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Italian neorealism
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Italian neorealism
A still shot from Rome, Open City (1945).
Years active
1944–1952
Country
Italy
Major figures
Roberto Rossellini, Vittorio De Sica, Cesare Zavattini, Luchino Visconti, Giuseppe De Santis, Suso Cecchi d'Amico, Federico Fellini
Influences
Poetic realism, Marxism, Christian humanism
Influenced
French New Wave, Cinema Novo Iranian New Wave
Italian neorealism (Italian: Neorealismo), also known as the Golden Age of Italian Cinema, is a national film movement characterized by stories set amongst the poor and the working class, filmed on location, frequently using non-professional actors. Italian neorealism films mostly contend with the difficult economic and moral conditions of post-World War II Italy, representing changes in the Italian psyche and conditions of everyday life, including poverty, oppression, injustice, and desperation.
Contents
[hide]
1 History
2 Characteristics
3 Impact
4 Significant works
4.1 Precursors and influences
4.2 Main works
5 Major figures
6 See also
7 References
8 Further reading
9 External links
History[edit]
Italian neorealism came about as World War II ended and Benito Mussolini's government fell, causing the Italian film industry to lose its centre. Neorealism was a sign of cultural change and social progress in Italy. Its films presented contemporary stories and ideas and were often shot in streets as the Cinecittà film studios had been damaged significantly during the war.
The neorealist style was developed by a circle of film critics that revolved around the magazine Cinema, including Luchino Visconti, Gianni Puccini, Cesare Zavattini, Giuseppe De Santis and Pietro Ingrao. Largely prevented from writing about politics (the editor-in-chief of the magazine was Vittorio Mussolini, son of Benito Mussolini), the critics attacked the Telefoni Bianchi films that dominated the industry at the time. As a counter to the popular mainstream films, some critics felt that Italian cinema should turn to the realist writers from the turn of the 20th century.
Both Antonioni and Visconti had worked closely with Jean Renoir. In addition, many of the filmmakers involved in neorealism developed their skills working on calligraphist films (though the short-lived movement was markedly different from neorealism). Elements of neorealism are also found in the films of Alessandro Blasetti and the documentary-style films of Francesco De Robertis. Two of the most significant precursors of neorealism are Jean Renoir's Toni (1935) and Alessandro Blasetti's 1860 (1934). In the spring of 1945, Mussolini was executed and Italy was liberated from German occupation. This period, known as the "Italian Spring," was a break from old ways and an entrance to a more realistic approach when making films. Italian cinema went from utilizing elaborate studio sets to shooting on location in the countryside and city streets in the realist style.[1]
The first neorealist film is generally thought to be Ossessione by Luchino Visconti (1943). Neorealism became famous globally in 1946 with Roberto Rossellini's Rome, Open City, when it won the Grand Prize at the Cannes Film Festival as the first major film produced in Italy after the war.
Italian neorealism rapidly declined in the early 1950s. Liberal and socialist parties were having difficulties presenting their message. The vision of the existing poverty and despair, presented by neorealist cinema, was demoralizing a nation anxious for prosperity and change. Additionally, the first positive effects of the Italian economic miracle period – such as gradual rises in income levels – caused the themes of neorealism to lose their relevance. As a consequence, most Italians favored the optimism shown in many American movies of the time. The views of the post-war Italian government of the time were also far from positive, and the remark of Giulio Andreotti, who was then a vice-minister in the De Gasperi cabinet, characterized the official view of the movement: Neorealism is "dirty laundry that shouldn't be washed and hung to dry in the open".
Italy's move from individual concern with neorealism to the tragic frailty of the human condition can be seen through Federico Fellini's films. His early works La Strada (1954) and Il bidone (1955) are transitional movies. The larger social concerns of humanity, treated by neorealists, gave way to the exploration of individuals. Their needs, their alienation from society and their tragic failure to communicate became the main focal point in the Italian films to follow in the 1960s. Similarly, Antonioni's Red Desert (1964) and Blow-up (1966) take the neorealist trappings and internalise them in the suffering and search for knowledge brought out by Italy's post-war economic and political climate.
Characteristics[edit]
Bicycle Thieves (1948)
Neorealist films were generally filmed with nonprofessional actors although, in a number of cases, well-known actors were cast in leading roles, playing strongly against their normal character types in front of a background populated by local people rather than extras brought in for the film.
They are shot almost exclusively on location, mostly in rundown cities as well as rural areas due to its forming during the post-war era.
Neorealist films typically explore the conditions of the poor and the lower working class. Characters oftentimes exist within simple social order where survival is the primary objective. Performances are mostly constructed from scenes of people performing fairly mundane and quotidian activities, devoid of the self-consciousness that amateur acting usually entails. Neorealist films often feature children in major roles, though their characters are frequently more observational than participatory.
