The following month, the first single, "Never Be like You", featuring vocals from Canadian singer Kai, reached number one in Australia, making it Flume's first chart-topping song.

(meta data) TITLE: ARIA Singles: Flume Never Be Like You Is No 1 - Noise11.com

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# ARIA Singles: Flume Never Be Like You Is No 1

For a third week in a row we have a new No.1 single atop the ARIA Singles Chart, with local EDM artist Flume with the newly crowned Gold (●) track "Never Be Like You" featuring vocals from Kai after holding at No.2 for the past two weeks.

"Never Be Like You" (#1 digital/#2 streamed) becomes the 1048th No.1 Single in Australia (1940 to 2016) and the 483rd for ARIA (1983 to 2016), plus the first EVER (on the singles chart) for record label Future Classic.

This is the twelfth track to feature the word 'Never' and the seventeenth with 'Like' (the last being 51 weeks ago with Ellie Goulding with "Love Me Like You Do" from 23-Feb, 2015) in its title.

Flume is the first Aussie act to hit the top this year and he also becomes the 39th Aussie Solo Male artist to reach No.1, the last being Conrad Sewell in June of 2015 with "Start Again", plus he also becomes the 106th Australian act to reach the top and the song is the 162nd No.1 performed by an Australia artist, with the last local act to reach No.1 being "Wings" for Delta Goodrem in mid-August of 2015.

Last weeks No.1 debut for Zayn of "Pillowtalk" drops a place to No.2 this week and is also Gold (●) in sales and the new No.1 streamed track of the week, whilst jumping up eight places to make their first chart entry become their first Top 10 hit are twenty one pilots with "Stressed Out" (it has also reached No.3 in the USA, #4 this week), which is the #2 downloaded track around the country, but it's streaming position is only #15 (up from #30).

The pilots' jump pushes Charlie Puth down one place to No.4 with "One Call Away" and climbing a single spot to a new peak of No.5 is Kiiara with "Gold", whilst falling two places apiece are Justin Bieber with "Love Yourself" and another former No.1 in "Fast Car" by Jonas Blue feat Dakota to No.6 and No.7 respectively.

Holding at No.8 for another week is Zara Larsson with "Lush Life" whilst also down two spots are Snakehips with Tinashe and Chance the Rapper on "All My Friends" to No.9

Leaping nine places to land their second Top 10 at No.10 are The Chainsmokers with "Roses", which also achieves Gold (●) in sales this week, with their first Top 10 being "#Selfie" (HP-3, April 2014).

Selena Gomez is back to her former peak of No.13 with "Hands to Myself" and "My House" by Flo Rida is up five spots to No.15 (#9 digi/#23 stream), whilst just outside of the Top 20 we see G-Eazy and Bebe Rexha jump up seventeen spots to a new peak of No.21 with "Me, Myself & I".

Sia continues to climb with her "Cheap Thrills", up five to No.22 this week and the new One Direction track "History" is back up six to it's original late November 2015 peak of No.29.

Coldplay performed the half-time Superbowl show this past week, and their new entry from last week "Hymn for the Weekend" featuring Beyonce is up sixty-three spots to No.32, whilst their former Top 20 hit "Adventure of a Lifetime" rebounds thirty-two spots to return to the Top 50 at No.45.

When the Adele "25" album came out last year, a heap of album tracks leapt onto the charts, including the albums now official second release "When We Were Young" (HP-13), which this week returns to the Top 100 at No.39, and climbing into the Top 50 with his new track is Conrad Sewell, up eleven places to No.44 with "Remind Me", becoming his fifth Top 50 hit here.

DOWN: After debuting at No.10 last week, Rihanna is down one spot to No.11 with her new track "Work" (HP-10), with the other Top 10 dropout being "Hoops" (HP-9, WI10-2) for The Rubens, which drops fourteen places to No.23 this week.

The Top 20 consists of mostly one and two places drops, and of note is Adele's "Hello" which is down a place to No.19 and newly certified 5x▲Platinum in sales.

"Youth" for Troye Sivan debuted on the US Singles chart this past week, and here it is down four spots to No.26, whilst Justin's "What Do You Mean" is down three to No.27 and now 4x▲Platinum.

"IN2" for WSTRN is down five to No.33 and falling six places each are ZHU, Skrillex & THEY with "Working for it" (now Gold (●)) and "The Trouble with Us" for Marcus Marr & Chet Faker, both down to No.36 and No.37 respectively.

Falling hard into the lower fifty are last weeks' debut of "Summer Sixteen" by Drake (25 to 51), "King Kunta" by Kendrick Lamar (37 to 55), "Flip it" by Charlotte Devaney and Snoop Dogg (47 to 58) and the other high debut from last week; Flume with "Smoke & Retribution" (23 to 60).

Lukas Graham Forchhammer is the lead singer of the four piece Danish act Lukas Graham, who have so far landed five No.1 singles in their home country and their first two self-titled albums have also gone to the top, whilst here they debut with their first chart entry at No.20 entitled "7 Years", which is the new No.1 single in the UK this week and the track has also reached the top spot in Austria, The Netherlands, Belgium, Scotland and Sweden, whilst it jumped from No.57 to #43 in the US this past week.

The Hilltop Hoods are releasing their new re-strung album next week, entitled "Drinking from the Sun, Walking under Stars Restrung", which features tracks from their past two albums along with the Adelaide Symphony Orchestra.

Recently we had the #10 single "Higher" (TW-42) released from the album, and now the second track lifted from the new release debuts at No.25 entitled "1955", which features guest artists Montaigne and Tom Thum, and this becomes the Adelaide groups fourteenth Top 100 entry and their tenth Top 50 placing.

2015's No.1 single "Uptown Funk" rebounds six places to No.57 after being sung by Mark Ronson and Bruno Mars at the Superbowl half-time show this past week, and the track also lands its tenth ▲Platinum certification too.

Rachel Platten also lands a ▲Platinum cert for her track "Stand by You" which is down six to No.62 and rising again this week are Kygo and Maty Noyes with "Stay", up five to a new peak of No.67.

"See You Again" for Wiz and Charlie rises back up nine to No.71 and jumping up fourteen places to a new peak of No.80 is the team of Shawn Mendes and Camila Cabello with "I Know What You Did Last Summer".

No further peaks in the lower fifty, but there are four more certifications, with "Whip it!" for LunchMoney Lewis (#84, 2x▲Platinum), "Locked Away" for R.City & Adam Levine (#86, 3x▲Platinum), "Shut Up & Dance" by Walk the Moon (#90, 4x▲Platinum) and "Like I'm Gonna Lose You" for Meghan Trainor and John Legend (#95, 3x▲Platinum), whilst Meghan returns at No.96 with her 'Peanuts Movie' theme "Better When I'm Dancin'" and her teaming with Charlie Puth in "Marvin Gaye" is back in at No.98.

Swedish indie-pop act Miike Snow land their first singles chart entry this week with the second released song from their forthcoming third album "iii" (no date known as yet) entitled "Genghis Khan" which debuts at No.59 (it's not a cover of the 1979 disco song by the group of the same name either).

Also making her first chart appearance is Halsey who debuts at No.78 with "Hold Me Down" thanks to her recent tour here and this track is taken from her album "Badlands" which leaps up to #12 this week.

The fourth song to chart from the Major Lazer album "Peace is the Mission" enters at No.74 entitled "Light it Up" featuring guest acts in Jamaican singer Nyle and English based, Ghanaian born artist/musician Fuse ODG, and it becomes the eighth Top 100 entry for Major Lazer, who is also within the Top 100 this week with "Lean on" (#38) and "Be Together" (#100).

The final new entry for the week comes in at No.88, "Secret Love Song" for Little Mix and Jason DeRulo, and this is the third single from the girls' third album "Get Weird" (HP-2) after "Black Magic" (HP-8) and "Love Me Like You" (HP-27).

Written, Compiled and Researched by Gavin Ryan.

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ARIA Singles: Flume Never Be Like You Is No 1,

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In early January 2016, Flume released a four-and-a-half-minute preview of his second studio album, "Skin".


The offer was also extended to Criss Oliva who also declined as he did not want to leave Savatage.

(meta data) TITLE: A Look Back at Savatage's Criss Oliva - Welcome To All That Shreds Magazine!

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Dedicated to the Hard Rock and Heavy Metal Guitarist And Their Respective Bands!

Andrew Cataniacriss olivajohn olivaPaul O'neillsavatage

A skilled composer, a master player and a penman that inscribed magical lyrics through his excellent penmanship – Criss Oliva is a name that will forever shine on the music sphere for his invaluable contributions that uplifted the stature of his genre and has casted an eternal impact on the rock, metal as well as the Trans-Siberian Orchestra.

Born on 3rd April 1963, young Criss moved with his family to settle in Florida, en-route California.

During their stay in California, Criss started developing an affinity towards music, particularly for guitars and decided to pursue the passion even after settling in Florida.

He spent his entire childhood listening to and learning the intricacies of a variety of music.

He was particularly impressed by the works of Ritchie Blackmore, Tony Iommi, Uli Jon Roth and Michael Schenker.

He also started to test his fingers on the chords.

This initial self-taught approach towards making up his licks and lyrics later turned out to be of an immense benefit when he delved headlong into the professional music domain.

After some years of learning, practices, jamming on different techniques, Criss Oliva and his older brother Jon Oliva joined hands and laid the foundation of Avatar, in 1978.

After two years of jams and performances, the Criss-Jon duo offered Steve Wacholz to join Avatar.

The duo turned into a trio, and the combination of talents proved to be just the right move that propelled Avatar into the legend-making discourse.

The trio staged some impressive performances in music clubs in Tampa and Clearwater areas for many years and was later joined by Keith Collins in `1981.

Avatar had now become a four-member band, after a year, released their first EP in 1982.

