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Polyolefin
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A paper box wrapped with polyolefin shrink film
A polyolefin is any of a class of polymers produced from a simple olefin (also called an alkene with the general formula CnH2n) as a monomer. For example, polyethylene is the polyolefin produced by polymerizing the olefin ethylene. Polypropylene is another common polyolefin which is made from the olefin propylene.
Contents
[hide]
1 Industrial polyolefins
2 Properties
3 Uses
4 References
5 External links
Industrial polyolefins[edit]
Most polyolefin produced in the industrial scale are made via polymerization through the use of catalysts. One example is the use of Ziegler-Natta catalyst for the polymerization of ethylene to polyethylene.[1]
Thermoplastic polyolefins: polyethylene (PE), polypropylene (PP), polymethylpentene (PMP), polybutene-1 (PB-1);
Polyolefin elastomers (POE): polyisobutylene (PIB), ethylene propylene rubber (EPR), ethylene propylene diene monomer (M-class) rubber (EPDM rubber)
Properties[edit]
Polyolefin properties range from liquidlike to rigid solids, and are primarily determined by their molecular weight and degree of crystallinity. Polyolefin degrees of crystallinity range from 0% (liquidlike) to 60% or higher (rigid plastics). Crystallinity is primarily governed by the lengths of polymer's crystallizable sequences established during polymerization.[2] Examples include adding a small percentage of comonomer like 1-hexene or 1-octene during the polymerization of ethylene,[3] or occasional irregular insertions ("stereo" or "regio" defects) during the polymerization of isotactic propylene.[4] The polymer's ability to crystallize to high degrees decreases with increasing content of defects.
Low degrees of crystallinity (0-20%) are associated with liquidlike-to-elastomeric properties. Intermediate degrees of crystallinity (20-50%) are associated with ductile thermoplastics, and degrees of crystallity over 50% are associated with rigid and sometimes brittle plastics.[5]
Polyolefin surfaces are not effectively joined together by solvent welding because they have excellent chemical resistance and are unaffected by common solvents. They can be adhesively bonded after surface treatment (they inherently have very low surface energies and don't wet-out well (the process of being covered and filled with resin)), and by some superglues (cyanoacrylates) and reactive (meth)acrylate glues.[6] They are extremely inert chemically but exhibit decreased strength at lower and higher temperatures.[7] As a result of this, thermal welding is a common bonding technique.
Practically all polyolefins that are of any practical or commercial importance are poly-alpha-olefin (or poly-α-olefin or polyalphaolefin, sometimes abbreviated as PAO), a polymer made by polymerizing an alpha-olefin. An alpha-olefin (or α-olefin) is an alkene where the carbon-carbon double bond starts at the α-carbon atom, i.e. the double bond is between the #1 and #2 carbons in the molecule. Alpha-olefins such as 1-hexene may be used as co-monomers to give a alkyl branched polymer (see chemical structure below), although 1-decene is most commonly used for lubricant base stocks.[8]
1-hexene, an example of an alpha-olefin
Many poly-alpha-olefins have flexible alkyl branching groups on every other carbon of their polymer backbone chain. These alkyl groups, which can shape themselves in numerous conformations, make it very difficult for the polymer molecules to align themselves up side-by-side in an orderly way. This results in lower contact surface area between the molecules and decreases the intermolecular interactions between molecules.[9] Therefore, many poly-alpha-olefins do not crystallize or solidify easily and are able to remain oily, viscous liquids even at lower temperatures.[10] Low molecular weight poly-alpha-olefins are useful as synthetic lubricants such as synthetic motor oils for vehicles and can be used over a wide temperature range.[8][10]
Even polyethylenes copolymerized with a small amount of alpha-olefins (such as 1-hexene, 1-octene, or longer) are more flexible than simple straight-chain high-density polyethylene, which has no branching.[7] The methyl branch groups on a polypropylene polymer are not long enough to make typical commercial polypropylene more flexible than polyethylene.
Uses[edit]
Polyolefins are used for blow moulded or rotationally moulded components, e.g. toys,[11] for heat-shrink tubing used to mechanically and electrically protect connections in electronics,[11] and for rash guards or undergarments for wetsuits.[citation needed]
Polyolefin sheets or foams are used in a wide variety of packaging applications, sometimes in direct contact with food.[12]
Polyolefin elastomer POE is used as a main ingredient in the molded flexible foam technology such as in the fabrication of self skinned footwear (for example, Crocs shoes), seat cushions, arm rests, spa pillows, etc. Hydrogenated polyalphaolefin (PAO) is used as a radar coolant. Head makes polyolefin tennis racket strings. Polyolefin is also used in pharmaceutical and medical industry for HEPA filter certification—a PAO aerosol is passed through the filters and the air that exits is measured with an aerosol detector.[13]
Elastolefin is a fiber used in fabrics.[14] IKEA's Better Shelter uses structural panels made out of polyolefin foam, stating, "They are tough and durable.".[15] Piping systems for the conveyance of water, chemicals or gases are commonly produced in Polypropylene, and to a much greater extent Polyethylene. Piping systems in high-density Polyethylene (HDPE, PE100, PE80) are fast becoming the most commonly used drinking water, waste water and natural gas distribution piping systems in the world.
References[edit]
Jump up ^ Cossee, P (1964-02-01). "Ziegler-Natta catalysis I. Mechanism of polymerization of α-olefins with Ziegler-Natta catalysts". Journal of Catalysis. 3 (1): 80–88. doi:10.1016/0021-9517(64)90095-8.
Jump up ^ Tashiro, Stein, Hsu, Macromolecules 25 (1992) 1801-1810
Jump up ^ Alizadeh et. al., Macromolecules 32 (1999) 6221-6235
Jump up ^ Bond, Eric Bryan; Spruiell, Joseph E.; Lin, J. S. (1 November 1999). "A WAXD/SAXS/DSC study on the melting behavior of Ziegler-Natta and metallocene catalyzed isotactic polypropylene". Journal of Polymer Science Part B: Polymer Physics. 37 (21): 3050–3064. Bibcode:1999JPoSB..37.3050B. doi:10.1002/(SICI)1099-0488(19991101)37:21<3050::AID-POLB14>3.0.CO;2-L.
Jump up ^ A. J. Kinloch, R. J. Young, The Fracture Behaviour of Polymers, Chapman & Hall, 1995 pp. 338-369. ISBN 0 412 54070 3
Jump up ^ "Properties and Applications of Polyolefin Bonding" "[1] Master Bond Inc." Retrieved on June 24, 2013
^ Jump up to: a b James Lindsay White, David D. Choi (2005). Polyolefins: Processing, Structure Development, And Properties. Munich: Hanser Verlag. ISBN 1569903697. [page needed]
^ Jump up to: a b R. M. Mortier, M. F. Fox and S. T. Orszulik, ed. (2010). Chemistry and Technology of Lubricants (3rd ed.). Netherlands: Springer. ISBN 140208661X. [page needed]
Jump up ^ "Properties of Alkanes Archived 2013-01-07 at the Wayback Machine.." Retrieved on June 24, 2013
^ Jump up to: a b L. R. Rudnick and R. L. Shubkin, ed. (1999). Synthetic Lubricants and High-performance Functional Fluids (2nd ed.). New York: Marcel Dekker. ISBN 0-8247-0194-1. [page needed]
^ Jump up to: a b Kucklick, Theodore R. (2012). The Medical Device R&D Handbook, Second Edition. CRC Press. p. 19.