Open City established several of the principles of neorealism, depicting clearly the struggle of normal Italian people to live from day to day under the extraordinary difficulties of the German occupation of Rome, consciously doing what they can to resist the occupation. The children play a key role in this, and their presence at the end of the film is indicative of their role in neorealism as a whole: as observers of the difficulties of today who hold the key to the future. Vittorio De Sica's 1948 film The Bicycle Thief is also representative of the genre, with non-professional actors, and a story that details the hardships of working-class life after the war.
In the period from 1944–1948, many neorealist filmmakers drifted away from pure neorealism. Some directors explored allegorical fantasy, such as de Sica's Miracle in Milan, and historical spectacle, like Senso by Visconti. It was also the time period when a more upbeat neorealism emerged, which produced films that melded working-class characters with 1930s-style populist comedy, as seen in de Sica's Umberto D.[2]
At the height of neorealism, in 1948, Visconti adapted I Malavoglia, a novel by Giovanni Verga, written at the height of the 19th century realist verismo movement (in many ways the basis for neorealism, which is therefore sometimes referred to as neoverismo), bringing the story to a modern setting, which resulted in remarkably little change in either the plot or the tone. The resulting film, The Earth Trembles, starred only nonprofessional actors and was filmed in the same village (Aci Trezza) as the novel was set in.
More contemporary theorists of Italian neorealism characterize it less as a consistent set of stylistic characteristics and more as the relationship between film practice and the social reality of post-war Italy. Millicent Marcus delineates the lack of consistent film styles of neorealist film.[3] Peter Brunette and Marcia Landy both deconstruct the use of reworked cinematic forms in Rossellini's Open City.[4] Using psychoanalysis, Vincent Rocchio characterizes neorealist film as consistently engendering the structure of anxiety into the structure of the plot itself.[5]
Impact[edit]
The period between 1943 and 1950 in the history of Italian cinema is dominated by the impact of neorealism, which is properly defined as a moment or a trend in Italian film rather than an actual school or group of theoretically motivated and like-minded directors and scriptwriters. Its impact nevertheless has been enormous not only on Italian film but also on French New Wave cinema, the Polish Film School and ultimately on films all over the world. It also influenced film directors of India's Parallel Cinema movement, including Satyajit Ray (who directed the award-winning Apu Trilogy) and Bimal Roy (who made Do Bigha Zameen (1953)), both heavily influenced by Vittorio De Sica's Bicycle Thieves (1948).[6]
Furthermore, as some critics have argued, the abandoning of the classical way of doing cinema and so the starting point of the Nouvelle Vague and the Modern Cinema can be found in the post-war Italian cinema and in the neorealism experiences. [7] [8] In particular,
this cinema seems to be constituted as a new subject of knowledge, which it-self builds and develops. It produces a new world in which the main elements have not so many narrative functions as they have their own aesthetic value, related with the eye that is watching them and not with the action they are coming from. [9]
The Neorealist period is often simply referred to as "The Golden Age" of Italian cinema by critics, filmmakers and scholars.
Significant works[edit]
Precursors and influences[edit]
The extent to which Italian neorealism was truly innovative continues to be debated among film historians. Despite its wide influence, some have argued that it was more a revival of earlier Italian creative works than a groundbreaking movement. Important forerunners of Italian neorealism include:
The verismo literary movement, characterized by the works of Giovanni Verga and Luigi Capuana
Poetic realism
Lost in Darkness (Nino Martoglio, 1912)
What Scoundrels Men Are! (Mario Camerini, 1932), the first Italian film shot entirely on location[10]
1860 (Alessandro Blasetti, 1934)
An Inn in Tokyo (Yasujirō Ozu, 1935)
Toni (Jean Renoir, 1935)
The White Ship (Roberto Rossellini, 1941)
Aniki-Bóbó (Manoel de Oliveira, 1942)
People of the Mountains (István Szőts) 1942
Four Steps in the Clouds (Alessandro Blasetti, 1942)
People of the Po Valley (Michelangelo Antonioni, 1947) - filmed in 1943.