However, before the release, the band decided to change their name to Savatage – a term created from the combination of Avatar.

There was no looking back for the band after the release of their first EP.

The very next year, the band released a full-fledged album titled Sirens in 1983.

The success of the album enthralled the fandom, and the uproar of applauds fuelled the band so much that they issued another album the Dungeons Are Calling in 1985, with Par Records.

The records created waves in their time and gained a tremendous applause from the audience and critics alike for their large variance of musical styles.

Savatage was ruling the limelight, well on their path to obtaining a legendary status.

In 1985, the band parted ways with Par Records and landed in an association with Atlantic Records in 1985.

With Atlantic Records, the band released six more albums, consistently extending and building a sound profile.

Aside from that, Savatage was also being approached by renowned musicians and producers.

They collaborated with Paul O'Neil in 1987 and also went on a full-fledged musical tour with the acclaimed metal band Megadeth the same year.

Criss was also offered by Dave Mustaine to join Megadeth, replacing Jeff Young.

Criss turned down the offer and continued playing for Savatage.

On the unfortunate night of 17th October 1993, Criss Oliva lost his life in a car accident.

However, the legacy that he has left behind will always keep him alive, through his finest works for the generations to come.

## 10 Replies to "A Look Back at Savatage's Criss Oliva"

Criss was incredible and completely overlooked during the time he played.

Can't imagine what he would have been able to create if not taken by someone else's irresponsible and reckless actions.

Savatage remains my favorite band, and I will always wonder to what heights they could have risen, had they not lost this brilliant young musician to a stupid, useless drunken driver.

One of a kind…always was…always will be!!

He was one of the best musicians/guitarists ever lived.

His sound & style was unlike anything we will ever see again ?

I get lost in his compositions and solos; they have so much emotion!

I often wonder what would have become of Savatage had he still been here.

What if Chris Oliva, Randy Rhodes and Jason Becker all collaborated together?

In any case, Thanks to Jon, we still get a lot of Chris' music.

I look forward to the next JOP and/or Oliva release!

Gutter ballet is still and always be an amazing solo

Criss Oliva Will Always Be An Immense Part Of The Hard Rock/Heavy Metal World As Well As An Imperative Influence And Inspiration To Guitarists/Musicians All Over The World!!!

I Am Still And Will Always Be Mesmerized When Listening To His Music And Playing Along As Well…Such A True Pioneer!!!

Criss Oliva Will Always Be An Immense Part Of The Hard Rock/Heavy Metal Community As Well As An Imperative Influence And Inspiration To Guitarists/Musicians World Wide!!!

I Myself Still Become Mesmerized When Listening To His Music~CRISTOPHER MICHAEL OLIVA~ A TRUE PIONEER!!!

Amen You guys put out some great music R.I.P CHRIS DEARLY MISSED HALL OF THE MOUNTAIN KING FOREVER

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With Mustaine sober, Megadeth continued searching for a new lead guitarist. Among those auditioned were Lee Altus of Heathen and Eric Meyer of Dark Angel. Meyer was invited to join the band after Poland's departure, but chose to remain with Dark Angel. Guns N' Roses guitarist Slash had been jamming with Mustaine and Ellefson, and although it seemed that he might join Megadeth, he remained with Guns N' Roses. Dimebag Darrell of Pantera was offered the job, but the deal fell through after Mustaine refused his request to recruit his brother, Pantera drummer Vinnie Paul, as he had already hired Menza.


Controllers initially thought this was a military fighter, due to its high speed and maneuvering.

(meta data) TITLE: On Flight 77: 'Our Plane Is Being Hijacked' - The Washington Post

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# On Flight 77: 'Our Plane Is Being Hijacked'

Add to list On my list By Marc Fisher and Marc Fisher Senior editor reporting on a wide range of topics Don Phillips September 12, 2001

There was not even the grace of instant death.

Instead, there was time to call from the sky over Virginia, fingers pumping cell phones, terrified passengers talking to loved ones for one final time.

Herded to the back of the plane by hijackers armed with knives and box-cutters, the passengers and crew members of American Airlines Flight 77 -- including the wife of Solicitor General Theodore Olson, a Senate staffer, three D.C. schoolchildren and three teachers on an educational field trip and a University Park family of four headed to Australia for a two-month adventure -- were ordered to call relatives to say they were about to die.

About an hour after takeoff from Dulles International Airport yesterday morning, Flight 77, a Boeing 757 headed for Los Angeles with 64 people aboard, became a massive missile aimed at the White House.

The target would change suddenly, but the symbolism was equally devastating.

By about 9:40 a.m., when the diving plane carved out a massive chunk of the Pentagon, its passengers had experienced unspeakable terror, hundreds died, and the nation's greatest symbol of security lay shattered, thick plumes of smoke camouflaging a gaping hole in its heart.

Barbara K. Olson, the former federal prosecutor who became a prominent TV commentator during the impeachment of President Bill Clinton, called her husband twice in the final minutes.

Her last words to him were, "What do I tell the pilot to do?"

"She called from the plane while it was being hijacked," Theodore Olson said.

The two conversations each lasted about a minute, said Tim O'Brien, a CNN reporter and friend of the Olsons.

In the first call, Barbara Olson told her husband, "Our plane is being hijacked."

She described how hijackers forced passengers and the flight's pilot to the rear of the aircraft.

She said nothing about the number of hijackers or their nationality.

Olson's first call was cut off, and her husband immediately called the Justice Department's command center, where he was told officials knew nothing about the Flight 77 hijacking.

And again, she wanted to know, "What should I tell the pilot?"

"She was composed, as composed as you can be under the circumstances," O'Brien said.

"Incidentally, she wasn't even supposed to be on this flight," O'Brien added on CNN.

"She was booked on a flight yesterday, but today is Ted's birthday, so she wanted to be here this morning to have breakfast with him before she left."

On the ground, air traffic controllers watching Flight 77's progress westward suddenly lost touch with the plane, which disappeared from radar screens and cut off radio contact.

Someone on board Flight 77 had flipped off the transponder, the device that sends a plane's airline identification, flight number, speed and altitude to controllers' radar screens.

But soon after losing contact, Dulles controllers spotted an unidentified aircraft speeding directly toward the restricted airspace that surrounds the White House.

Federal aviation sources said Dulles controllers noticed the fast-moving craft east-southeast of Dulles and called controllers at Reagan National Airport to report that an unauthorized plane was coming their way.

Controllers had time to warn the White House that the jet was aimed directly at the president's mansion and was traveling at a gut-wrenching speed -- full throttle.

But just as the plane seemed to be on a suicide mission into the White House, the unidentified pilot executed a pivot so tight that it reminded observers of a fighter jet maneuver.

The plane circled 270 degrees to the right to approach the Pentagon from the west, whereupon Flight 77 fell below radar level, vanishing from controllers' screens, the sources said.

Less than an hour after two other jets demolished the World Trade Center in Manhattan, Flight 77 carved a hole in the nation's defense headquarters, a hole five stories high and 200 feet wide.

Aviation sources said the plane was flown with extraordinary skill, making it highly likely that a trained pilot was at the helm, possibly one of the hijackers.

Someone even knew how to turn off the transponder, a move that is considerably less than obvious.

Details about who was on Flight 77, when it took off and what happened on board were tightly held by airline, airport and security officials last night.

All said that the FBI had asked them not to divulge details.

"Because of the heightened security due to the nature of today's events," American Airlines said in a statement, the airline "is working closely with U.S. government authorities and will not release more information at this time."

But some passengers on the flight were identified by friends and family.

Flight attendant Michelle Heidenberger had been trained to handle a hijacking.

She knew not to let anyone in the cockpit.

She knew to tell the hijacker that she didn't have a key and would have to call the pilots.

"I'm just so heartbroken," said Ruby Ramer, Heidenberger's neighbor in Chevy Chase, where she lived with her husband, Tom, a pilot for US Airways, and their 11-year-old son and college-age daughter.

"I just can't believe she won't be one of our neighbors."

Flight 77 was to be the first leg of a long, happy journey for Leslie A. Whittington and Charles S. Falkenberg, both 45, and their two young girls.

The University Park family was on its way to Australia, where Whittington, a Georgetown University professor of public policy, was to work as a visiting fellow at Australian National University.

Her husband, a software engineer and nature buff, was looking forward to exploring and encountering the wildlife -- kangaroos, koala bears, scorpions and snakes -- said James Gekas, a neighbor who hosted a farewell dinner for the family Sunday night.

Three District schoolchildren and three teachers were on Flight 77, headed to Santa Barbara, Calif., for an ecology conference sponsored by National Geographic.

School board President Peggy Cooper Cafritz said the students and educators, whose names were not released, were from elementary and middle schools.

In the hazy hours that followed the attack, it was unclear which of four hijacked planes ended up where.

But witnesses soon identified the aircraft that smashed into the Pentagon as an American flight, and then as Flight 77, which was unusually light on passengers this day.

On a Metro train to National Airport, Allen Cleveland looked out the window to see a jet heading down toward the Pentagon.

"I thought, 'There's no landing strip on that side of the subway tracks,' " he said.

Before he could process that thought, he saw "a huge mushroom cloud.

The lady next to me was in absolute hysterics."

At the Dulles Airport Marriott, which American Airlines used last night as a bereavement center, families of passengers began arriving about 11 a.m.

Paul Sharp, a hotel manager, said three or four families, totaling about 10 people, were meeting with grief counselors and clergy in private suites.

In the lobby, dozens of anxious travelers whose flights had been diverted watched news programs solemnly.

Kathy Foley, 49, a United Airlines flight attendant from Chicago, was stranded in the hotel lobby after mechanical problems delayed her 9 a.m. flight.

"Everything was perfect at 8 o'clock this morning," she said.

"Nobody had any idea anything was happening.

As horrible as it is to say it, I want revenge.