Jump up ^ Kit L. Yam, ed. (2010). The Wiley Encyclopedia of Packaging Technology. John Wiley & Sons. ISBN 9780470541388. Retrieved 2016-11-20.
Jump up ^ "HEPA/ULPA Cleanroom Filter Testing". Clean Air Solutions. Retrieved 15 October 2012.
Jump up ^ Mellior International (11th - 12th ed.). IBP Business Press Publishers. 2006. ISSN 0947-9163. [page needed]
Jump up ^ "Product: Better Shelter". BetterShelter.org. Retrieved 29 March 2015.
External links[edit]
Wikimedia Commons has media related to Polyolefins.
MSDS (Material Safety Data Sheet)
Polymer Structure
Authority control
NDL: 00569154
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Lunar day
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A lunar day is the period of time for Earth's Moon to complete one rotation on its axis with respect to the Sun. Due to tidal locking, it is also the time the Moon takes to complete one orbit around Earth and return to the same phase. A lunar month is the period between two new moons and lasts about 29.5 days.
Relative to the fixed stars on the celestial sphere, the Moon takes 27 Earth days, 7 hours, 43 minutes, and 12 seconds to complete one orbit;[1] however, since the Earth–Moon system advances around the Sun at the same time, the Moon must travel further to return to the same phase. On average, this synodic period lasts 29 days, 12 hours, 44 minutes, and 3 seconds.[1] This is the mean figure since the speed of the Earth–Moon system around the Sun varies slightly during a year due to the eccentricity of its elliptical orbit, variances in orbital velocity, and a number of other periodic and evolving variations about its observed, relative, mean values, which are influenced by the gravitational perturbations of the Sun and other bodies in the Solar System.
As a result, daylight at a given point on the Moon would last approximately two weeks from beginning to end, followed by approximately two weeks of night.
Contents
[hide]
1 Alternate usage
1.1 Lunar calendars
2 See also
3 References
4 External links
Alternate usage[edit]
The term lunar day may also refer to the period between moonrises or high moon in a particular location on Earth. This period is typically about 50 minutes longer than a 24-hour Earth day, as the Moon orbits the Earth in the same direction as the Earth's axial rotation.[2]
Lunar calendars[edit]
In some lunar calendars, such as the Hindu calendar, a lunar day, or tithi, is defined as 1/30th of a lunar month, or the time it takes for the longitudinal angle between the Moon and the Sun to increase by 12 degrees. By this definition, lunar days generally vary in duration.
See also[edit]
Lunisolar calendar
Sol, the name for a Martian solar day
References[edit]
^ Jump up to: a b "Month". Encyclopædia Britannica. Retrieved 15 April 2015.
Jump up ^ "Animation of a lunar day". NOAA. Retrieved 1 May 2012.
External links[edit]
Lunar days and other lunar data for many different cities. Lunarium.co.uk.
Lunar Standard Time (LST) lunarclock.org.
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History of the Hindu–Arabic numeral system
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The Hindu–Arabic numeral system is a decimal place-value numeral system that uses a zero glyph as in "205".[1]
Its glyphs are descended from the Indian Brahmi numerals. The full system emerged by the 8th to 9th centuries, and is first described in Al-Khwarizmi's On the Calculation with Hindu Numerals (ca. 825), and Al-Kindi's four-volume work On the Use of the Indian Numerals (ca. 830).[2] Today the name Hindu–Arabic numerals is usually used.
Contents
1 Decimal system
2 Development in India
2.1 Place-value numerals without zero
2.2 Place-value numerals with zero
3 Adoption by the Arabs
4 Development of symbols
5 The abacus versus the Hindu–Arabic numeral system in early modern pictures
6 Adoption in Europe
7 Impact on arithmetic
8 See also
9 Notes
10 References
Decimal system[edit]
Historians trace modern numerals in most languages to the Brahmi numerals, which were in use around the middle of the 3rd century BC.[3] The place value system, however, developed later. The Brahmi numerals have been found in inscriptions in caves and on coins in regions near Pune[2], and Uttar Pradesh. These numerals (with slight variations) were in use up to the 4th century.[3]
During the Gupta period (early 4th century to the late 6th century), the Gupta numerals developed from the Brahmi numerals and were spread over large areas by the Gupta empire as they conquered territory.[3] Beginning around 7th century, the Gupta numerals developed into the Nagari numerals.
Development in India[edit]
Further information: positional notation
During the Vedic period (1500–500 BCE), motivated by geometric construction of the fire altars and astronomy, the use of a numerical system and of basic mathematical operations developed in northern India.[4][5] Hindu cosmology required the mastery of very large numbers such as the kalpa (the lifetime of the universe) said to be 4,320,000,000 years and the "orbit of the heaven" said to be 18,712,069,200,000,000 yojanas.[6] Numbers were expressed using a "named place-value notation", using names for the powers of 10, like dasa, shatha, sahasra, ayuta, niyuta, prayuta, arbuda, nyarbuda, samudra, madhya, anta, parardha etc., the last of these being the name for a trillion (1012).[7] For example, the number 26,432 was expressed as "2 ayuta, 6 sahasra, 4 shatha, 3 dasa, 2."[8] In the Buddhist text Lalitavistara, the Buddha is said to have narrated a scheme of numbers up to 1053.[9][10]
The form of numerals in Ashoka's inscriptions in the Brahmi script (middle of the third century BCE) involved separate signs for the numbers 1 to 9, 10 to 90, 100 and 1000. A multiple of 100 or 1000 was represented by a modification (or "enciphering"[11]) of the sign for the number using the sign for the multiplier number.[12] Such enciphered numerals directly represented the named place-value numerals used verbally. They continued to be used in inscriptions until the end of the 9th century.