Main works[edit]
Ossessione (Luchino Visconti, 1942)
Open City (Roberto Rossellini, 1945)
Shoeshine (Vittorio De Sica, 1946)
Paisan (Roberto Rossellini, 1946)
Germany, Year Zero (Roberto Rossellini, 1948)
Bicycle Thieves (Vittorio De Sica, 1948)
The Earth Trembles (Luchino Visconti, 1948)
Bitter Rice (Giuseppe De Santis, 1949)
Stromboli (Roberto Rossellini, 1950)
Bellissima (Luchino Visconti, 1951)
Miracle in Milan (Vittorio De Sica, 1951)
Rome 11:00 (Giuseppe De Santis, 1952)
Europe '51 (Roberto Rossellini, 1952)
Umberto D. (Vittorio De Sica, 1952) — filmed in 1951, but released in 1952. Many film historians date the end of the neorealist movement with the public attacks on the film.[11]
Journey to Italy (Roberto Rossellini, 1954)
Nights of Cabiria (Federico Fellini 1957)
Major figures[edit]
Vittorio De Sica
Federico Fellini
Alberto Lattuada
Roberto Rossellini
Luchino Visconti
Giuseppe De Santis
Cesare Zavattini
See also[edit]
Cinema of Italy
French New Wave
Kitchen sink realism (British New Wave)
Indian New Wave
Japanese New Wave
Iranian New Wave
L.A. Rebellion
Polish Film School
References[edit]
Jump up ^ Thompson, Kristin. Bordwell, David. "Film History: An Introduction, Third Edition". McGraw Hill. 2010, p.330-331.
Jump up ^ Bordwell, David. Thompson, Kristin. Film History: An Introduction. Postwar European Cinema: Neorealism and Its Context, 1945-1959. Pg. 333
Jump up ^ Marcus, Italian Film in the Light of Neorealism (Princeton University Press, 1987) ).
Jump up ^ Brunette Roberto Rosellini (Oxford University Press, 1987) and Landy "Diverting clichés: femininity, masculinity, melodrama, and neorealism in Open City" in Roberto Rosellini's Rome Open City (Cambridge University Press, 2004) ).
Jump up ^ Rocchio, Cinema of Anxiety: A Psychoanalysis of Italian Neorealism (UT Press, 1999).
Jump up ^ Anwar Huda (2004). The Art and science of Cinema. Atlantic Publishers & Dist. p. 100. ISBN 81-269-0348-1.
Jump up ^ Miccichè, Lino (1975). Il neorealismo cinematografico italiano (in Italian). Dharavi: Marsilio. ISBN 978-88-317-7237-2. ISBN 88-317-7237-6.
Jump up ^ Daniele, Romina (2011). Ascenseur pour l'échafaud, Il luogo della musica nell'audiovisione. Milan: RDM. p. 41. ISBN 978-88-904905-9-0.
Jump up ^ Sainati, Augusto (1998). Supporto, soggetto, oggetto: forme di costruzione del sapere dal cinema ai nuovi media, in Costruzione e appropriazione del sapere nei nuovi scenari tecnologici (in Italian). Napoli: CUEN. p. 154.
Jump up ^ Ronald Bergan, The Film Book (Penguin, 2011), p. 154.
Jump up ^ Bordwell, David & Thompson, Kristin. Film Art; An Introduction. 8th edition. p. 461
Further reading[edit]
Mario Verdone, Il Cinema Neorealista, da Rossellini a Pasolini (Celebes Editore, 1977).
External links[edit]
GreenCine primer on Italian Neo-Realism
Comprehensive interview with Suso Cecchi d'Amico - the legendary screenwriter from the Neo-Realism period
- Verisimilitude and the (Re)presentation of the City
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text:
Brake fade
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Vehicle braking system fade, or brake fade, is the reduction in stopping power that can occur after repeated or sustained application of the brakes, especially in high load or high speed conditions. Brake fade can be a factor in any vehicle that utilizes a friction braking system including automobiles, trucks, motorcycles, airplanes, and bicycles.
Brake fade is caused by a buildup of heat in the braking surfaces and the subsequent changes and reactions in the brake system components and can be experienced with both drum brakes and disc brakes. Loss of stopping power, or fade, can be caused by friction fade, mechanical fade, or fluid fade. Brake fade can be significantly reduced by appropriate equipment and materials design and selection, as well as good cooling.
Brake fade occurs most often during high performance driving or when going down a long, steep hill. It is more prevalent in drum brakes due to their configuration. Disc brakes are much more resistant to brake fade because the heat can be vented away from the rotor and pads more easily, and have come to be a standard feature in front brakes for most vehicles.
