealey, Richard A.; Myers, Stewart C.; Allen, Franklin (2005). Principles of Corporate Finance (8th ed.). Boston: McGraw-Hill/Irwin. ISBN 0-07-295723-9.
Jensen, Michael C. (1986). "Agency costs of free cash flow, corporate finance and takeovers". American Economic Review. 76 (2): 323&ndash, 329. doi:10.2139/ssrn.99580.
Stewart, G. Bennett, III (1991). The Quest for Value. New York: HarperBusiness. ISBN 0-88730-418-4.
External links[edit]
Free Cash Flow: Free, But Not Always Easy, Investopedia
What is Free Cash Flow?, Morningstar
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