In his seminal text of 499 CE, Aryabhata devised a novel positional number system, using Sanskrit consonants for small numbers and vowels for powers of 10. Using the system, numbers up to a billion could be expressed using short phrases, e. g., khyu-ghṛ representing the number 4,320,000. The system did not catch on because it produced quite unpronounceable phrases, but it might have driven home the principle of positional number system (called dasa-gunottara, exponents of 10) to later mathematicians.[13] A more elegant katapayadi scheme was devised in later centuries representing a place-value system including zero.[14]
Place-value numerals without zero[edit]
While the numerals in texts and inscriptions used a named place-value notation, a more efficient notation might have been employed in calculations, possibly from the 1st century CE. Computations were carried out on clay tablets covered with a thin layer of sand, giving rise to the term dhuli-karana ("sand-work") for higher computation. Karl Menninger believes that, in such computations, they must have dispensed with the enciphered numerals and written down just sequences of digits to represent the numbers. A zero would have been represented as a "missing place," such as a dot.[15] The single manuscript with worked examples available to us, the Bakhshali manuscript (of unclear date), uses a place value system with a dot to denote the zero. The dot was called the shunya-sthāna, "empty-place." The same symbol was also used in algebraic expressions for the unknown (as in the canonical x in modern algebra).[16]
Textual references to a place-value system are seen from the 1st century CE onward. The Buddhist philosopher Vasubandhu in the 1st century says "when [the same] clay counting-piece is in the place of units, it is denoted as one, when in hundreds, one hundred." A commentary on Patanjali's Yoga Sutras from the 5th century reads, "Just as a line in the hundreds place [means] a hundred, in the tens place ten, and one in the ones place, so one and the same woman is called mother, daughter and sister."[17]
A system called bhūta-sankhya ("object numbers" or "concrete numbers") was employed for representing numerals in Sanskrit verses, by using a concept representing a digit to stand for the digit itself. The Jain text entitled the Lokavibhaga, dated 458 CE,[18] mentions the objectified numeral
"panchabhyah khalu shunyebhyah param dve sapta chambaram ekam trini cha rupam cha"
meaning, "five voids, then two and seven, the sky, one and three and the form", i.e., the number 13107200000.[19][20] Such objectified numbers were used extensively from the 6th century onward, especially after Varahamihira (c. 575 CE). Zero is explicitly represented in such numbers as "the void" (sunya) or the "heaven-space" (ambara akasha).[21] Correspondingly, the dot used in place of zero in written numerals was referred to as a sunya-bindu.[22]
Place-value numerals with zero[edit]
In 628 CE, astronomer-mathematician Brahmagupta wrote his text Brahma Sphuta Siddhanta which contained the first mathematical treatment of zero. He defined zero as the result of subtracting a number from itself, postulated negative numbers and discussed their properties under arithmetical operations. His word for zero was shunya (void), the same term previously used for the empty spot in 9-digit place-value system.[23] This provided a new perspective on the shunya-bindu as a numeral and paved the way for the eventual evolution of a zero digit. The dot continued to be used for at least 100 years afterwards, and transmitted to Southeast Asia and Arabia. Kashmir's Sharada script has retained the dot for zero until this day.
By the end of the 7th century, decimal numbers begin to appear in inscriptions in Southeast Asia as well as in India.[22] Some scholars hold that they appeared even earlier. A 6th century copper-plate grant at Mankani bearing the numeral 346 (corresponding to 594 CE) is often cited.[24] But its reliability is subject to dispute.[22][25] The first indisputable occurrence of 0 in an inscription occurs at Gwalior in 876 CE, containing a numeral "270" in a notation surprisingly similar to ours.[26] Throughout the 8th and 9th centuries, both the old Brahmi numerals and the new decimal numerals were used, sometimes appearing in the same inscriptions. In some documents, a transition is seen to occur around 866 CE.[22]
Adoption by the Arabs[edit]
Before the rise of the Caliphate, the Hindu–Arabic numeral system was already moving West and was mentioned in Syria in 662 AD by the Nestorian scholar Severus Sebokht who wrote the following:
"I will omit all discussion of the science of the Indians, ..., of their subtle discoveries in astronomy, discoveries that are more ingenious than those of the Greeks and the Babylonians, and of their valuable methods of calculation which surpass description. I wish only to say that this computation is done by means of nine signs. If those who believe, because they speak Greek, that they have arrived at the limits of science, would read the Indian texts, they would be convinced, even if a little late in the day, that there are others who know something of value."[1]
According to al-Qifti's chronology of the scholars [2]:
"... a person from India presented himself before the Caliph al-Mansur in the year [776 AD] who was well versed in the siddhanta method of calculation related to the movement of the heavenly bodies, and having ways of calculating equations based on the half-chord [essentially the sine] calculated in half-degrees ... This is all contained in a work ... from which he claimed to have taken the half-chord calculated for one minute. Al-Mansur ordered this book to be translated into Arabic, and a work to be written, based on the translation, to give the Arabs a solid base for calculating the movements of the planets ..."
The work was most likely to have been Brahmagupta's Brahma Sphuta Siddhanta (Ifrah) [3] (The Opening of the Universe) which was written in 628 [4]. Irrespective of whether Ifrah is right, since all Indian texts after Aryabhata's Aryabhatiya used the Indian number system, certainly from this time the Arabs had a translation of a text written in the Indian number system. [5]
In his text The Arithmetic of Al-Uqlîdisî (Dordrecht: D. Reidel, 1978), A.S. Saidan's studies were unable to answer in full how the numerals reached the Arab world:
"It seems plausible that it drifted gradually, probably before the 7th century, through two channels, one starting from Sind, undergoing Persian filtration and spreading in what is now known as the Middle East, and the other starting from the coasts of the Indian Ocean and extending to the southern coasts of the Mediterranean."[6]
Al-Uqlidisi developed a notation to represent decimal fractions.[27][28] The numerals came to fame due to their use in the pivotal work of the Persian mathematician Al-Khwarizmi, whose book On the Calculation with Hindu Numerals was written about 825, and the Arab mathematician Al-Kindi, who wrote four volumes (see [2]) "On the Use of the Indian Numerals" (Ketab fi Isti'mal al-'Adad al-Hindi) about 830. They, amongst other works, contributed to the diffusion of the Indian system of numeration in the Middle-East and the West.
Development of symbols[edit]
The development of the numerals in early Europe is shown below:
"Histoire de la Mathematique" by the French scholar J.E. Montucla, published in 1757
Table of apices
Table of numerals
The abacus versus the Hindu–Arabic numeral system in early modern pictures[edit]
Adoption in Europe[edit]
Main article: Arabic numerals
The first Arabic numerals in Europe appeared in the Codex Vigilanus in the year 976.
Medieval Arabic Numbers at World map from Ptolemy, Cosmographia. Ulm: Lienhart Holle, 1482
Libro Intitulado Arithmetica Practica, 1549
976. The first Arabic numerals in Europe appeared in the Codex Vigilanus in the year 976.
1202. Fibonacci, an Italian mathematician who had studied in Béjaïa (Bougie), Algeria, promoted the Arabic numeral system in Europe with his book Liber Abaci, which was published in 1202.
1482. The system did not come into wide use in Europe, however, until the invention of printing. (See, for example, the 1482 Ptolemaeus map of the world printed by Lienhart Holle in Ulm, and other examples in the Gutenberg Museum in Mainz, Germany.)
1549. These are correct format and sequence of the "modern numbers" in titlepage of the Libro Intitulado Arithmetica Practica by Juan de Yciar, the Basque calligrapher and mathematician, Zaragoza 1549.
In the last few centuries, the European variety of Arabic numbers was spread around the world and gradually became the most commonly used numeral system in the world.
Even in many countries in languages which have their own numeral systems, the European Arabic numerals are widely used in commerce and mathematics.
Impact on arithmetic[edit]
The significance of the development of the positional number system is described by the French mathematician Pierre Simon Laplace (1749–1827) who wrote:
"It is India that gave us the ingenuous method of expressing all numbers by the means of ten symbols, each symbol receiving a value of position, as well as an absolute value; a profound and important idea which appears so simple to us now that we ignore its true merit, but its very simplicity, the great ease which it has lent to all computations, puts our arithmetic in the first rank of useful inventions, and we shall appreciate the grandeur of this achievement when we remember that it escaped the genius of Archimedes and Apollonius, two of the greatest minds produced by antiquity."