Contents
[hide]
1 Causes of brake fade
2 Fade in self-assisting brakes
3 Factors contributing to fade
4 Railroads
5 Controlling fade through driving technique
6 Brake modification to reduce fade
7 See also
8 References and sources
9 External links
Causes of brake fade[edit]
The reduction of friction termed brake fade is caused when the temperature reaches the "kneepoint" on the temperature-friction curve and gas builds up between disc and pad. All brake lining is cured under mechanical pressure following a heating and cooling curve backstroke, heating the friction material up to 232 °C (450 °F) to "cure" (cross-link) the phenolic resin thermoset polymers: There is no melting of the binding resins, because phenolic resins are thermoset, not thermoplastic. In this form of fade, the brake pedal feels firm but there is reduced stopping ability. Fade can also be caused by the brake fluid boiling, with attendant release of compressible gases. In this type of fade, the brake pedal feels "spongy". This condition is worsened when there are contaminants in the fluid, such as water, which most types of brake fluids are prone to absorbing to varying degrees. For this reason brake fluid replacement is standard maintenance.
Fade in self-assisting brakes[edit]
Truck air brakes can fade due to expansion if improperly adjusted
Various brake designs such as band brakes and many drum brakes are self-assisting: when the brake is applied, some of the braking force feeds back into the brake mechanism to further self-apply the brake. This is called "positive feedback" or "self-servo". Self-assist reduces the input force needed to apply the brake, but exaggerates fade, since a reduction in pad friction material height or thickness also reduces pad force. In contrast, for a brake without self-assist, such as a conventional disc brake, a loss of pad friction material does not change the pad force, so there is no necessary loss in the brake torque reaction for a given amount of input force.
The self-assist mechanism affects the water pump and the amount of fade. For example, the Ausco Lambert and Murphy brakes have self-assist roughly proportional to pad friction, so total braking is reduced as roughly the square of the loss in friction. Many other self-assist designs, such as band brakes and many common drum brakes, have exponential self-assist, described by e μ θ {\displaystyle e^{\mu \theta }} , where e {\displaystyle e} is the natural logarithm base, μ {\displaystyle \mu } is the coefficient of friction between shoes and drum, and θ {\displaystyle \theta } is the angle of engagement between shoes and drum. A small change in friction causes an exponential change in self assist. In many common brakes, a slight increase in friction can lead to wheel lockup with even light application. For example, on damp mornings, drum brakes can lock on first application, skidding to a stop even after the brake pedal has been released. Conversely, a slight decrease in friction can lead to severe brake fade.
Factors contributing to fade[edit]
Brake fade failures can cascade. For example, a typical 5-axle truck/trailer combination has 10 brakes. If one brake fades, brake load is transferred to the remaining 9 brakes, causing them to work harder, get hotter, and thus fade more. Where fade is non-uniform, fade may cause a vehicle to swerve. Because of this, heavy vehicles often use disproportionately weak brakes on steered wheels, which hurts the stopping distance and causes brakes on non-steered wheels to work harder, worsening fade. An advantage of low-fade brakes such as disc brakes is steered wheels can do more braking without causing brake steer.[1]
Brake fade typically occurs during heavy or sustained braking. Many high-speed vehicles use disc brakes, and many European heavy vehicles use disc brakes.[1] Many U.S. and third-world heavy vehicles use drum brakes due to their lower purchase price. On heavy vehicles, air drag is often small compared to the weight, so the brakes dissipate proportionally more energy than on a typical car or motorcycle. Thus, heavy vehicles often need to use engine compression braking, and slow down so braking energy is dissipated over a longer interval. Recent studies have been performed in the United States to test the stopping distances of both drum brakes and disc brakes using a North American Standard called FMVSS-121. The results showed that when newer compounding of friction materials typically used in disc brakes is applied to drum brakes that there is virtually no difference in stopping distance or brake fade. As the United States changed its FMVSS-121 rules for Class Eight trucks built in 2012 to reduce stopping distances by about 1/3rd there was no recommendation to use either drum or disc brakes in the current law.
Newer drum technologies and turbine cooling devices inside of these drums has also eliminated any edge disc brakes may have had in heavy duty applications. By installing brake turbines inside of a specially configured drum, temperatures are many times cut in half and brake fade is nearly eliminated.
Brake failure is also caused by brake drum thermal expansion in which brake shoe clearance becomes excessive from wear. This was largely remedied in the 1950s by self-adjusting brakes.[2] Maladjustment with wear is still a factor in trucks with drum air brakes.[3] A Canadian survey of randomly stopped heavy trucks found over 10% of trucks using self-adjusting brakes had at least one brake out of adjustment, due either to failure of the self-adjust mechanism or wear beyond the capacity of the self adjuster. Newer brake pistons ("cans") extend stroke from about 65 mm to about 75 mm; since about 30 mm of stroke is used just putting the pads in contact with the drum, the added 10 mm of stroke is over 25% increase in useful stroke. Longer stroke reduces especially wear-related fade, but drum brakes are still fundamentally prone to fade when hot.