"Shaken Pentagon worker Tracy Williams watches the flames.

Employees evacuate the Pentagon after American Airlines Flight 77's crash tore a hole in the building's west side.

Marc Fisher, a senior editor, writes about most anything.

He has been The Washington Post's enterprise editor, local columnist and Berlin bureau chief, and he has covered politics, education, pop culture and much else in three decades on the Metro, Style, National and Foreign desks.

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Ted Olson asked her location and she reported the plane was flying low over a residential area. He told her of the attacks on the World Trade Center. Soon afterward, the call cut off again. "The speed, the maneuverability, the way that he turned, we all thought in the radar room, all of us experienced air traffic controllers, that that was a military plane. You don't fly a 757 in that manner. It's unsafe."
 Danielle O'Brien, air traffic controller at Dulles International Airport[34]
 An airplane was detected again by Dulles controllers on radar screens as it approached Washington, turning and descending rapidly.


The main altar houses a 17th-century fresco of figures interacting with the framed 13th-century icon of the Madonna (1638), painted by Mario Balassi.

(meta data) TITLE: Church of Santa Maria della Pietà in Prato | Visit Tuscany

# Church of Santa Maria della Pietà in Prato

## An example of post-Mannerist Florentine architecture

The Church of Santa Maria della Pietà was built in Prato between 1617 and 1620, following a miracle connected to the 14th-century image of the Virgin and Child.

The arrival of hordes of worshippers coming to see the extraordinary tabernacle led to the church's construction, designed by the Grand Duke's court architect Gherardo Mechini.

The church, built according to the style of the Counter-Reformation, is considered one of the best conserved examples of post-Mannerist Florentine architecture.

The interior is accessed through a Tuscan-order porch, where pilgrims once found refuge, and drenched in a well-installed light that directs our attention to the back wall, where the high altar is dominated from above by a large arch.

This is where you can find an altarpiece by Mario Balassi from 1638, which juxtaposes well with the fresco at the centre of the wall depicting the miraculous event, attributed to Giovanni Bonsi.

Some other works conserved in the church include paintings from the 1800s by Matteo Bertini and an 18th-century canvas painting of St. Theresa by Gherardini.

More attractions in Pratokeyboard_backspace

Sanctuary of the Madonna del Soccorso in Prato

Basilica of Santa Maria delle Carceri in Prato

Sanctuary of the Madonna del Giglio in Prato

In the heart of Tuscany, a city of art and prestige

If there is one city that can impress those looking for lesser-known destinations, it's Prato.

Considering how the city is presented in the press, visitors will be surprised to discover an elegant and well-preserved historic city centre, as impressive as the most famous Medieval cities dotting Tuscany.

Parish Church of San Leonardo in Artimino

Museum of the San Pietro Apostolo Church in Prato

Historical villas and gardens in Tuscany

The church was built between 1617-1620 to house a venerated 14th century icon of the "Madonna and Child" previously held in a tabernacle in the neighborhood (borgo) of Pesce. The church was designed by Gherardo Mechini who erected a typical Tuscan order portico. The interior has a delineated architecture recalling Brunelleschi churches. In 1699, the land adjacent was granted to the Discalced Carmelite nuns (Teresians), who built a convent. In 1786, the convent was suppressed, and the church became the Priory of Santa Caterina de’Ricci, but the Carmelites returned in 1792, and stayed until 1818, when they were moved to the Monastery of San Francesco. The Monastery was given to Gaetano Magnolfi to establish an orphanage and school. The former convent and orphanage is now a nursing home and cultural center.
 The main altar was designed by mechini, but completed in polychrome marble by Giovanni Battista Cennini and Pier Maria Ciottoli.


Mowlam had two step-children; Henrietta and Freddie from Norton's first marriage to Geraldine Bedell.

(meta data) TITLE: Why deny Mo Mowlam, my stepmum, credit for the Good Friday agreement? | Henrietta Norton | Opinion | The Guardian

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# Why deny Mo Mowlam, my stepmum, credit for the Good Friday agreement?

Amid this week's official celebrations her name was barely mentioned.

Last modified on Fri 13 Apr 2018 06.08 EDT

Mo Mowlam with soldiers from the Royal Irish guards in Belfast, 1998.

'When she arrived as Northern Ireland secretary in 1997, the job was reputed to be a 'poisoned chalice'.'

As I watched the 20-year celebrations of the Good Friday agreement play out, my frustration and anger began to boil over.

"Where the fuck is she?" I wanted to shout at the television and radio.

As the day went on I decided to just avoid the media altogether; it was only going to make me cross, and that's not what the day was about.

It was a day to celebrate something extraordinary, the impossible becoming possible.

Mo Mowlam was my stepmum, but for most people she is remembered for the work she did helping to bring peace to Northern Ireland.

When Mo arrived as Northern Ireland secretary in 1997, the job was reputed to be a "poisoned chalice".

However, Mo not only brought the opposing parties to the table but also helped persuade a country of divided communities to come together for the sake of peace and progress.

## What's the best way to get written out of history? Be a middle-aged woman | Zoe Williams

I missed Mo more this week than I do on the anniversary of her death, or her birthday.

Her absence was everywhere in the British media's coverage of the anniversary of the agreement.

I felt powerless as I watched the old guard being paraded across our screens.

In their defence, Mo can't be there of course.

On Tuesday, Tony Blair gave his speech in Belfast on the anniversary of the agreement signing.

It was a stark oversight that he didn't even mention her name.

He made no acknowledgment of her role in the negotiations at all.

Perhaps he was afraid that he might get another standing ovation about someone else in the middle of one of his speeches?

I would go so far as to say that without Mo there would be no peace process in Northern Ireland.

She applied her own distinctive personality and approach to the job.

She demonstrated empathy and understanding.

She recognised and listened to victims and survivors.

She worked closely with the men but also very importantly the women – mothers, daughters, girlfriends and wives – of Northern Ireland in order to achieve peace.

Mo was from a family of strong women; her father was an alcoholic which meant her mother and older sister held her family together.

Her inclusion of women was imperative to the peace process – she knew that without help from the women in the community, there was no way she was going to be able to persuade the men to join the conversation.

She had to find the humanity in and commonality between families and relationships from all sides, in order to help people find hope.

Some have argued that Mo was not able to actually "seal the deal" in the end, and that things began to unravel on her watch.

Or that there's a "myth of Mo" and her role in the peace process.

In 2005 when Mo died, Blair said of her: "It is no exaggeration to say she transformed the politics not just of Northern Ireland itself but crucially of relations between the Republic of Ireland and the United Kingdom, and it was this transformation that created the culture in which peace-making could flourish … suddenly nationalist, republican and Catholic Ireland had every preconception of the English up-ended and rendered out of date.

She exuded it, naturally and with an absence of affectation that was marvellous to behold …

The thing about Mo was it came to her instinctively.

She didn't think about it, it wasn't a strategy, it was passion

As a director of documentary films, I've spent a lot of time in Northern Ireland and the republic since Mo died.

The island is a second home to me, having been so formative in my teenage years and early 20s.

In anticipation of the rewriting of the history books (or at least the omission of certain characters!) I've been pitching a film to commissioners at various broadcasters: an authored, personal story in Mo's memory that would celebrate and explore her legacy for contemporary women.

I've been told "no one would be interested".

That they "couldn't see who would watch it".

Seemingly a fitting narrative when you look at what played out on the media over the past few days.

The only place I have seen Mo remembered as she should be this week was in the middle of a documentary presented by the comedian Patrick Kielty in which he recalled her honesty and straight talking.

It made me smile watching the archive of a show he had hosted, with her as a guest.

As he said, Mo was "greeted like a rock star, not a politician" when she entered the TV studio.

A testament to her humanity and ability to connect with all walks of life.

## Revealed: the real Mo Mowlam | Feature

Everyone has a story about Mo, and I am constantly amazed by how many people she met in the world.

You can't just erase that memory, however hard they try.

She never just "flew in when the cameras were turned on" – if anything she snuck out and went to see people when no one was watching.

The thing about Mo was that it came to her instinctively.

She didn't think about it, it wasn't a strategy, it was instinct, it was passion and it was sheer determination.

Mo knew the Good Friday agreement was just the beginning, she knew it was a process and when she died she hoped that whoever took over those reins would honour that, would work at that and would help the people of Northern Ireland to progress to true peace.

It wasn't the finished article, and this is where I believe people are going wrong.

They are celebrating an end, a solution; but it was a beginning, a starting point.

Neil Kinnock at her memorial started his speech about Mo with a very simple statement: "A light has gone out."

A light did go out when Mo left the stage, and while many people will attempt to live in the afterglow of her memory, they cannot remove her from the memories of the people.

• Henrietta Norton is a documentary director and writer.

She is the director of the feature film Born And Reared, and has made short films for the Guardian and the New York Times

Mowlam married Jonathan Norton, a City of London banker, in County Durham on 24 June 1995; Norton died on 3 February 2009.


She was handed over to the RAN on 27 July 2018.

(meta data) TITLE: Australia's Second Air-Warfare Destroyer Handed Over to Department of Defense | The Diplomat

(meta data) AUTHOR: Franz-Stefan Gady, The Diplomat

Asia DefenseImage Credit: Air Warfare Destroyer (AWD) Alliance

# Australia's Second Air-Warfare Destroyer Handed Over to Department of Defense

Australia's second future air warfare destroyer was officially handed over to the Department of Defense on July 27.

By Franz-Stefan Gady for The DiplomatJuly 31, 2018

The Royal Australian Navy's (RAN) second air warfare destroyer, NUSHIP Brisbane (DDG 42), has been officially handed over to the Australian Department of Defense (DoD) in a ceremony attended by Minister for Defense Industry Christopher Pyne at the Osborne Naval Shipyard in Adelaide, South Australia on July 27.