See also[edit]
Table of mathematical symbols by introduction date
Notes[edit]
Jump up ^ Hindu–Arabic Numerals
^ Jump up to: a b "Abu Yusuf Yaqub ibn Ishaq al-Sabbah Al-Kindi". Archived from the original on 2007-10-26. Retrieved 2007-01-12.
^ Jump up to: a b c John J O'Connor and Edmund F Robertson (November 2000). "Indian numerals". The MacTutor History of Mathematics archive. Archived from the original on 2015-07-06. Retrieved 2007-07-24.
Jump up ^ Smith & Karpinski 2013, pp. 12–15.
Jump up ^ Plofker 2009, Ch. 2.
Jump up ^ Plofker 2009, pp. 68–69.
Jump up ^ Plofker 2009, p. 14.
Jump up ^ Menninger 2013, p. 397.
Jump up ^ Smith & Karpinski 2013, p. 15.
Jump up ^ Plofker 2009, p. 57.
Jump up ^ Menninger 2013, p. 395.
Jump up ^ Plofker 2009, p. 44.
Jump up ^ Plofker 2009, pp. 73–75.
Jump up ^ Plofker 2009, pp. 75–77.
Jump up ^ Menninger 2013, p. 398.
Jump up ^ Sarasvati & Jyotishmati 1979, pp. 27, 66.
Jump up ^ Plofker 2009, p. 46.
Jump up ^ Ifrah 1998, p. 417.
Jump up ^ Ifrah 1998, p. 416.
Jump up ^ It has been claimed that a mid-third century CE text Yavana-jataka (on "Greek horoscopy") employed the device of bhūta-sankhyas (Plofker 2009, p. 47). But it is now considered an error of interpretation. ( Mak, Bill M. (2013), "The Transmission of Greek Astral Science into India Reconsidered-Critical Remarks on the Contents and the Newly Discovered Manuscript of the Yavanajātaka", History of Science in South Asia, 1: 1–20, archived from the original on 2016-06-04 )
Jump up ^ Smith & Karpinski 2013, Ch. III; Ifrah 1998, pp. 411–418; Menninger 2013, p. 398
^ Jump up to: a b c d Salomon, Richard (1998), Indian Epigraphy : A Guide to the Study of Inscriptions in Sanskrit, Prakrit, and the other Indo-Aryan Languages, Oxford University Press, USA, pp. 61–63, ISBN 978-0-19-535666-3
Jump up ^ Ifrah 1998, p. 439.
Jump up ^ Plofker 2009, p. 45.
Jump up ^ Shastri, Ajaya Mitra (1998), "Mankaṇi Charter of Taralasvāmin and the Antiquity of the Decimal Notation", Annals of the Bhandarkar Oriental Research Institute, 79 (1/4): 161–170, JSTOR 41694535
Jump up ^ Plofker 2009, pp. 45–46; Menninger 2013, pp. 396–397; Ifrah 1998, p. 400
Jump up ^ Al-Uqlidisi biography by J. J. O'Connor and E. F. Robertson
Jump up ^ Earliest Uses of Symbols for Fractions by Jeff Miller
Sources
Ifrah, Georges (1998) [first published in French in 1981], The Universal History of Numbers: From Prehistory to the Invention of the Computer, Harvill, ISBN 978-1-860-46324-2
Menninger, Karl (2013) [first published by MIT Press in 1969], Number Words and Number Symbols: A Cultural History of Numbers, translated by Paul Broneer, Courier Corporation, ISBN 978-0-486-31977-3
Plofker, Kim (2009), Mathematics in India, Princeton University Press, ISBN 978-0-691-12067-6
Sarasvati, Svami Satya Prakash; Jyotishmati, Usha (1979), The Bakhshali Manuscript: An Ancient Treatise of Indian Arithmetic (PDF), Allahabad: Dr. Ratna Kumari Svadhyaya Sansthan
Smith, D. E.; Karpinski, L. C. (2013) [first published in Boston, 1911], The Hindu–Arabic Numerals, Dover, ISBN 0486155110
References[edit]
"The Development of Hindu–Arabic and Traditional Chinese Arithmetic" by Professor Lam Lay Yong, member of the International Academy of the History of Science
Indian numerals by J J O'Connor and E F Robertson
Arabic numerals by J J O'Connor and E F Robertson
Hindu–Arabic numerals
The Arabic numeral system by: J J O'Connor and E F Robertson
Filliozat, Pierre-Sylvain (2004), "Ancient Sanskrit Mathematics: An Oral Tradition and a Written Literature", in Chemla, Karine; Cohen, Robert S.; Renn, Jürgen; et al., History of Science, History of Text (Boston Series in the Philosophy of Science), Dordrecht: Springer Netherlands, 254 pages, pp. 137–157, ISBN 978-1-4020-2320-0.
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Fate/stay night: Heaven's Feel
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Fate/stay night: Heaven's Feel
Promotional poster for the first film in the trilogy, Presage Flower.
劇場版「Fate/stay night[Heaven’s Feel]」
(Gekijō-ban Fate/stay night: Heaven's Feel)
Genre
Action, Romance, Dark fantasy, Thriller[1]
Anime film
Presage Flower
Directed by
Tomonori Sudō
Produced by
Hikaru Kondo
Written by
Akira Hiyama
Music by
Yuki Kajiura
Studio
Ufotable
Licensed by
AUS
Madman Entertainment
NA
Aniplex of America
Released
October 14, 2017
Runtime
120 minutes
Anime film
Lost Butterfly
Directed by
Tomonori Sudō
Produced by
Hikaru Kondo
Written by
Akira Hiyama
Music by
Yuki Kajiura
Studio
Ufotable
Released
2018 (2018)
Anime and Manga portal
Fate/stay night: Heaven's Feel (Japanese: 劇場版「Fate/stay night[Heaven’s Feel]」, Hepburn: Gekijō-ban Fate/stay night: Heaven's Feel) is a planned trilogy of Japanese anime films produced by Ufotable, directed by Tomonori Sudō, written by Akira Hiyama[2] and featuring music by Yuki Kajiura.[3] The trilogy will follow Heaven's Feel, the third and final route of the visual novel. The main heroine is Sakura Matou and the trilogy is focused on the human characters: Shirou, Rin, Sakura and Illya, how they relate to the previous Holy Grail War and the true nature of the Grail itself.
The first film, titled Fate/stay night: Heaven's Feel I. presage flower, premiered in Japan on October 14, 2017,[1][4] and premiered in the United States between November and December 2017.[5] The second film, titled Fate/stay night: Heaven's Feel II. lost butterfly, is scheduled to premiere in 2018.[6]
It is the fourth anime adaptation of Type-Moon's works by Ufotable, following the Kara no Kyōkai film series, the Fate/Zero television series, and the Fate/stay night: Unlimited Blade Works television series.[7][8] The trilogy also is the first anime adaptation of the Heaven's Feel route.