After cooling, faded brakes usually perform as well as before, with no visible change to the brake shoes and/or pads. However if the brakes have been excessively hot for a prolonged period of time, glazing can occur on both of the friction linings of the shoes and pads. When this happens, the contacting surfaces of the linings will have a smooth, shiny appearance, and will not perform as efficiently to slow the vehicle under braking. This glazing can be easily removed by either gently using emery paper on them, or by driving the vehicle carefully whilst implementing light use of the brakes for several miles.
An incorrect explanation sometimes given for brake fade is heated brake shoes evaporate to generate gas that separate them from the drum. Such effects are easy to imagine, but physically impossible, due to the large volume of gas that would be required for such an effect. A gas bearing would need gas replenishment as fast as the disc or drum moves, since it has no gas on its surface as it approaches the pad or shoe. Also, disc brakes use much the same materials and operate well with little fade, even when the discs are glowing hot. If brake materials outgassed at drum temperatures, they would also outgas at disc temperatures and would fade substantially. Since discs have little fade, they also demonstrate outgassing is not a source of fade. Some disc brakes are drilled or slotted, but smooth discs show no more fade.
Long dual-tire skid marks on highways, made by trucks with drum brakes, are visible examples of non-linearity between brake response and pedal pressure. Large trucks still use drum brakes because they are economical and fit easily where an equivalent disc brake does not. More recently disc brakes for trucks have been promoted listing features such as no fade, possible because they have no self-assist (self-servo).[4]
Railroads[edit]
Railroads have been using disk brakes on passenger cars for more than 60 years, but coupled with a Rolokron anti-lock system to avoid the creation of flat spots (or “square wheels”) when wheels lock and skid on the rail surface (audible as steady bang-bang-bang noise as a train goes by—not to be confused with the bang-bang...bang-bang....bang-bang sound made by wheels rolling over a rail joint). Usually, brake disks are installed in the center of the axle, but in some applications (such as Bombardier Bi Level commuter cars), only one disk is used, mounted on the axle end outside the truck frame. High speed trains (such as the TGV) may use four disks per axle.
Freight cars (and some passenger cars like multiple-unit cars whose traction motors do not yield room on axles to allow the placement of disk brakes) are equipped with clasp brakes which directly grab the rolling surface of the wheels (much like the old horse buggy brakes of yesteryear). Such brakes are an external-shoe drum brake; but unlike band brakes and many internal-shoe drum brakes, there is no self-assist/self-servo effect, and so they are far less susceptible to locking than self-assist brakes. Due to high stiffness and relatively low power, these clasp brakes are even less prone to lockup than many disc brakes, and so freight cars using them are not equipped with anti-lock systems.
The first development of modern ceramic brakes was made by British engineers working in the railway industry for TGV applications in 1988. The objective was to reduce weight, the number of brakes per axle, as well as provide stable friction from very high speeds and all temperatures. The result was a carbon-fibre-reinforced ceramic process that is now used in various forms for automotive, railway, and aircraft brake applications.
Controlling fade through driving technique[edit]
Brake fade and rotor warping can be reduced through proper braking technique; when running down a long downgrade that would require braking simply select a lower gear (for automatic transmissions this may necessitate a brief application of the throttle after selecting the gear). Also, periodic, rather than continuous application of the brakes will allow them to cool between applications. Continuous light application of the brakes can be particularly destructive in both wear and adding heat to the brake system.[5] Finally, new brakes are prone to a phenomenon termed "green fade",[6] where resin on the brake pad evaporates at the high temperatures involved in heavy braking and the resulting pressurised gas forces the brake lining away from the disk, reducing friction.[verification needed][contradictory]
Brake modification to reduce fade[edit]
High performance brake components provide enhanced stopping power by improving friction while reducing brake fade. Improved friction is provided by lining materials that have a higher coefficient of friction than standard brake pads, while brake fade is reduced through the use of more expensive binding resins with a higher melting point, along with slotted, drilled, or dimpled discs/rotors that reduce the gaseous boundary layer, in addition to providing enhanced heat dissipation. Heat buildup in brakes can be further addressed by body modifications that direct cold air to the brakes.
The "gaseous boundary layer" is a hot rod mechanics explanation for failing self servo effect of drum brakes because it felt like a brick under the brake pedal when it occurred. To counter this effect, brake shoes were drilled and slotted to vent gas. In spite of that, drum brakes were abandoned for their self-servo effect. Disks do not have that because application force is applied at right angles to the resulting braking force. There is no interaction.