The future HMAS Brisbane is the second of three 7,000-ton Hobart-class of guided-missile (air warfare) destroyers, based on the Navantia-designed Álvaro de Bazán-class frigate (aka F-100) currently in service with the Spanish Navy, to be handed over to the Australian DoD.

"By using a combination of Australian and globally proven technologies, these highly capable warships will contribute directly to our maritime security and allow us to work even closer with our allies," Pyne was quoted as saying in the July 27 statement.

Click here to subscribe for full access.

The new Hobart-class air-warfare destroyers are "multi-purpose weapons platforms that can be used for anti-surface and anti-submarine warfare operations, as well as gunfire support roles, next to the defending naval task forces from aircraft and missile attacks," I explained elsewhere.

The Hobart-class is the first class of RAN warships to be built around the Aegis combat system, an integrated naval weapons system consisting of advanced radar and computer technologies linked to various missile systems with the capability to attack and defend against land targets, submarines, and surface warships.

"Each ship will be equipped with the AN/SPY-1, an advanced, automatic detect and track, multi-function phased-array radar system, which will be paired with the MK 41 Vertical Launching System, capable of firing Raytheon's Standard Missiles (SM) of all variants as well as the RIM-162 Evolved Sea Sparrow Missile," I explained last year.

"The SPY-1 is the heart of the Aegis combat system."

The Hobart-class will also be one of the first classes of warships outside the U.S. Navy to operate the so-called cooperative engagement capability (CEC), a new wide-area integrated air defense system, which permits the real-time sharing of sensor data on air targets, including incoming enemy aircraft and cruise missiles, among CEC-equipped ships.

The Brisbane and the first-of-class HMAS Hobart successfully tested CEC earlier this year.

"Not only does [CEC] enable us, for the first time, to share targeting data in real time between ADF assets, it will also enable us to share it with United States assets, providing new levels of interoperability within a coalition force," Australian Minister of Defense Marise Payne said in a statement in April.

"Australia is the first international partner outside the United States to gain access to this cutting-edge technology, further demonstrating the strong alliance between our two countries."

The Japan Maritime Self Defense Force's new improved Atago-class of guided-missile destroyers is also expected to be fitted with CEC.

The Hobart-class will replace the Australian Navy's six Adelaide-class guided-missile frigates, three of which are currently still service.

The first-of-class air warfare destroyer HMAS Hobart was commissioned in September 2017.

In the coming months, NUSHIP Brisbane will sail from Adelaide to Sydney where she will be commissioned into service by the RAN in early fall.

The Brisbane's sister ship, the future HMAS Sydney, is expected to be delivered to the DoD in March 2020.

TopicsAsia Defense TagsAustralia ship-buildingHMAS BrisbaneHMAS HobartHMAS SydneyHobart-class destroyerNUSHIP BrisbaneRoyal Australian Navy

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In a highly publicized case, Milken was indicted by a grand jury on these charges.

(meta data) TITLE: 'JUNK BOND' LEADER IS INDICTED BY U.S. IN CRIMINAL ACTION - The New York Times

(meta data) AUTHOR: https://www.nytimes.com/by/stephen-labaton

(meta data) PUBLISHED DATETIME: 1989-03-30

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# 'JUNK BOND' LEADER IS INDICTED BY U.S. IN CRIMINAL ACTION

Mar 30, 1989ImageCreditCreditThe New York Times ArchivesSee the article in its original context from March 30, 1989, Section A, Page 1Buy

About the ArchiveThis is a digitized version of an article from The Times's print archive, before the start of online publication in 1996.

To preserve these articles as they originally appeared, The Times does not alter, edit or update them.

Occasionally the digitization process introduces transcription errors or other problems.

Please send reports of such problems to archive_feedback@nytimes.com.

In the largest criminal action against a Wall Street figure, a Federal grand jury today indicted Michael R. Milken, the Drexel Burnham Lambert Inc. executive who transformed corporate takeovers through the pioneering use of high-yield ''junk bonds.''

Prosecutors said they would seek an unprecedented financial penalty against individuals, totaling $1.8 billion in forfeitures from Mr. Milken and two other defendants for violations of the Federal racketeering law.

Mr. Milken said through a spokesman that he believed he would be vindicated.

And lawyers for Mr. Milken and his two co-defendants said they would plead not guilty.

The other defendants are Michael Milken's brother, Lowell, a senior Drexel executive, and Bruce L. Newberg, a former Drexel trader in the high-yield, high-risk bonds.

The Milkens will take a leave of absence from the firm.

Part of the most extensive criminal securities fraud inquiry ever undertaken by the Federal Government, the long-expected indictment is based in large part on information supplied by Ivan F. Boesky, the arbitrager who settled insider-trading charges and is now serving a prison term.

A conviction on even a single count could end Michael Milken's career.

Until he was implicated by Mr. Boesky in 1986, Mr. Milken, the son of a California accountant, controlled a vast network of junk-bond traders.

Within the last decade, that network revolutionized the securities industry and forever changed the face of Corporate America.

That revolution will endure, but Drexel must now prepare for life after Michael Milken.

Much of the indictment was the criminal counterpart of the civil charges filed by the Securities and Exchange Commission against Mr. Milken and Drexel in September.

Mr. Milken, 42 years old, built a junk-bond empire that brought him more than $1 billion from 1983 to 1987 and provided financing for hundreds of corporations and takeovers.

Along the way, prosecutors said, Mr. Milken cheated clients and stockholders, manipulated the marketplace and tricked a corporation into being taken over.

''The three-year investigation has uncovered substantial fraud in a very significant segment of the American financial community,'' said Benito Romano, Acting United States Attorney in Manhattan.

''A serious criminal problem has infected Wall Street.''

The continuing investigation, which began with charges of insider trading in corporate takeovers, has resulted in several record settlements and plea agreements by some of the nation's leading financial figures, including Mr. Boesky, and by large brokerage houses like Drexel and Kidder, Peabody & Company.

Listing 98 felony counts, today's indictment said that from 1984 to 1986 Mr. Milken violated laws on securities and mail fraud, insider trading, making false statements to the Government and racketeering.

The criminal racketeering charges represent the broadest use yet of that statute on Wall Street.

If the defendants are convicted on the racketeering charges alone, the Government can theoretically seek more than $11 billion in forfeitures and fines.

In addition, Mr. Milken faces a maximum prison sentence of 520 years.

Through a spokesman, Mr. Milken said, ''After almost two and a half years of leaks and distortions, I am now eager to present all the facts in an open and unbiased forum.''

The indictment, announced at a news conference this evening at the United States Attorney's office in lower Manhattan, does not assure that the case will wind up in trial.

There is still strong pressure on all sides to settle the dispute through a plea agreement, ending the enormous uncertainty facing any litigator who appears before a jury.

Most other recent insider trading cases have resulted in plea agreements.

In the case of Mr. Milken, efforts to settle have failed.

Nonetheless, it is clear that his lawyers would prefer to end the matter before a trial, in which his character and background could be even further sullied.

Prosecutors said they would not seek to freeze any of the defendants' assets but would meet today with defense lawyers to try to agree on the size of bond to be posted.

Mr. Romano said the case would be supervised by Federal Judge Kimba M. Wood, who has already been assigned to hear the expected guilty plea that will be entered by Drexel on six felony counts.

By raising enormous sums quickly in Beverly Hills, Calif., where Drexel's junk-bond operations are based, Mr. Milken fueled some of the nation's largest corporate takeovers.

In the process, he accumulated wealth beyond the dreams of even the most successful investment bankers on Wall Street.

According to the indictment, Mr. Milken received as compensation from Drexel $45 million in 1983, $123 million in 1984, $135 million in 1985, $294 million in 1986 and $550 million in 1987.

During those same years Lowell Milken, 40, made more than $100 million.

Michael Milken's earnings were more than most large corporations.

According to Forbes magazine's listing of the 500 largest publicly held companies, Mr. Milken's earnings in 1987 would place him 65th, just ahead of McDonald's.

At bottom, his successes were the result of foreseeing the enormous power that could be wielded by matching the salesmanship of his aggressive bond traders with the ambitions of corporate raiders.

Besides helping to raise tens of billions of dollars a year for corporations, Mr. Milken's traders and salesmen helped takeover entrepreneurs acquire businesses from companies reluctant to sell.

The junk bonds they sold were used to buy out the shareholders of these publicly owned companies, using the target's assets as collateral.

Recently, Drexel has been involved in helping to finance the record $24.88 billion takeover by Kohlberg, Kravis, Roberts & Company of RJR Nabisco Inc.

Its other big takeover clients have included Carl C. Icahn, Samuel J. Heyman and Saul Steinberg.

But today's indictment tells a dramatically different story.

It describes a symbiotic relationship between Mr. Milken and Mr. Boesky, who last week marked his first anniversary in a minimum-security prison in Lompoc, Calif.

Mr. Boesky is serving a three-year sentence for filing false information with the Securities and Exchange Commission.

After being implicated by Dennis B. Levine, a Drexel investment banker, in 1986, Mr. Boesky settled insider trading charges for $100 million and agreed to cooperate with Federal authorities.

Mr. Boesky tape-recorded numerous illicit transactions with top Wall Street figures and also became the Government's most important witness against Drexel and Mr. Milken.

During the 1980's, the investment house raised hundreds of millions of dollars and made substantial investments in several of Mr. Boesky's companies.

Former associates of Mr. Boesky said that if Mr. Milken recommended a course of action, Mr. Boesky would undertake it, regardless of what own advisers would say.

''Ivan was like an addict and his drug was capital,'' said a former employee of the fallen arbitrager.

''Milken seemed to be playing the role of the pusher.''

For helping Drexel and Mr. Milken break the law, Mr. Boesky paid the firm $5.3 million in March 1986, according to the Government.