Contents
[hide]
1 Plot
1.1 Part 1: Presage Flower
2 Cast
2.1 Main characters
2.2 Supporting characters
3 Production
4 Release
5 Reception
5.1 Box office
6 References
7 External links
Plot[edit]
Part 1: Presage Flower[edit]
When Shirou was seven years old, a devastating fire that destroyed Fuyuki City left him orphaned and mentally traumatized. He was rescued and adopted by Kiritsugu Emiya, a mysterious magic user who later inspired Shirou to pursue his ultimate goal to become a "hero of justice." When Kiritsugu passed away, his friend and neighbor Taiga Fujimura became Shirou's guardian. Shirou grew up to be the star of his high school's archery team alongside Shinji Matou, until an injury sidelines him. Around that time, Shinji's sister Sakura befriends Shirou and starts to regularly visit him at his home. This ultimately causes a rift between Shirou and Shinji, but over the course of 18 months, Sakura nevertheless forms a close bond with Shirou and Taiga. Shirou's simple life with Sakura and Taiga suddenly becomes upended when he has a violent encounter with a blue-clad warrior with super human strength, wielding a red spear. He is revived from imminent death, and later accidentally summons Saber, an armored swordsman, who goes on to protect him and defeat another superpowered foe, Archer, nearly killing him in the process. However, Archer turns out to be under the service of Rin Tohsaka, a school acquaintance of Shirou. Noting that Shirou is utterly clueless regarding the current situation, Rin declares a temporary truce and takes Shirou and Saber to see Kirei Kotomine, a brooding priest at a nearby church.
Kirei explains to Shirou that he is now entangled in a deadly conflict between magi that occurs in Fuyuki every few decades called the Holy Grail War -- a battle to claim an ancient, magical artifact that is said to grant a wish to the victor. Each of the seven chosen magi that becomes a participant, or Master, is given the responsibility and protection of a single homunculus Servant, which takes the form of a powerful hero of legend. He also explains to Shirou that Kiritsugu himself was a Master in the previous war, but he inexplicably ordered his Servant (the Saber-class hero whom Shirou now commands) to destroy the Holy Grail, causing the catastrophic fire that devastated Fuyuki and orphaned Shirou. Resolved to prevent any other mage with evil intentions from claiming the Grail, Shirou resolves to remain a Master and confirms his pact with Saber.
En route back home, Shirou and Rin encounter Illyasviel von Einzbern, a mysterious white-haired girl. She attacks Shirou with her giant Servant Berserker. Saber intervenes but begins to lose badly against the enraged enemy. Unable to watch Saber be killed, Shirou leaps into the fray and is nearly cleaved in half by Berserker's assault. Disappointed by the conclusion of the battle, Illya recalls Berserker and leaves Shirou to die. Later, Shirou wakes up with his wounds healing, which Rin reveals to be a form of magical healing coming from Shirou himself. Saber dissuades Shirou from risking his life in the future, explaining that his death means that Saber would die anyway. Rin and Shirou go their separate ways, with Rin making clear to Shirou that they are both participants of the War, and only one of them will survive in the end.
Despite Rin's warnings to stay away from her at school, Shirou confronts Rin about the news of citizens suddenly falling ill and dying. Rin agrees that they should set aside their participation in the War until they find the cause of the disruption and once again forms a temporary truce with Shirou. Shirou insists that Sakura stays at his home, hoping to keep her safe with Saber. Sakura accepts his offer and stays at the Emiya residence for the time being.
Some time later, Shirou and Saber run into Shinji, who reveals himself as the Master of Rider, a purple-haired Servant with a mask concealing her eyes. Confident of his victory due to Shirou hardly being trained as a magus, Shinji hastily orders Rider to attack Saber. However, Saber proves to be the far superior combatant and defeats Rider in a single blow, seemingly killing her. In a panic, Shinji attempts to flee, but is stopped by the sudden appearance of his grandfather Zouken, who admonishes Shinji for his failure. Shinji, distraught and angered by his humiliation at Shirou's hands, bitterly leaves the scene.
At the nearby Ryuudou Temple, the Servant Assassin stands guard, but is suddenly killed by an entity emerging from within himself. This dark figure goes on to kill Souichirou Kuzuki, a teacher at Shirou's high school, and his Servant Caster, revealing himself to be the Heroic Spirit meant to be the "True" Assassin. A shadow arrives soon after and devours Caster's body.
Shirou begins to notice bruises on Sakura's body. When Shinji arrives and strikes his sister, Shirou nearly attacks Shinji, but Sakura implores him to stop. Shirou complies and lets Shinji leave. When Souichirou never returns to school, Rin confirms her suspicions about his identity as a Master and she and Shirou investigate the matter further. They encounter Zouken, but the tense stand-off is interrupted by the sudden arrival of a shadowy figure that shocks even the old man. The shadow attempts to swallow Rin, but Shirou pushes Rin out of the way. While he is injured, the shadow retreats.
Kirei meets with Shirou to discuss the mysterious circumstances of the current Holy Grail War. He admits that he had his ambitions, but those must be cast aside as the shadow's actions prove to be a grave threat to the entire city. Shirou declines Kirei's invitation to work together. The blue spearman, Lancer, is ordered by Kirei to track down the new Assassin. After an intense duel spanning across the city, Lancer overwhelms Assassin, but is defeated by Assassin's Noble Phantasm Zabaniya and the assistance of the shadow. The shadow devours Lancer while he laments the bleakness of the situation.
Shirou and Saber go to investigate Ryuudou Temple, where Souichirou was killed. There, they find True Assassin, who attacks Saber. Assassin draws Saber away in a duel, while Zouken corners Shirou and attacks him with Crest Worms. Saber is trapped between Assassin's fatal attack and the encroaching shadow, unable to break free. Shirou finds that his Command Seals, the marks on his hand indicating him to be a Master, are now gone, signifying Saber's death. He momentarily breaks free from Zouken's assault, intriguing the old magus, but Assassin returns and attacks Shirou, while Zouken leaves them to their battle. Hopelessly outmatched, Shirou nears defeat, but is suddenly saved by Rider, who appears out of thin air. Displaying speed and strength she did not possess during the previous fight, she handily defeats Assassin and drives him away. Rider confirms that Shirou will live and leaves him confused about her intentions. As he departs the temple, Shirou finds himself face-to-face with the shadow, but the shadow disappears without harming him.
Battered, defeated, and having just failed Saber, Shirou returns home and finds Sakura waiting for him in the snow. She displays her concern over him continually returning in an injured state, but Shirou consoles her and the two come back inside -- for Shirou is no longer a Master and can no longer fight.
However, Saber is revealed to have survived, having chosen to be devoured by the shadow rather than killed by Assassin. Within the shadow, she reaches for a light, but she is discouraged by a familiar voice; she turns and is greeted by an altered image of herself, with deathly pale skin, ominous amber eyes, and a black dress.
Cast[edit]
Main characters[edit]
Shirou Emiya (衛宮 士郎, Emiya Shirō)
Voiced by: Noriaki Sugiyama
The main character of the trilogy and the master of Saber. Shirou is a survivor of the Fourth Holy Grail War and is adopted by the magus Kiritsugu Emiya. Following in the footsteps of his adoptive father, Shirou decides to be a hero of justice. As the story progresses, he falls in love with his friend Sakura, but that implies a series of sacrifices to make in order to protect her and keep her safe from the war.