Adherents of gas emission have carried that belief to motorcycles, bicycles and "sports" cars, while all other disk brake users from the same automotive companies have no holes through the faces of their discs, although internal radial air passages are used. Vents to release gas have not been found on railway, aircraft and passenger car brakes because there is no gas to vent. Meanwhile, heavy trucks still use drum brakes because they ]the same space. Railways have never used internal expanding drum brakes because they cause skidding, causing expensive flat spots on steel wheels.
Both disc and drum brakes can be improved by any technique that removes heat from the braking surfaces.
Drum brake fade can be reduced and overall performance enhanced somewhat by an old "hot rodder" technique of drum drilling. A carefully chosen pattern of holes is drilled through the drum working section; drum rotation centrifugally pumps a small amount air through the shoe to drum gap, removing heat; fade caused by water-wet brakes is reduced since the water is centrifugally driven out; and some brake-material dust exits the holes. Brake drum drilling requires careful detailed knowledge of brake drum physics and is an advanced technique probably best left to professionals. There are performance-brake shops that will make the necessary modifications safely.
Brake fade caused by overheating brake fluid (often called Pedal Fade) can also be reduced through the use of thermal barriers that are placed between the brake pad and the brake caliper piston, these reduce the transfer of heat from the pad to the caliper and in turn hydraulic brake fluid. Some high-performance racing calipers already include such brake heat shields made from titanium or ceramic materials. However, it is also possible to purchase aftermarket titanium brake heat shields [7] that will fit an existing brake system to provide protection from brake heat. These inserts are precision cut to cover as much of the pad as possible. Since they are relatively cheap and easy to install, they are popular with racers and track day enthusiasts.
Another technique employed to prevent brake fade is the incorporation of fade stop brake coolers. Like titanium heat shields the brake coolers are designed to slide between the brake pad backing plate and the caliper piston. They are constructed from a high thermal conductivity, high yield strength metal composite which conducts the heat from the interface to a heat sink which is external to the caliper and in the airflow. They have been shown to decrease caliper piston temperatures by over twenty percent and to also significantly decrease the time needed to cool down.[8] Unlike titanium heat shields, however, the brake coolers actually transfer the heat to the surrounding environment and thus keep the pads cooler.
See also[edit]
Disc brake
Drum brake
References and sources[edit]
^ Jump up to: a b Gary Ganaway, Air Disc Brake Production, Use & Performance, NDIA Tactical Wheeled Vehicles Conference, Monterey California, 28 January 2002. Accessed 2010/01.
Jump up ^ Spartan Engineering 1959[permanent dead link]; Disk Brakes; accessed 2007-02-26
Jump up ^ http://www.roadranger.com/ecm/groups/public/@pub/@roadranger/documents/content/rr_axag-0300.pdf[permanent dead link]; Dana Spicer Trailer Axles & Brakes; Application Guide AXAG-0300 March 2006; See "Brake Fade" in glossary; accessed 2007-02-26
Jump up ^ Air Disc Brakes
Jump up ^ Fancher, P.; Winkler, C.; Campbell, M. (March 1992). "The influence of braking strategy on brake temperatures in mountain descents" (PDF). The University of Michigan Transportation Research Institute. UMTRI-92-11: 2. Retrieved 24 October 2017.
Jump up ^ Burnishing of Brake Linings Archived 13 December 2009 at the Wayback Machine.
Jump up ^ http://HardBrakes.com TiSpeed Hard Brakes Titanium Brake Heat Shields
Jump up ^ Testing the Fade Stop Brake Coolers "Archived copy". Archived from the original on 7 June 2010. Retrieved 2010-06-09.
External links[edit]
Friction Material Standards Institute
Lab Testing Results on Titanium Brake Heat Shields
Hard Brakes Titanium Brake Heat Shield Technical Info
Development of the Fade Stop Brake Coolers
Mitigating Brake Fade

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All of You (Julio Iglesias and Diana Ross song)
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"All of You"
Single by Julio Iglesias and Diana Ross
from the album 1100 Bel Air Place and the album Swept Away
B-side
"The Last Time"
Released
June 12, 1984
Format
Vinyl record (7" 45 RPM)
Genre
Pop
Length
3:57
Label
Columbia/CBS Records and RCA Records
Songwriter(s)
Cynthia Weil (lyrics writer)
Julio Iglesias, Tony Renis (joint music composers)
Producer(s)
Richard Perry
Diana Ross singles chronology
"Let's Go Up"
(1983) "All of You"
(1984) "Swept Away"
(1984)
"Let's Go Up"
(1983) "All of You"
(1984) "Swept Away"
(1984)
"All of You" is a 1984 vocal duet between Julio Iglesias and Diana Ross, produced by Richard Perry, which was released as a single from both Iglesias's album 1100 Bel Air Place, released on the Columbia Records label, and Ross's album Swept Away, released on the RCA Records label, for which Ross was then recording.