Prosecutors said the payment was concealed as a bill for consulting services.

The payment is cited in the six felony counts to which Drexel said in December it would plead guilty.

Those deals were engineered by Mr. Milken.

As part of its settlement, the firm has agreed to pay $650 million to the Government and to investors who claim to have lost money from Drexel's fraudulent trading.

Mr. Milken has asserted his innocence of the civil charges.

While he will be leaving the firm now, Mr. Milken is still expected to continue a challenge to a provision of the Drexel plea agreement under which the firm is withholding his bonus from 1988, which is said to be substantially more than $100 million.

A version of this article appears in print on , Section A, Page 1 of the National edition with the headline: 'JUNK BOND' LEADER IS INDICTED BY U.S. IN CRIMINAL ACTION.

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Ivan Boesky was a Wall Street arbitrageur who had amassed a fortune of about $200 million by betting on corporate takeovers. He was investigated by the U.S. Securities and Exchange Commission (SEC) for making investments based on tips received from corporate insiders. These stock and options acquisitions were sometimes brazen, with massive purchases occurring only a few days before a corporation announced a takeover. Although insider trading of this kind was illegal, laws prohibiting it were rarely enforced until Boesky was prosecuted. Boesky cooperated with the SEC and informed on several others, including junk bond trader Michael Milken. Per agreement with Giuliani, Boesky received a .mw-parser-output .frac{white-space:nowrap}.mw-parser-output .frac .num,.mw-parser-output .frac .den{font-size:80%;line-height:0;vertical-align:super}.mw-parser-output .frac .den{vertical-align:sub}.mw-parser-output .sr-only{border:0;clip:rect(0,0,0,0);height:1px;margin:-1px;overflow:hidden;padding:0;position:absolute;width:1px}3+1⁄2-year prison sentence along with a $100 million fine. In 1989, Giuliani charged Milken under the RICO Act with 98 counts of racketeering and fraud.


The first "Matrix" film features numerous references to the "White Rabbit", the "Rabbit Hole" and mirrors, referring to Lewis Carroll's "Alice's Adventures in Wonderland" and "Through the Looking-Glass".

(meta data) TITLE: Popular Metaphysics - TIME

Bunch of guys at a Manhattan 'plex watching The Matrix.

Carrie-Anne Moss kicks some 'droid butt, makes a streetwide leap from one building top to the next, then crash lands through a small window.

"The bitch is bad," one of the guys opines.

Then Laurence Fishburne shows up as Morpheus--a morphing Orpheus, a black White Rabbit, an R.-and-B. Obi-Wan Kenobe, a big bad John the Baptist, a Gandalf who grooves; every wise guide from literature, religion, movies and comix.

Though he's in a dark room in the dead of night, and as if he needed to be more cool, Fishburne is wearing these teeny black shades.

Another guy at the 'plex says approvingly, "Those glasses are fabulous!"

To deliver a futurismo fashion statement and a can of whup-ass in the same movie--this is smart filmmaking.

Larry and Andy Wachowski, the Chicago-bred brothers who wrote and directed The Matrix, are smart in a way moviegoers love and Hollywood moguls cherish: the picture, shot in Australia for $63 million, had the year's strongest opening weekend and pulled in a robust $50.7 million in its first nine days.

The film's producer, Joel Silver, says the boys have a sequel in mind, and cannily adds, "The more success the movie has, the more willing they'll be to write it down."

Suddenly Larry, 33, and Andy, 31, are giving Peter and Bobby Farrelly (There's Something About Mary) competition as the hottest brother act in town.

But the Wachowskis, whose first directorial effort was the seductive femme-noir drama Bound, have deeper fish to fry.

"We're interested in mythology, theology and, to a certain extent, higher-level mathematics," says Larry.

"All are ways human beings try to answer bigger questions, as well as The Big Question.

If you're going to do epic stories, you should concern yourself with those issues.

People might not understand all the allusions in the movie, but they understand the important ideas.

We wanted to make people think, engage their minds a bit."

The film posits that life as we know it is a computer simulation: it is, Morpheus says, "the world that has been pulled over your eyes" by some creepezoid machines that look like spidery octopi.

Who can free a mankind that doesn't know it's enslaved?

Morpheus believes the cybermessiah is Neo (Keanu Reeves), a computer hacker.

Early in the film Morpheus offers two pills to Neo.

Take the blue one, you wake up and remember nothing.

Take the red pill, "you stay in Wonderland.

And I show you how deep the rabbit hole goes."

Naive viewers may think The Matrix is just a cool way to pass the time while sitting in the Phantom Menace waiting room.

They should think again, breathe deep, get strapped in for a brain-popping trip.

The Matrix is a careering cyberride without the headset, a virtual masterpiece.

Every other movie out there is the blue pill.

An anthology of dystopic science fiction, The Matrix plunders Blade Runner and The Terminator: bad machines, grungy rebels and rain, rain everywhere, even indoors.

It invokes the kung furiosity of prime Jackie Chan and the heroic bloodshed and long coats of John Woo movies; the Hollywood-Hong Konglomeration has never meshed so suavely as in this film's fight scenes and wire-work aerobatics.

Never seen the mega-imaginative, ultraviolent Japanese cartoons known as anime (Akira, Ghost in the Shell)?

The Wachowskis, both dropouts from good colleges (Larry from Bard, Andy from Emerson), want to weld classic lit, hallucinogenic imagery and a wild world of philosophical surmises to pop culture.

The Bible meets Batman; Lewis Carroll collides with William Gibson; Greek and geek mythology bump and run.

Hell, you may find string theory in The Matrix.

As the children of a businessman and a nurse, the boys created comic books, and the obsession continued into their 20s.

"Jack Kirby comics interested us," says Andy.

"We liked the idea of punching guys through brick walls and over-the-top action like that."

But they connected as well with older, more revered sources.

"The Bible seeks to answer a lot of relevant questions for man," says Larry.

"In the film we refer to the story of Nebuchadnezzar; he has a dream he can't remember but keeps searching for an answer.

Then there's the whole idea of a messiah.

It's not just a Judeo-Christian myth; it also plays into the search for the reincarnation of the Buddha."

The search--the quest--informs Greek myths ("We have Orpheus and Morpheus in the film," says Larry) as well as Alice's Adventures in Wonderland: "It's a story about consciousness," says Larry, "a child's perception of an adult's world.

The Matrix is about the birth and evolution of consciousness.

It starts off crazy, then things start to make sense."

It can also be read as a variant on Gibson's Neuromancer, the 1986 cyberpunk classic about a computer cowboy on the run.

"It'd be near impossible to make a movie out of that," says Larry.

"We knew the way to make it relevant was to turn what we view as the real world into a virtual reality."

(meta data) TITLE: ONLINE CHAT - Larry & Andy Wachowski

Starting in 1996, Alexa Internet has been donating their crawl data to the Internet Archive.

Flowing in every day, these data are added to the Wayback Machine after an embargo period.

this data is currently not publicly accessible.

The Wayback Machine - https://web.archive.org/web/20100213041503/http://whatisthematrix.warnerbros.com:80/cmp/larryandychat.html

The brothers sat down this past Saturday night for a bit of

a chat, one which tried something a little different.

a DVD-ROM player, were able to watch the movie along with the directors.

allowed Larry and Andy to comment on specific scenes while people asked their

Those without a DVD-ROM were, of course, also able to participate.

For this transcript, we've included a short description of what was being viewed

Their only misgiving was not having adequate

time in the chat environment to answer questions more fully.

We're going to set up a specific place here at the site where people can

This is a direct result of everyone involved asking

We'll have news of how we're going to set this up here and

information on the sequels, or even confirm their existence?

Well, we would be working on them right now

except we have to be here in the chat room, LOL.

didn't you both do the commentary on the DVD, time restraints?

Part one is that we believe that film is a collaborative media,

that's why we never take a film by credit.

create a film are important and interesting, and for people who want to understand

And the second part is, that we were too tired.

liked Ghost in the Shell and the Ninja Scroll and Akira.

do that we tried to bring to our film was a juxtaposition of time and space in

The Matrix which you weren't too happy with, wished you could have done differently?

But, we'll answer that in general we're fairly

blindrocket: Would you consider yourselves

DVD as a medium for your movies to go to the homes of the masses?

But like all technologies, it still needs to be developed

Faith in oneself first and foremost - or in something

Faith in one's self, how's that for an answer?

cut of the matrix with any deleted scenes or out takes?

nope! Because we were pretty happy with the way it turned out.

to have a great relationship together for the making of this movie.

comic books inspired the look of the Matrix?

from the comic book world on the actual design would be the art of Geof Darrow.

On DVD, Neo is talking to Morpheus via cell phone, climbing

out the window of the Meta Cortechs office.

This is actually Keanu Reeves getting out onto a ledge, without a stuntman.

does this entire scene without a stuntman, and it's 34 floors up.

hokeyboy: Were the filmmakers influenced

by Alex Proyas's similarly themed "Dark City"?

it was very strange that Australia came to have three films associated with it

that with it that were all about the nature of reality.

films examine the idea of an individual searching for their true self

while attempting to escape the box that we often make of our lives.

the time 9:18 and the date 9/18 signify?

For me it was Neo on his way to Morpheus the

about the pill scene, that's our favorite too.

Sealouse: Why was it filmed in Australia?

quite a few hidden messages in the movie that I notice the more I watch it.

Jackie Chan in Drunken Master II is fantastic..

Are they real animals or just computer-generated

got some of your ideas from the Vertigo comic The Invisibles?

Was it the same stuff they injected into Morpheus?