Sakura Matou (間桐 桜, Matō Sakura)
Voiced by: Noriko Shitaya
The main heroine and the driving force of the story. Sakura is Shirou's long time friend. She has been visiting his house very frequently since they met and helping him the house work, especially when it comes to cooking. Sakura endures an abusive relationship with her brother even though she tries to hide it. She seems to be related to the Fifth Holy Grail War more than it seems.
Rider (ライダー, Raida)
Voiced by: Yuu Asakawa
Just like Saber was the focus in Fate and Archer was in Unlimited Blade Works, Rider is the servant protagonist in Heaven's Feel. She is Shinji's servant, summoned to fight for him in the Fifth Holy Grail War. Rider bonds with Sakura and seeks to protect her from her abusive family. Rider's identity is revealed to be Medusa.
Rin Tohsaka (遠坂 凛, Tōsaka Rin)
Voiced by: Kana Ueda
Rin is a model student and idol of Shirou's school. She is one of the seven participants of the Fifth Holy Grail War, being the master of Archer. Even though she starts as an adversary, Rin is Shirou's most prominent ally during the story and the one who introduces him to the world of the magus. Rin has an unusual connection with Sakura and they tend to keep an eye on each-other from afar.
Saber (セイバー, Seibā, lit. "Saber")
Voiced by: Ayako Kawasumi
Saber is Shirō's Servant for the Fifth Holy Grail War. Loyal, independent, and reserved, Saber acts coldly but is actually suppressing her emotions to focus on her goals. Her class is considered the "Most Outstanding", with excellent ratings in all categories. Since her Master cannot effectively provide her with Mana, she minimizes her activity to preserve her energy. Saber is frustrated by Shirō's "protective" tendencies, believing his erratic and reckless behavior will jeopardize their chances of winning the Holy Grail War.
Illyasviel von Einzbern (イリヤスフィール・フォン・アインツベルン, Iriyasufīru fon Aintsuberun)
Voiced by: Mai Kadowaki
The secondary heroine. She is one of the seven participants of the Fifth Holy Grail War and the master of Berserker. At first, Illya appears to be an enemy to Shirou and Rin even though she later became very close to the former, becoming more like his older sister. She plays a vital role in the war and seems to have a past relationship with Kiritsugu Emiya, Shirou's adoptive father.
Zoken Matō (間桐 臓硯, Matō Zōken)
Voiced by: Masane Tsukayama
Zōken is a shrewd, powerful, and ancient sorcerer who is patriarch of the Matō family and is known to be the grandfather of Shinji and Sakura. He is the primary antagonist of Heaven's Feel. He was one of the original three Magi to propose the Holy Grail system, being the designer of the Command Seals and was originally a Russian magus under the name Zolgen Makiri. He has amassed a large and extensive library of sorcery knowledge, yet his lessons are strict and harsh. Zōken considers Shinji to be a disgrace of a sorcerer, and believes Sakura may have more potential than her brother.
Shinji Matō (間桐 慎二, Matō Shinji)
Voiced by: Hiroshi Kamiya
He is ousted as a false Master as Rider returns to her true Master.
True Assassin (真アサシン, Shin Asashin)
Voiced by: Tetsu Inada
Summoned by Zouken Mato, bursting out from within Assassin's flesh when Zōken uses the dying Servant's body as the catalyst to summon him. True Assassin manages to defeat Lancer by attacking him from behind when the spearman is occupied by the Shadow, gouging his heart out and devouring it in order to increase his own mental acuity. He uses this same tag-team method to defeat Saber. Though she succeeds in slashing his right arm off before he can remove her heart, it proves to be in vain as he manages to re-attach the limb while Saber is ultimately devoured by the Shadow. He attempts to kill Shirō immediately after but is defeated by Rider, who comes to Shirō's defense.
Kirei Kotomine (言峰 綺礼, Kotomine Kirei)
Voiced by: Joji Nakata
The church priest and the mediator of the Fifth Holy Grail War. He is close to Rin and her personal mentor since her father's death.
Supporting characters[edit]
Archer (アーチャー, Āchā)
Voiced by: Junichi Suwabe
Servant of Rin. Archer abandons his desire to kill Shirō when he learns of what contaminated the Grail.
Berserker (バーサーカー, Bāsākā)
Voiced by: Tadahisa Saizen
Gilgamesh (ギルガメッシュ, Girugamesshu)
Voiced by: Tomokazu Seki
Caster (キャスター, Kyasutā)
Voiced by: Atsuko Tanaka
Taiga Fujimura (藤村 大河, Fujimura Taiga)
Voiced by: Miki Itou
Assassin (アサシン, Asashin)
Voiced by: Shin-ichiro Miki
Lancer (ランサー, Ransā)
Voiced by: Nobutoshi Canna
Production[edit]
An adaptation of the Heaven's Feel route was first announced by Ufotable, the animation studio producing the Unlimited Blade Works anime adaptation, on July 27, 2014 with the release of a preview featuring characters Shirō Emiya and Sakura Matō.[9] In March 2016, Ufotable announced that the movie would be split into a trilogy.[10] The theme song for the first part of the trilogy, Presage Flower, titled "Hana no Uta" (花の唄, "The Song of a Flower"), will be performed by Aimer.[11]
Release[edit]
The first film in the trilogy, titled Presage Flower, was released on October 14, 2017. Aniplex of America will screen the first film theatrically in the U.S from November 3, 2017.[12][13] Madman Entertainment announced that it would premiere the first film in Australia at Madman Anime Festival in Melbourne on November 4, 2017[14] with a wider release to follow on November 16, 2017.[15] In Europe the first film will be projected in Germany in January 2018[16], in France on 2 February [17] while in Italy on 13 February [18] (for this last case, already dubbed).[19]
Reception[edit]
Box office[edit]
Presage Flower in its opening weekend reached #1 at the Japanese box office, grossing a total of ¥413,030,840 from 247,509 admissions within two days.[20]
References[edit]
^ Jump up to: a b "1st Fate/stay night: Heaven's Feel Film Reveals Full Title, October 14 Premiere". Anime News Network. March 26, 2017. Retrieved March 26, 2017.
Jump up ^ "1st Fate/stay night: Heaven's Feel Film's 2nd Trailer Streamed". Anime News Network. July 1, 2017. Retrieved July 2, 2017.
Jump up ^ "Yuki Kajiura Returns to Compose Music For Heaven's Feel Film Trilogy". Anime News Network. April 15, 2016. Retrieved April 15, 2016.
Jump up ^ "Fate/stay night Heaven's Feel Film Project Is Trilogy Starting in 2017". Anime News Network. March 27, 2016. Retrieved March 27, 2016.
Jump up ^ "1st Fate/stay night Heaven's Feel Film's Trailer Previews Aimer's Song (Updated)". Anime News Network. September 30, 2017. Retrieved October 13, 2017.
Jump up ^ "2nd Fate/stay night Heaven's Feel Film's Title, 2018 Debut Revealed". Anime News Network. October 13, 2017. Retrieved October 13, 2017.
Jump up ^ "Fate/Stay night's 'Heaven's Feel' Route Gets Film". Anime News Network. July 27, 2014. Retrieved November 7, 2015.