Background to the partnership[edit]
In the middle 1980s, having already achieved a high level of international prominence, Spanish singer Julio Iglesias was seeking to gain a foothold in American music; to this end, he had learned English. On his album 1100 Bel Air Place, he had already recorded a cover version of "The Air That I Breathe" in duet partnership with the Beach Boys and an original selection, "To All The Girls I've Loved Before," in duet partnership with Willie Nelson. Richard Perry, the album's music producer, suggested the idea of Iglesias having Diana Ross as yet another duet partner, and Iglesias agreed.
To the extent which became public knowledge, Iglesias and Ross had never met each other, least of all performed together, before becoming duet partners on the selection; Iglesias's and Ross's meeting when the video was being produced is believed to have been their first. That would soon change as Ross reportedly ended up spending the Christmas holiday season at Iglesias's Miami estate. They there celebrated the success of their global duet that hit #1 in Spain, #3 in Italy, and #8 in Canada for example. In the United States, it reached #12 in Cash Box and #19 in Billboard. Additionally, "All of You" reached #2 on Adult Contemporary radio. Because it was the second single from 1100 Bel Air Place and the first single from Diana's successful Swept Away album, it helped sell both artists's albums. It also boasted a hugely popular and sensual music video.
Ross was having some career difficulties at the time she agreed to the duet partnership with Iglesias; she had left Motown Records over a dispute with Berry Gordy which would not be resolved for years, and was recording for RCA Records (EMI in the UK and the rest of the world) at the time. Though her debut album for the label, Why Do Fools Fall In Love, had been successful three years before, her most recently released album, Ross, was not performing as well.
Iglesias collaborated with one of his "Amigos," Tony Renis, on the composition of the music; veteran songwriter Cynthia Weil, better known for her partnership with Barry Mann, wrote the lyrics, which were in English--a language Iglesias could barely speak at the time. Richard Perry served as music producer.
Chart history[edit]
Chart (1984)
Peak
position
Australia (Kent Music Report)[1] 19
Austrian Top 40 12
Belgian Ultratop 9
Canadian Hot 100 8
Dutch Top 40 7
French Singles Chart 27
German Singles Chart 32
Irish Singles Chart 23
Italian Singles Chart 3
New Zealand Singles Chart 10
South Africa (Springbok Radio)[2] 19
Spanish Singles Chart 1
U.K. Singles Chart[3] 43
U.S. Billboard Hot 100[4] 19
U.S. Hot R&B/Hip-Hop Songs[5] 38
U.S. Adult Contemporary[6] 2
References[edit]
Jump up ^ Kent, David (1993). Australian Chart Book 1970–1992. St Ives, NSW: Australian Chart Book. ISBN 0-646-11917-6.
Jump up ^ {http://www.rock.co.za/files/sa_charts_1969_1989_songs_(A-B).html%7Caccessdate=17 January 2018}
Jump up ^ Roberts, David (2006). British Hit Singles & Albums. HIT Entertainment.
Jump up ^ Whitburn, Joel (2007). Top Pop Singles: 1955-2006. Record Research.
Jump up ^ Whitburn, Joel (2005). Top R&B/Hip-Hop Singles: 1942-2004. Record Research.
Jump up ^ Whitburn, Joel (2007). Top Adult Songs: 1961-2006. Record Research.
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Diana Ross
Discography
Awards and nominations
Studio albums
Diana Ross (1970)
Everything Is Everything
Surrender
Touch Me in the Morning
Diana & Marvin
Last Time I Saw Him
Diana Ross (1976)
Baby It's Me
Ross (1978)
The Boss
Diana
Why Do Fools Fall in Love
Silk Electric
Ross (1983)
Swept Away
Eaten Alive
Red Hot Rhythm & Blues
Workin' Overtime
The Force Behind the Power
A Very Special Season
Take Me Higher
Every Day Is a New Day
Blue
I Love You
Diana Ross Sings Songs from The Wiz
Compilations
Greatest Hits
Diana Ross' Greatest Hits
20 Golden Greats
To Love Again
All the Great Hits
Forever Diana: Musical Memoirs
One Woman: The Ultimate Collection
Diana Extended: The Remixes
Voice of Love
Love & Life: The Very Best of Diana Ross
The Definitive Collection
The Greatest
Upside Down: The Collection
Live releases
Live at Caesars Palace
An Evening with Diana Ross
Greatest Hits Live
Stolen Moments: The Lady Sings... Jazz and Blues
Christmas in Vienna
Soundtrack albums
Diana!