When Neo sees it, it's a hallucination, but it's the direct result of

Reflections in general are a significant theme

you suprised by the amount of internet life that The Matrix has spawned, fan sites

We are completely stupefied by the fan response to the film.

idea of the reflection, the two Neos in Morpheus' glasses, is that this represents

In the left lens, we see the blue pill and Thomas

Anderson, and in the right lens, we see the red pill and Neo.

virus that's meant to disrupt Neo's life signal so that they can pinpoint where

did you think about making this movie for the very first time?

of special inspiration given by any event, occasion or something like that?

We were working on another comic book, and a friend asked us if we had

We said no, and then we just started talking about

a couple of ideas that we had been working on in connection to cyberpunk fiction.

A whole idea sort of exploded, over a period of about three days.

pretty happy with the way this scene turned out.

this scene which included 6 hours every morning of prosthetic makeup.

to sit in a freezing cold vat of goo for another six hours.

the Don Davis score in this scene, that included his use of a boy soprano, which

Don had a great idea, to use a human voice choir in

scenes like the power plant and scenes on the Neb to sort of suggest the plight

Megazone 23 an inspiration for the Matrix?

and doctrine throughout this movie intentional, or not?

WachowskiBros: Most of it is intentional.

On DVD, on the Neb, Neo is being plugged in for the first time.

we tried to do with the Neb, when we were shooting "in the real world", was use

long lenses to separate the humans from the background; as opposed to when we

shot the Matrix, we used short lenses to place the humans in specific deep spaces.

We also tinted all of the lights blue in the "real world" and green in the Matrix.

on NEO's character? Were you/are you... hackers?

good enough to call ourselves hackers, like NEO.

On DVD, Morpheus shows Neo the desert of the real.

questions about the history that Morpheus suggests in this scene,

we have written the history in a fair amount of detail.

if we did an anime series, we would tell the story of this history and the story

Somebody asked us about the liquification of humans, that's

what they feed the people in the pods, the dead people are liquified and fed to

things work out the way we want them to, the video game will be released when

the next movie comes out and it will actually have something to do with the movie.

DrBasher: Who came up with the wardrobe,

because Trinity's outfits rocked? So did Morpheus' and Neo's.

the same composer and cinematographer (the great Bill Pope) did you find that

it was easier to think ahead about a visual or musical style for the film?

what anime you showed the producers to get this movie greenlit?

We had to draw the entire movie, and Keanu Reeves had to agree to do

rocked, was the script conceived knowing the special effects were available, or

were the special effects conceived to make the script possible?

effects had to be invented, mainly Bullet Time.

Wachowskis directing a "straight up" live action adaptation of an anime?

come up with the script, because it's great?

before we had even directed Bound, and worked on it up until the time of production.

would have such a huge hit on your hands?

a giant art house hit, in that it just kept going and going and people kept talking

and there was never a moment where people were like "it's huge".

days to shoot, and about four months of training...it's all Keanu.

running up the pillar and doing the full airborne 360.

the set everyday to settle every one of our arguments.

Morpheus and his crew are completely dependent upon technology and computers,

the very evils against which they are fighting?

WachowskiBros: That shot, where Morpheus jumps up out

of frame, we called "The Worst Camera Operator Shot in the World".

inspired by the phosphorous green of old PCs.

how important this scene is, because we are all staring at the woman in the red

There are actually twins and triplets that we hired in that scene.

all of the clothes are based on black and white costumes, like nuns, chefs, brides,

We had the idea that Mouse just doubled people instead of making originals.

But we couldn't afford to do it digitally, so we ended up hiring as many doubles,

or as many twins, as we could find in Sydney.

The digital artist that John Gaeta found

Cypher, at the beginning of this scene, is setting up an

automated system to allow him to go meet with Agent Smith.

about the sound design, which was terrific, such as the slo-mo bullet ripple effects,

He built all of these sound effects from all kinds of original sounds.

window panes to create the sound of the Matrix code.

was one of the best steaks we had in Sydney.

with any sci-fi scripts and do you have plans to do any?

WachowskiBros: Right now, we're focusing

do you guys hold to any religious beliefs?

members actually got sick eating this stuff during this scene.

But we hired a consultant DJ in LA named Jason Bentley,

a musical whiz kid, who had a lot of swell ideas.

the DeNiro to your Scorsese, the Divine to your John Waters?

against Joe Pantoliano for coming within a hundred feet of us.

biggysmalls: How many bluescreen/greenscreen

There's 450 digital effect shots, but green screen? Probably about 125.

There's something uniquely interesting about Buddhism and mathematics, particularly

about quantum physics, and where they meet

will develop a cult following in the decades to come?

It is an examination of what is,k and is not, certain.

I am very interested in knowing what type of computers and software you used to

at Manex wrote their programs with Softimage.

related to the mitochondrial matrix located in cells; the site of cell respiration,

there is alot of word play, a lot of hidden other meanings, alot of multiple meanings.

Besides that, we also like the definition, the mathematical definition of the

use of matrix, or the use of it in terms of a woman's womb.

cut out of the movie that explained the significance more.

being written above and beyond the movie, like Star Wars?

hold much stock in critics, you tend to make movies for first, yourselves, and

And the greatest thing about critics is that sometimes

behind the use of numbers that can be read both ways like 303 on the hotel door

there's a lot of number play in the movie as well.

On DVD, the escape from the Lafayette Hotel.

right here, the wet wall, is something like forty-eight feet high, and they are

actually really worming their way down with wires.

is in some way similar to "The Matrix", that there is a larger world outside of

WachowskiBros: That is a larger question

We think the most important sort of fiction attempts

One of the things that we had talked about

when we first had the idea of The Matrix was an idea that I believe philosophy

and religion and mathematics all try to answer.

a natural world and another world that is perceived by our intellect.

to those who say that the Matrix will probably be recognised as the first 21st

Then we'd have to point out the clerical error that

it's in the 20th Century, and not the 21st until 2001.

or other film practice that helped you direct?

but we did fiddle around with 16 mm film.

We liked the analog nature of older technology.

of old original phone hackers, it sort of suggested the big Rube Goldberg device

movie with a audience for the first time?

On DVD, Agent Smith tries to get Morpheus to give the access

translight ever constructed, and that is actual mercury in the hypodermic needle,

It was considered one of our most dangerous sets, because we had mercury,

it had to be poured into the hypodermic needle.

theme just whim, or do you guys have a big love of it?

Many of the themes we tried to echo in The Matrix.

Matrix is currently #30 in the IMDB top 250.

do you feel about being classified with other legendary films and filmmakers?

gadgets in this movie after it is done filming?

fragile they break as soon as you're done filming.

to jack in through hard-lines, but still able to communicate over cell?

Mostly we felt that the amount of information that was being sent into the Matrix

Those portals, we felt, were better described with

We also felt that the rebels tried to be

invisible when they hacked, that's why all the entrances and exits were sort of

through decrepit and low traffic areas of the Matrix.

the lead agent was worryingly convincing, did it take a long time to find him?

and that was one of the fortuitous things about going to Sydney, it led us to

that string theory might show up in the film, did it?

one, I have just now begun to understand string theory.

carefully, and all of them have multiple meanings.

the kind of budget you wanted for this film?

to be actually a giant piece of metal with newspaper glued to metal pages.

in the Matrix have some computer-based analogy...or did you just do some of it

and pack as much stuff as we can in when we do a movie.

do relates to the narrative, and some of the stuff we do because we like.

your damned dirty hands off, you stinkin' ape!".

his real self and Thomas Anderson who he is 'required' to be?

ideas have changed the way people will see movies in the future?

On DVD, Morpheus escapes from the Agents.

Time came about because we wanted to shoot an event at incredibly high speed which

means slow motion, but move the camera at regular speed, which is impossible.

The first theory for Bullet Time involved a rocket camera that was abandoned for

Then, John Gaeta suggested a digital solution.

It was incredibly cold, everyone was very sick, and it went ten days over schedule.

It was particularly brutal to the two actors.

with comic book companies to publish a monthly-type of comic based on the Matrix,

not just an adaptation, perhaps with Darrow illustrating it?

another series of stories on the website, Geof Darrow is going to illustrate a

couple more short stories written by Andy and I.

of continuing the story in comic book form when the movies are finished.

movies and style of shooting scenes of action?

first films that we went berserk over when we were kids.

on writing the story, and was there re-writing going on while filming?

Somebody asked us about the street names in the movie

They are all based on places in Chicago.

"Proof",so we flew Hugo into LA to meet, and he did a phenomenal reading...and

was willing to undergo the four months of training.

On DVD, the subway where Neo faces off with Agent Smith.

showdown shot, is an homage to Sergio Leone.

performance, the actors had great training.

We think all four of them went beyond our expectations.

WachowskiBros: Blade Runner was a benchmark science

only guys who liked that movie when we saw it, everyone else hated it.

On DVD, Neo and Agent Smith in full fight.

stunts in this sequence like THAT one! Both the Australian stunt team and the

Hong Kong stunt team worked very well together in this scene.

Do you find it a bit of an honour, or does it annoy you

a little, especially when the person may have it all wrong?

Because it's about what a person gets out of the movie, what

Vindicator: The whole idea of electronic

Did you guys consult any medical experts

He was the guy to show us our first autopsy.

On DVD, the Agents chasing Neo through a fruit market.

On the TV, when Neo goes by there's an episode of

movie right now, or am I in...The Matrix?

the camera man work on and where did you find him?

he did our first movie "Bound" and the masterpiece "Army of Darkness".