Jump up ^ "VIDEO: Ufotable "Fate/stay night" Unlimited Blade and Heaven's Feel Plans Previewed". Crunchyroll. July 27, 2014. Retrieved November 7, 2015.
Jump up ^ "Fate/stay night's 'Heaven's Feel' Route Gets Film". Anime News Network. 27 July 2014. Retrieved 11 April 2017.
Jump up ^ "Fate/stay night Heaven's Feel Film Project Is Trilogy Starting in 2017". Anime News Network. 27 March 2016. Retrieved 11 April 2017.
Jump up ^ "Aimer Performs Theme Song For 1st Fate/stay night: Heaven's Feel Film". Anime News Network. May 6, 2017. Retrieved May 6, 2017.
Jump up ^ "Aniplex USA to Screen 1st Fate/stay night: Heaven's Feel Film Theatrically in U.S." Anime News Network. August 27, 2017. Retrieved August 27, 2017.
Jump up ^ "U.S. Theater List, Screening Dates for 1st Fate/stay night Heaven's Feel Film Revealed". Anime News Network. October 5, 2017. Retrieved October 12, 2017.
Jump up ^ "Fate/stay night [Heaven's Feel] I. presage flower". Facebook. Madman Entertainment. September 28, 2017. Retrieved October 12, 2017.
Jump up ^ "Fate/stay night [Heaven's Feel] I. presage flower - In Cinemas November 16". Madman Films. Madman Entertainment. October 26, 2017. Retrieved October 26, 2017.
Jump up ^ Pep anime (3 July 2017). Fate/stay night [Heaven's Feel] I. presage flower - Trailer #02 (OmU). Retrieved 5 Oct 2017.
Jump up ^ "Le film animation Fate/stay night Heaven's Feel diffusé à Paris". Retrieved 12 January 2018.
Jump up ^ "Fate/stay night: Heaven's Feel 1. – THE MOVIE". Retrieved 12 January 2018.
Jump up ^ "FATE/STAY NIGHT: HEAVEN'S FEEL I (Trailer - 90") ITA". Retrieved 18 January 2018.
Jump up ^ "1st Fate/stay night Heaven's Feel Film Opens at #1". Anime News Network. October 16, 2017. Retrieved October 17, 2017.
External links[edit]
Fate/stay night: Heaven's Feel on IMDb
Official website
Fate/stay night: Heaven's Feel I. presage flower (anime) at Anime News Network's encyclopedia
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Billy Vera
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Billy Vera
Birth name
William Patrick McCord
Born
(1944-05-28) May 28, 1944 (age 73)
Riverside, California, U.S.
Genres
R&B, pop, rock
Occupation(s)
Singer, songwriter, actor, music historian
Instruments
Vocals, Guitar, Piano
Years active
1962–present
Labels
Atlantic, Alfa, Macola, Capitol, Rhino, Unidisc, Pool Party, Classic World
Associated acts
Judy Clay
Nona Hendryx
Website
www.billyvera.com
Billy Vera (born William Patrick McCord;[1] May 28, 1944) is an American singer, songwriter, actor, author and music historian. He has been a singer and songwriter since the 1960s, his most successful record being "At This Moment", a US number 1 hit in 1987. He continues to perform with his group Billy Vera & The Beaters, and won a Grammy Award in 2013.
Contents
[hide]
1 Life and career
1.1 1960s
1.2 1970s thru 1990s
1.3 2000s and 2010s
2 Discography
2.1 Chart singles
2.2 Albums
2.3 TV show theme songs
3 References
4 External links
Life and career[edit]
Vera was born in Riverside, California, and is the son of the radio and television announcer Bill McCord. His mother, singer Ann Ryan, was a member of the Ray Charles Singers backing Perry Como on his TV show and his hit records.
1960s[edit]
He began his recording career in 1962 as a member of the Resolutions followed by the regional hit "My Heart Cries"/"All My Love" as Billy Vera & the Contrasts. He went on to a songwriting career in the 1960s, writing for Barbara Lewis, Fats Domino, The Shirelles and Ricky Nelson. He also wrote the garage band classic "Don't Look Back", performed by the Remains and later covered by Robert Plant.
In 1967 Vera, with Chip Taylor, penned "Storybook Children" and brought it to Atlantic Records. The groundbreaking decision to place former gospel singer Judy Clay with Vera in a white-black duet to record the song was a commercial and artistic success.[2] The duo became big favorites at Harlem's Apollo Theater and their follow-up, "Country Girl-City Man" also charted. He had a solo hit single later that same year with the Bobby Goldsboro penned "With Pen in Hand", which was also the name of his next album.
1970s thru 1990s[edit]
The 1970s were a slow period for Vera but 1979 began with his song "I Really Got the Feeling," a number 1 hit for Dolly Parton. During that decade he served as conductor for many oldies acts, including the Shirelles and Ronnie Spector as well as fronting the band at the 1972 Reunion concert of Dion & the Belmonts. Before moving to Los Angeles in 1979, he played many New York area clubs with his band which included Ben Beckley on drums, Tommy Wolk on bass, John Levanthal on guitar, and Joe Renda on keyboards.
Living in Los Angeles and writing songs for Warner Bros. Records, Vera and his old friend, bass player Chuck Fiore decided to put together a band to play the local club scene. Modeling their band on Ray Charles's 1950s band, The Beaters were born. They featured a horn section, as well as a pedal steel guitar, along with drums, piano, Fiore's bass, and Vera on guitar and vocals. As a result of the buzz the band generated from their now-legendary Monday midnight shows at the Troubadour, they were offered a recording contract by Alfa Records, a major Japanese record company that had recently opened an American office in Los Angeles. They recorded the band live,[3] at the Roxy and in 1981 yielded the minor hits "I Can Take Care of Myself," which reached number 39 on the Billboard Hot 100 in the U.S., and "At This Moment", which (initially) charted at number 79. Both songs were credited as Billy & The Beaters.
The band's record deal evaporated when Alfa Records closed its U.S. offices in July 1982, but Vera and the Beaters continued to play the clubs of Southern California. In 1985, a producer from the television show Family Ties was in the audience and heard the band play "At This Moment". The song was featured in 1985 as a backdrop for romantic interludes between characters Alex (Michael J. Fox) and Ellen (Tracy Pollan). Viewers responded by clamoring for the song, and in 1986, Rhino Records released By Request: The Best of Billy Vera & the Beaters, which featured the song. The single became a number one hit on its re-release,[4] reaching the top in January 1987, and remained on the charts for 15 weeks.
Before "At This Moment," Vera had a small career in movies and television including appearances in The Adventures of Buckaroo Banzai, Late for Dinner, The Doors and soap opera Days of Our Lives. "At This Moment" propelled his movie career as he and the Beaters were featured prominently in the Bruce Willis movie Blind Date. He appeared in one episode of a TV series, Wiseguy and had several other roles on shows such as Baywatch, Boy Meets World, and a recurring role as Duke on Beverly Hills, 90210 as well as nine appearances on The Tonight Show starring Johnny Carson. These roles would lead him into singing theme songs for TV shows, such as Empty Nest and The King of Queens, as well as voice acting on Cartoon Network cartoons. He served as band leader on Rick Dees' short-lived late-night talk show Into the Night on ABC in 1990.