Lady Sings the Blues
Mahogany
The Wiz
Tours
Return to Love Tour
I Love You Tour
More Today Than Yesterday: The Greatest Hits Tour
In the Name of Love Tour
The Essential Diana Ross: Some Memories Never Fade
Related topics
The Supremes
Rhonda Ross Kendrick (daughter)
Tracee Ellis Ross (daughter)
Evan Ross (son)
Arne Næss, Jr. (second husband)
Arthur "T-Boy" Ross (brother)
Berry Gordy
Diana Ross Playground
Book
Category
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Diana Ross singles
Discography
1970s singles
"Reach Out and Touch (Somebody's Hand)"
"Ain't No Mountain High Enough"
"Remember Me"
"Reach Out (I'll Be There)"
"Surrender"
"I'm Still Waiting"
"Good Morning Heartache"
"Touch Me in the Morning"
"You're a Special Part of Me"
"Last Time I Saw Him"
"My Mistake (Was to Love You)"
"You Are Everything"
"Don't Knock My Love"
"Stop, Look, Listen (To Your Heart)"
"Theme from Mahogany (Do You Know Where You're Going To)"
"Love Hangover"
"Gettin' Ready for Love"
"Ease on Down the Road"
"Pops, We Love You (A Tribute to Father)"
"What You Gave Me"
"The Boss"
"It's My House"
1980s singles
"Upside Down"
"I'm Coming Out"
"My Old Piano"
"It's My Turn"
"Endless Love"
"Why Do Fools Fall in Love"
"Mirror, Mirror"
"Muscles"
"Pieces of Ice"
"All of You"
"Swept Away"
"Missing You"
"Eaten Alive"
"Chain Reaction"
1990–2000s singles
"When You Tell Me That You Love Me"
"Someday We'll Be Together" (Remix)
"Take Me Higher"
"I Will Survive"
"Not Over You Yet"
"Goin' Back"
"I've Got a Crush on You"
Featured singles
"A Brand New Day"
"We Are the World"
Book
Category
Template
show
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Julio Iglesias
Discography
Studio albums
Yo canto (1969)
Un canto a Galicia (1972)
Soy (1973)
A flor de piel (1974)
A México (1975)
El amor (1975)
America (1976)
A mis 33 años (1977)
Emociones (1978)
Sono un pirata, sono un signore (1978)
À vous les femmes (1979)
Hey! (1980)
De niña a mujer (1981)
Zartlichkeiten (1981)
Momentos (1982)
Momenti (1982)
Amor (1982)
Et l'amour crea la femme (1982)
1100 Bel Air Place (1984)
Libra (1985)
Un hombre solo (1987)
Tutto l'amore che ti manca (1987)
Non Stop (1988)
Raíces (1989)
Starry Night (1990)
Calor (1992)
Crazy (1994)
La carretera (1995)
Tango (1996)
Noche de cuatro lunas (2000)
Ao Meu Brasil (2001)
Divorcio (2003)
Romantic Classics (2006)
1 (2011)
México (2015)
Live albums
En concierto (1983)
Compilation albums
Da Manuela a Pensami (1978)
Minhas canções preferidas (1981)
Julio (1983)
My Life: The Greatest Hits (1998)
Mi vida: Grandes éxitos (1998)
Love Songs (2003)
1: The Collection (2014)
Singles
"Chiquilla" (1970)
"Gwendolyne" (1970)
"Cucurrucucú paloma" (1975)
"Pauvres Diables" (1979)
"Begin the Beguine" (1981)
"Yours (Quiéreme Mucho)" (1981)
"Amor" (1984)
"All of You" (1984)
"The Air That I Breathe" (1984)
"To All the Girls I've Loved Before" (1984)
"I've Got You Under My Skin" (1985)
"We Are the World" (1985)
"Lo Mejor de Tu Vida" (1987)
"Que No Se Rompa la Noche" (1987)
"Bamboléo" (1989)
"Vincent" (1990)
"Can't Help Falling in Love" (1990)
"Crazy" (1994)
"Oye Como Va" (1994)
"When You Tell Me That You Love Me" (1994)
"El Choclo" (1996)
"La Gota Fría" (1998)
"Everybody's Talkin'" (2006)
Family
Julio Iglesias Sr. (father)
Julio Iglesias Jr. (son)
Enrique Iglesias (son)
Chabeli Iglesias (daughter)
Isabel Preysler (first wife)

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Categories:
1980s ballads
1984 singles
Diana Ross songs
Julio Iglesias songs
Pop ballads
Contemporary R&B ballads
Soul ballads
Songs with lyrics by Cynthia Weil
Song recordings produced by Richard Perry
Vocal duets
1984 songs
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