Of' book that's coming out later this year.

day, intelligent machines with AI will actually rule the world?

was ours, but the technical execution was by a company called Manex.

the Neb, "Mark 3, V.11" and quote it from the bible "Mark 3:11".

or is it just the make and model of the Neb and nothing more subliminal than that?

is indeed a biblical reference, from the book of Daniel.

was William Gibson in the production and design of this movie?

connections to myth and philsophy, Judeo-Christian, Egyptian, Arthurian, and Platonic,

Similarities to the 1985 anime film "Megazone 23" have also been noticed, but the Wachowskis claimed to have never seen it.
 Reviewers have commented on similarities between "The Matrix" and other late-1990s films such as "Strange Days", "Dark City", and "The Truman Show". The Wachowskis claimed no influence regarding "Dark City", but commented about it and "The Truman Show" that they thought it was "very strange that Australia came to have three films associated with it that were all about the nature of reality.".
 Comparisons have also been made to Grant Morrison's comic series "The Invisibles"; Morrison believes that the Wachowskis essentially plagiarized his work to create the film. The Wachowskis responded that they enjoy the comic but did not use it for inspiration.
 In addition, the similarity of the films' central concept to a device in the long-running series "Doctor Who" has also been noted. As in the film, the Matrix of that series (introduced in the 1976 serial "The Deadly Assassin") is a massive computer system which one enters using a device connecting to the head, allowing users to see representations of the real world and change its laws of physics; but if killed there, they will die in reality.


Hetherington was killed while covering the front lines in the besieged city of Misrata, Libya, during the 2011 Libyan civil war.

Band of brothers: The lives and deaths of war photographers - CBS News

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# Band of brothers: The lives and deaths of war photographers

In its own way, the South Bronx itself was a war zone back in the 1980s.

Shootings every day, just really bad violence," said Mike Kamber.

He'd taken all the money he'd saved shooting photographs for The New York Times in actual war zones, and bought a building in the South Bronx in 2010.

"I knew there was a need," he told Special Contributor Ted Koppel.

"I felt like we could make a difference."

Kamber and another photographer, Tim Hetherington with Magnum Photos, had this dream: a place where disadvantaged kids could learn about photojournalism.

"We've got about 60 students and they're all from immigrant families," Kamber said.

"Also a lot of West African families now: Mali, Ivory Coast, Burkina Faso."

Former New York Times photographer Mike Kamber teaches photojournalism students at the Bronx Documentary Center in New York City.

Kamber's friend Hetherington had spent years in West Africa, and did some of his most creative work there.

"He was in the midst of war, went on combat missions every day," Kamber said.

"He would do these incredible close-ups.

He would do these beautiful landscapes, photograph graffiti."

For more than a month, the Bronx Documentary Center has put on a special exhibit, featuring Hetherington's work in Liberia alongside that of another veteran photographer, Chris Hondros, who worked for Getty Images.

Kamber said of Hondros, "Chris was looking for the action.

Looking for really kind of visceral, powerful photos that would end up on the front pages of newspapers.

In 2011, they were both killed while on assignment in Libya.

A photographer for Getty Images, Chris Hondros covered war in Kosovo, Angola, Liberia, Afghanistan, Iraq, and the West Bank, among other conflict zones.

In the documentary "Hondros," Chris is heard explaining his calling, just months before his death: "The problem with war photography is that there's absolutely no way to do it from a distance.

They're something of a breed unto themselves, these combat photographers.

You can't do it from your hotel, you can't do it from across the street, across the bridge.

Often, what's "there" is chaos, absolute bedlam, as in the scene from "Hondros" when Chris took a phone call in the middle of an intense firefight in Liberia:

Let me give me a call back in about half an hour."

"The minute I heard that, I knew that we were gonna open the film with that; that was him in a nutshell.

He was cool and collected under fire," said Greg Campbell.

He and Hondros knew one another since high school.

Campbell directed the documentary "Hondros" as a tribute to his friend.

It's a state of mind – this ability to find and capture a moment of absolute clarity in the midst of total madness, such as the picture Hondros took in Liberia that put him on the map, of a fighter just moments after firing a rocket-propelled grenade on a contested bridge in Monrovia.

The photograph ended up on front pages all around the world.

Chis Hondros' photograph of a Liberian fighter.

Here's the part, though, that got no attention: After the war in Liberia ended, Hondros found that young fighter, Joseph Duo.

"At that point, I was just a 10th grade student," Duo said.

When Hondros learned that Duo wanted to go to school, he paid for his education.

"By the power of God and him, my life turned around and I reintegrated myself back in society," said Duo.

Tim Hetherington forged similar close ties to the people he photographed.

In the documentary "Which Way Is the Frontline From Here?" Hetherington said, "I think the thing for me is to connect with real people, you know, to document them in these extreme circumstances."

Essentially low-key, Hetherington still drew attention.

So, people just noticed him," said Sebastian Junger, himself a photographer, documentary-maker and author.

He recalled the first time he and Hetherington met at an airport: "I looked up, because I felt everyone at the gate looking up.

And they were all looking up because Tim was walking in."

Tim Hetherington and Sebastian Junger teamed up for the Academy Award-nominated documentary "Restrepo," about the war in Afghanistan.

Junger and Hetherington would spend the better part of a year in and out of Afghanistan – embedded with U.S. troops at a remote outpost.

The documentary the two men produced, "Restrepo," went on to be nominated for an Academy Award.

"If you have a video camera and there's combat, you know, it's very obvious what to shoot," said Junger.

"But when there's nothing going on, when it's a hot day and everyone was knocked out with the heat, Tim was creeping around taking everyone's photographs as they slept.

And I was like, 'Tim, man, what are you doing?'

What I'm photographing is what their mothers see when they think of their sons.'"

Tim Hetherington's photo of a sleeping soldier.

On April 20, 2011, Chris Hondros and Tim Hetherington were in Misrata, Libya, in the middle of yet another war.

Sebastian Junger had planned to be along on that assignment.

"At the last minute, I couldn't go," he told Koppel.

"Tim went on his own, and was hit with a fragment from an .81 mm mortar, the same mortar that killed Chris Hondros."

Their friends found a variety of ways to remember:

Greg Campbell got a tattoo of Chris Hondro's initials.

Greg Campbell with a tattoo of Chris Hondros' initials.

"I don't remember precisely, but it was in the weeks, I'm sure, after he was killed.

That whole period is a real kind of a blur in my memory," Campbell replied.

Sebastian Junger was haunted by the knowledge that his friend could have been saved: "So I started a program called RISC, Reporters Instructed in Saving Colleagues.

Its purpose is to train experienced freelance war reporters in life-saving first aid techniques, so that other journalists confronted with a situation like Tim's might know what to do."

Journalists in a first aid training session as part of the RISC program.

Reporters Instructed in Saving Colleagues

Several hundred freelance reporters, said Junger, have taken the program, which is free.

So, too, are the photography classes offered at the Bronx Documentary Center.

Founder Mike Kamber knows what he's teaching: "Journalism is not opinions.

We teach them that this was Tim's method, and that's made a huge impression on them."

That's also what filmmaker Greg Campbell believes.

"One of the things I've learned about the photojournalism community is that they're incredibly self-policing.

They value the truth and the honesty that a news photograph can and should deliver," he said.

Kamber told Koppel, "You never fake a photograph.

If we ever saw a photographer altering a scene in any way, they would never work again.

That was really the code, was it had to be done with complete integrity."

"And yet we live in an age of Photoshop," said Koppel.

"We live in an age where altering photographs, every 12-year-old kid can do that."

"No real documentary photographer alters a photograph.

It's completely against our ethics," Kamber said.

"It's against the very reason that we're out there on the frontlines risking our lives.

That exhibit of Hetherington and Hondros' photographs from Liberia opened to a packed house: Friends, members of the Bronx community, and the United Nations Deputy Secretary General, Amina Mohammed, who said, "We are here to celebrate the work of two of the finest human beings, the bravest photojournalists of our time."

Mike Kamber talks with U.N. Deputy Secretary General Amina Mohammed at the opening of the exhibition, "War and Peace in Liberia: Tim Hetherington and Chris Hondros," at the Bronx Documentary Center.

Giles Duley, my friend, lost both legs and an arm in Afghanistan.

These men and women went out and put their lives out there every day because it made a difference."

And that, Kamber believes, is a legacy worth passing on.

Bronx Documentary Center, Bronx, N.Y.Exhibition: "War and Peace in Liberia: Tim Hetherington and Chris Hondros," at the Bronx Documentary Center, Bronx, N.Y. (though January 13, 2019); an exhibition catalogue is availableChris Hondros Fund "Hondros" (Documentary), available via Netflix and iTunesTim Hetherington Trust "Restrepo" (Documentary)"Which Way Is the Front Line from Here? The Life and Time of Tim Hetherington" (Documentary)RISC Trainingsebastianjunger.comCommittee to Protect

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I was gobsmacked. At the end of October 2007, 70 percent of American bombs being dropped were in that valley, and the casualty rate was at 25 percent wounded. So the images I made were very action oriented. Photojournalism. Reminiscent of classical war photography. I did that because I wanted people to see that there was a lot of fighting going on. Anyway, I go back and the fighting sort of bored me. Because when you are in a lot of combat after a while, a lot of it – you know? If you are inside a base that's being attacked, like "Restrepo" was, you are in a fairly good position. The likelihood of you being killed was pretty low, unless they put a mortar on you.


Wolf is known for his small waist and big outer quad sweep.

(meta data) TITLE: Dennis Wolf IFBB Pro – The Big Bad Wolf of Bodybuilding

Dennis Wolf –also known as the big bad wolf- is an IFBB professional athlete that perfectly represents what an elite bodybuilder should be.

Before becoming a top Olympia contender, Dennis was nothing more than an aspiring bodybuilder with a dream to become the best in the world.

Born in Tokmak Russia, he moved to Germany in 1992 where he would soon become interested in the art of bodybuilding.

It didn't take long before he won his first major contest (NRW International Championships) as an amateur in the year 2000.

His amateur career was nothing short of amazing and it was soon concluded with his win at the 2005 IFBB World Championships, which earned him professional status.

His professional trajectory has spanned over twelve years and makes him one of the greatest modern bodybuilders ever.

At first glance, it appears like there isn't really much information online regarding Dennis Wolf's measurements.