During that period, Vera co-produced three Lou Rawls albums with his friend Michael Cuscuna, for Blue Note Records, including At Last, which reached number 1 on the Billboard jazz chart. Vera also produced Rawls's final album, Rawls Sings Sinatra, which remained on the jazz chart for over six months.[5] Rawls recorded seven of Vera's songs, including "If I Were A Magician" (1989), "Room With A View" and "You Can't Go Home". In 1990, Vera's tune "Papa Come Quick (Jody & Chico)" was included on Bonnie Raitt's album, Luck Of The Draw. Vera also recorded as a duo with Nona Hendryx on the 1992 album You Have To Cry Some Time.[2]
2000s and 2010s[edit]
Currently the Beaters are still playing the Southern California club scene, and Vera continues his work as a music historian. He has helped produce, archive, and write liner notes for over 200 reissue albums and sets, from artists such as Little Richard, Sam Cooke, Louis Jordan, Ray Charles, Louis Prima, among others.[citation needed]
Vera has been the voice for AM/PM Mini Mart commercials since 1999 and is one of the top voice-over artists in Los Angeles. "At This Moment" was included on Michael Bublé's number one album, Crazy Love. Vera's CD Hopeless Romantic: The Best Of Billy Vera & The Beaters, was issued on Shout Factory Records, and The Billy Vera Story was released on Rock Beat Records. With his old friend Evie Sands, Billy recorded "Queen of Diamonds/Jack of Hearts," a CD featuring songs by their early mentor Chip Taylor.[citation needed]
In 2015, Vera released Billy Vera: Big Band Jazz, a tribute to the black songwriters of the 1920s, 30s and 40s. It was issued on Varese-Sarabande Records, and Vera has appeared with a big 18 piece band in New York City, Hollywood and at various jazz festivals.[6]
Vera also has a star on the Hollywood Walk of Fame at the corner of Vine Street and Yucca Street, right in front of the Capitol Records Building in Hollywood. He won a 2013 Grammy Award for Best Album Notes for the Ray Charles box set Singular Genius: The Complete ABC Singles".[7]
Book publishing came calling and in 2016 his first effort, Vintage Neon: Los Angeles, 1979, featuring photographs from Vera's nocturnal hunts for old neon signs was released. His second book, a memoir entitled Harlem to Hollywood was released in 2017. Reviews hailed it as "an astounding story...the purest treatise on the subject ever produced." Award winning documentarian Alan Swyer has directed a documentary on Billy Vera, also titled Harlem to Hollywood due out this year.
Discography[edit]
Chart singles[edit]
Year
Single
Chart Positions
US Pop[8]
US AC
US
R&B[9]
US
Country[10]
CAN
CAN AC
NL
1967 "Storybook Children"
Billy Vera & Judy Clay 54 - 20 - - 15 -
1968 "Country Girl - City Man"
Billy Vera & Judy Clay 36 - 41 - - - -
"When Do We Go"
Billy Vera & Judy Clay 107 - - - - - -
"With Pen in Hand" 43 25 - - 12 - -
"I've Been Loving You Too Long" 121 - - - - - -
1969 "The Bible Salesman" 112 - - - - - -
1981 "I Can Take Care of Myself"
Billy & The Beaters 39 - - - - - -
"At This Moment"
Billy & The Beaters 79 - - - - - -
1987 "At This Moment"
Billy Vera & The Beaters (reissue) 1 1 70 42 1 1 26
"She Ain't Johnnie" - - - 93 - - -
1988 "Between Like and Love" - 9 - - 70 6 -
1992 "Something Like Never Before" - - - - - - 53
Albums[edit]
Storybook Children (with Judy Clay, Atlantic, 1968)
With Pen In Hand (Atlantic, 1968)
Out Of The Darkness (Midsong International, 1977)
Billy & the Beaters (Alfa, 1981) (US #118)
Billy Vera (Alfa, 1982)
The Billy Vera Album (Macola, 1977 - re-released 1987)
By Requestː The Best of Billy Vera and the Beaters (Rhino, 1987) (US #17, CAN #13)
Retro Nuevo (Billy & the Beaters, Capitol, 1988)
You Have To Cry Sometime (with Nona Hendryx, Shanachie, 1992)
Out of the Darkness (Unidisc, 1994)
Oh What a Night (Billy & the Beaters, Pool Party, 1996)
Not For Sale (Billy Vera, Chance, 1999)
Something Like Nothing Before (Classic World Productions, 2002)
At This Moment: A Retrospective (Varese-Sarabande, 2002)
Hopeless Romantic: The Best of Billy Vera & the Beaters (Shout! Factory, 2008)
The Billy Vera Story (Rock Beat, 2011)
Big Band Jazz (Billy Vera, Varese-Sarabande, 2015)
TV show theme songs[edit]
"Life Goes On", Empty Nest (TV series)
"Answers", Roomies (TV series)
"You've Got Me", Baja Oklahoma (TV movie)
"Baby All My Life I Will Be Driving Home To You", The King of Queens
References[edit]
Jump up ^ Copyright Encyclopedia, "If I don't think of you"
^ Jump up to: a b Biography by Bill Dahl at Allmusic.com. Retrieved 23 October 2013.
Jump up ^ Bishop, Pete (10 May 1981). "Zebop!' A Zinger". Pittsburgh Press. Retrieved 14 June 2011.
Jump up ^ DeKnock, Jan (29 January 1987). "Billy Vera Beaters Hold Off Madonna". The Day (New London). Retrieved 14 June 2011.
Jump up ^ Haygood, Wil (7 January 2006). "Lou Rawls, The Voice Wrapped In Silk". The Washington Post. Retrieved 14 June 2011.
Jump up ^ Sorensen, Big Jay. "This Week In History: The Monkees, Stevie Wonder, & Billy Vera", CBS New York (January 16, 2016).
Jump up ^ Ives, Brian. "Woody Guthrie, Ray Charles Collections and Bjork Album Win GRAMMYS", CBS Pittsburgh (February 10, 2013).
Jump up ^ Whitburn, Joel (2003). Top Pop Singles 1955-2002 (1st ed.). Menomonee Falls, Wisconsin: Record Research Inc. p. 743. ISBN 0-89820-155-1.
Jump up ^ Whitburn, Joel (1996). Top R&B/Hip-Hop Singles: 1942-1995. Record Research. p. 461.
Jump up ^ Whitburn, Joel (1994). Top Country Singles 1944-1993. Record Research. p. 393.
External links[edit]
Billy Vera on IMDb
Billy Vera's website
Billy Vera on MySpace
interview on Just My Show
Billy Vera Interview NAMM Oral History Library (2010)
Authority control
WorldCat Identities
VIAF: 87514084
LCCN: n92019367
ISNI: 0000 0000 6639 9481
GND: 134581857
MusicBrainz: b64512f0-7027-4f7a-b684-bedf6971288a
Retrieved from "https://en.wikipedia.org/w/index.php?title=Billy_Vera&oldid=806782529"
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Empty Nest (TV series)

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Billboard Adult Contemporary

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