This is due to the fact that he probably doesn't need to share his stats in order for people to get an idea of how large he really is.

When Dennis steps on stage, it's clear that he is one the biggest bodybuilders that the sport has ever seen.

He is famously known for his massive (detailed) legs and his tiny waist that's claimed to be less than thirty inches.

What's even more impressive is the way he carries all his mass.

His aesthetics and v-taper are truly impossible to match by any bodybuilder.

With that being said, here are the claimed measurements that we managed to find online.

His height and weight come straight from his website.

Off-Season Weight: 280lbs – 300lbs (127kg- 136kg)

As a professional athlete, it was clear that Dennis Wolf was destined for greatness.

It didn't take long before he won his first IFBB Pro show – the 2007 Keystone Pro Classic- which would qualify him for his second Mr. Olympia.

The 2007 Mr. Olympia proved to be widely controversial as Dennis ended up placing fifth in what could've been a historical finish for the young bodybuilder.

Although some people claimed that Victor Martinez should've won that contest (he placed second) – others believe that Dennis Wolf deserved the victory.

Dennis would continue to place within the top five at the Olympia six more times and would win a total of six professional shows.

His greatest professional accomplishments would be his win at the 2014 Arnold Classic and his third-place finish at the 2013 Mr. Olympia.

There's no better word to describe Dennis Wolf than champion.

He is arguably the embodiment of the ultimate bodybuilder.

His enormous size, tremendous lines, and perfect proportions are straight out of a superhero comic book.

What's even more impressive is the way that he carries such size.

His small waist, exaggerated v-taper, and full muscle bellies are unlike anything we've ever seen.

If we look past his monstrous physique, it's also easy to understand why he is one of bodybuilding's greatest ambassadors.

His charisma, personality, and work ethic have allowed him to promote bodybuilding in a positive light to millions of people.

There isn't a corner in the world in which bodybuilding fans don't know who Dennis Wolf is.

His humble demeanor sets him apart and makes him a true people's champion.

After an intense run at trying to take the Olympia title from the reigning champion (Phil Heath); Dennis Wolf sat out the 2016 Mr. Olympia.

His temporary retirement was due to an attempt to correct an injury that had seriously affected his ability to train at a hundred percent.

The Big Bad Wolf would undergo corrective surgery that would fix his spine after several fragments had apparently broken off.

The road to recovery would prove to be difficult but his positive attitude and his millions of supporters allowed him to make a successful comeback at the 2017 Arnold Classic.

After taking more than a year off to recover and training for only a few months; Dennis showed up to compete looking incredible.

Although his upper body was (understandably) downsized; his legs and conditioning were tremendous and reminded everyone why he's always been considered a serious threat.

Fans were extremely excited to see the bodybuilding legend make a successful return to the stage and it soon became clear that the Big Bad Wolf was back.

Needless to say that as soon as Dennis regains his upper body size, he will once again be a serious contender for the Olympia title.

## What Does the Future Hold for Dennis Wolf?

It's still far too early to say what the future holds for Dennis Wolf in the world of competitive bodybuilding.

If he manages to regain his lost size –which I think he can- he will definitely be fighting it out with the Olympia lineup before we know it.

With that being said, competitive bodybuilding is a very tough sport that takes a lot out of you.

You need a lot of work, dedication, and sacrifice to make it to the top and stay there.

Dennis is already at the top and continues to promote bodybuilding all over the world.

No matter what happens in the near future, Dennis will always be a positive figure that fans can look up to for inspiration – whether he's competing or not.

Dennis Wolf is one of the greatest bodybuilders of our time.

He dominated the amateur ranks, worked his way up the pro circuit, and eventually almost took the ultimate title home.

Some bodybuilding experts would go as far as saying that he's an uncrowned Mr. Olympia champion and I agree.

The Big Bad Wolf has defeated some of modern bodybuilding's greatest champions and earned the respect of millions of fans around the world.

No matter what the future holds for this great champion; it's safe to say that he will forever go down in history as a legend of the sport.

Disclaimer: We do not own any of the pictures used for this informative piece of content.

If you are the rightful owner and wish to have your image removed, please let us know through the contact form.

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In the United States, the generation was comparatively small because the financial insecurity of the 1930s and the war in the early 1940s caused people to have fewer children.

(meta data) TITLE: The Silent Generation, "The Lucky Few" (Part 3 of 7)

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# The Silent Generation, "The Lucky Few" (Part 3 of 7)

Opinions expressed by Forbes Contributors are their own.

This is part three of a seven-part series examining the rising (or falling) living standards of successive U.S. generations.

The Silent Generation (born 1925-42) today comprises roughly 20 million adults in their 70s and 80s.

Their age location in history sandwiches them awkwardly between two better-known generations: They were born just too late to be World War II heroes and just too early to be New Age firebrands.

In their personal lives, this age location has been a source of tension.

By the time the Silent were entering midlife, they spearheaded the divorce revolution and popularized (thanks, Gail Sheehy) the term "midlife crisis."

But in their economic lives, this age location has been very good to them—and given them a lifetime ride on the up-escalator coming off the American High.

The Silent started out as the children of crisis.

They grew up while older people were fighting wars and making great sacrifices on their behalf.

Childrearing in America, already more protective for the G.I.s, approached the point of suffocation.

When the Silent began coming of age after World War II, they tiptoed cautiously in a post-crisis social order that no one wanted to disturb.

Unlike the G.I.s, they rarely talked about "changing the system," but instead about "working within the system."

Because they didn't want anything to go on their "permanent records" and kept their heads down during the McCarthy era, Time gave them the label "Silent" in a famous 1951 essay.

They were also careful in the labor market.

Fortune's story on the "College Class of '49" was subtitled "Taking No Chances."

When they went to job interviews, their first questions were about pension plans.

They emulated their powerful G.I. elders by marrying and having babies incredibly young—in fact, younger on average than any other generation in American history.

Unlike the G.I.s, the Silent didn't have to wait for a depression or war to end.

A new "booming" economy was ready to join right out of school.

Demographer Richard Easterlin, in his 1980 book Birth and Fortune, called them the "Lucky" or "Fortunate" generation for their great timing.

Easterlin noted that a remarkable feature of the Sputnik era was how the typical young man could earn more by age 30 than the average wage for men of all ages in his profession—and could certainly live better than most "retired" elders.

He also noted that since the mid-1970s, the economic conditions facing young late-wave Boomers were becoming much tougher.

At the time, Easterlin hypothesized that the Silent—being small in number due to low birthrates during the 1930s and early '40s—benefited from labor markets that bid up their wages in an era when young adults were relatively scarce.

Later, as they retired, their small size (next to the large FICA-paying generation following them) has certainly helped make their pay-as-you-go Social Security and Medicare benefits seem more affordable.

Sociologist Elwood Carlson echoes Easterlin's thesis in his recent book, The Lucky Few: Between the Greatest Generation and the Baby Boom.

Yet the arrival of young-adult Gen Xers in the 1980s and '90s, who were also small in number but have fared miserably in the economy (a topic I'll explore in a later column), throws this explanation into doubt.

Numbers helped, but what helped the Silent even more was, again, their timing.

Taught to play by the rules, this generation discovered at every age—from the moment they married (at a median age of 21 in 1960) and purchased a house and car (soon thereafter)—that playing by the rules always worked well for them.

Real Median Family Income by Cohort: Silent Generation

As the Silent have aged, their perfect timing has not let them down.

Many of them locked in fixed 3% mortgages on their first homes in the 1960s just before inflation hit—giving them decades of negative real interest rates.

In the large corporations where so many of them worked, they signed up young for the defined-benefit pension plans their G.I. managers started—the same plans that are now unraveling for Boomers.

Their midlife high-savings decades roughly coincided, in 1980s and '90s, with perhaps the greatest bull market ever in both stocks and bonds.

And after riding this bull, the Silent retired and sold out just before the crash hit.

The last Silent cohort reached age 65 in 2007.

This is the only living generation that could half-believe, along with Woody Allen, that "80 percent of life is just showing up," a joke that makes most Xers simply shake their heads.

In terms of national leadership, the Silent—unlike the G.I.s—are not a powerful generation.

According to the late management guru Warren Bennis, they redefined leadership as more "maestro" than "macho."

They are the only generation in American history never to occupy the White House.

In Presidents, we jumped from George Bush Sr., the World War II veteran, to Baby Boomer Bill Clinton.

Yet they are without doubt the healthiest and most educated generation of elders that ever lived—and, of course, the wealthiest.

Coming of age fifty years ago, they quickly amassed more wealth than the seniors of that era.

(Back in the early 1960s, the elderly were poorer than young adults by most measures.)

In 2010, for the first time, the median net worth of households age 75+ ($228,400) is higher than that of any younger age bracket.

Astoundingly, it's over five times higher than the median net worth of households age 35 to 44 ($44,600).

Given their material good fortune, along with their instinct to help others in need, the Silent as elders have become economic anchors for America's new renaissance in multigenerational family living.

Many routinely pay for extended-family vacations or subsidize their grown Boomer or Xer kids.

Many have set up college trust funds for their grandkids—and indeed, a record share have assumed formal custody of them.

Most are worried about the economic challenges facing their families—and wonder why success has become so much harder for them.

Neil Howe is a historian, economist, and demographer, and a leading authority on generational trends.

He coined the term "Millennial Generation" and is the bestselling a...

It is unclear where the term originated, although it is widely accepted that the term "Silent Generation" comes from the focus on careers over activism. As young adults during the McCarthy Era, many members of the Silent Generation felt it was dangerous to speak out. "Time" magazine first used the term "Silent Generation" in a November 5, 1951 article titled "The Younger Generation", although the term appears to precede the publication. The name was originally applied to people in the United States and Canada but has been applied as well to those in Western Europe, Australia and South America. It includes most of those who fought during the Korean War.