document_title: Sex reassignment surgery (male-to-female)

question_text: when was the first gender reassignment surgery performed

text: History[edit]

text: Lili Elbe was the first known recipient of male-to-female sex reassignment surgery, in Germany in 1930. She was the subject of five surgeries: one of penectomy and orchiectomy, one intended to transplant ovaries, two to remove the ovaries after transplant rejection, and vaginoplasty. However, she died three months after her fifth operation.

text: Christine Jørgensen was likely the most famous recipient of sex reassignment surgery, having her surgery done in Denmark in late 1952 and being outed right afterwards. She was a strong advocate for the rights of transgender people.

text: Another famous person to undergo male-to-female sex reassignment surgery was Renée Richards. She transitioned and had surgery in the mid-1970s, and successfully fought to have transgender people recognized in their new sex.

text: The first male-to-female surgeries in the United States took place in 1966 at the Johns Hopkins University Medical Center.[1] The first physician to perform sex reassignment surgery in the United States was the late Elmer Belt, who did so until the late 1960s.[citation needed]

text: Genital surgery[edit]

text: When changing anatomical sex from male to female, the testicles are removed, and the skin of foreskin and penis is usually inverted, as a flap preserving blood and nerve supplies (a technique pioneered by Sir Harold Gillies in 1951), to form a fully sensitive vagina (vaginoplasty). A clitoris fully supplied with nerve endings (innervated) can be formed from part of the glans of the penis. If the patient has been circumcised (removal of the foreskin), or if the surgeon's technique uses more skin in the formation of the labia minora, the pubic hair follicles are removed from some of the scrotal tissue, which is then incorporated by the surgeon within the vagina. Other scrotal tissue forms the labia majora.

text: In extreme cases of shortage of skin, or when a vaginoplasty has failed, a vaginal lining can be created from skin grafts from the thighs or hips, or a section of colon may be grafted in (colovaginoplasty).

text: Surgeon's requirements, procedures, and recommendations vary enormously in the days before and after, and the months following, these procedures.

text: Plastic surgery, since it involves skin, is never an exact procedure, and cosmetic refining to the outer vulva is sometimes required. Some surgeons prefer to do most of the crafting of the outer vulva as a second surgery, when other tissues, blood and nerve supplies have recovered from the first surgery. This relatively minor surgery, which is usually performed only under local anaesthetic, is called labiaplasty.

text: The aesthetic, sensational, and functional results of vaginoplasty vary greatly. Surgeons vary considerably in their techniques and skills, patients' skin varies in elasticity and healing ability (which is affected by age, nutrition, physical activity and smoking), any previous surgery in the area can impact results, and surgery can be complicated by problems such as infections, blood loss, or nerve damage.

text: Supporters of colovaginoplasty state that this method is better than use of skin grafts for the reason that colon is already mucosal, whereas skin is not. Lubrication is needed when having sex and occasional douching is advised so that bacteria do not start to grow and give off odors.

text: Because the human body treats the new vagina as a wound, any current technique of vaginoplasty requires some long-term maintenance of volume (vaginal dilation)[citation needed], by the patient, using medical graduated dilators, dildos, or suitable substitutes, to keep the vagina open. Sexual intercourse is not an adequate method of performing dilation[citation needed].

text: Regular application of estrogen into the vagina[citation needed] , for which there are several standard products, may help, but this must be calculated into total estrogen dose. Some surgeons have techniques to ensure continued depth, but extended periods without dilation will still often result in reduced diameter (vaginal stenosis) to some degree, which would require stretching again, either gradually, or, in extreme cases, under anaesthetic.

text: With current procedures, trans women do not have ovaries or uteri. This means that they are unable to bear children or menstruate until a uterus transplant is performed, and that they will need to remain on hormone therapy after their surgery to maintain female hormonal status.

text: Other related procedures[edit]

text: Facial feminization surgery[edit]

text: Occasionally these basic procedures are complemented further with feminizing cosmetic surgeries or procedures that modify bone or cartilage structures, typically in the jaw, brow, forehead, nose and cheek areas. These are known as facial feminization surgery or FFS.

text: Breast augmentation[edit]

text: Breast augmentation is the enlargement of the breasts. Some trans women choose to undergo this procedure if hormone therapy does not yield satisfactory results. Usually, typical growth for trans women is one to two cup sizes below closely related females such as the mother or sisters. Estrogen is responsible for fat distribution to the breasts, hips and buttocks, while progesterone is responsible for developing the actual milk glands. Progesterone also rounds out the breast to an adult Tanner stage-5 shape and matures and darkens the areola.[citation needed]

text: Voice feminization surgery[edit]

text: Some MTF individuals may elect to have voice surgery, altering the range or pitch of the person's vocal cords. However, this procedure carries the risk of impairing a trans woman's voice forever, as happened to transsexual economist and author Deirdre McCloskey. Because estrogens by themselves are not able to alter a person's voice range or pitch, some people proceed to seek treatment. Other options are available to people wishing to speak in a less masculine tone. Voice feminization lessons are available to train trans women to practice feminization of their speech.

text: Tracheal shave[edit]

text: Tracheal shave is also sometimes used to reduce the cartilage in the area of the throat to conform to more feminine dimensions, to greatly reduce the appearance of an Adam's apple.

text: Buttock augmentation[edit]

text: Because anatomically masculine hips and buttocks are generally smaller than those that are anatomically feminine, some MTF individuals will choose to undergo buttock augmentation. If, however, efficient hormone therapy is conducted before the patient is past puberty, the pelvis will broaden slightly, and even if the patient is past their teen years, a layer of subcutaneous fat will be distributed over the body rounding contours. Trans women usually end up with a waist to hip ratio of around 0.8, and if estrogen is administered at a young enough age "before the bone plates close",[citation needed] some trans women may achieve a waist to hip ratio of 0.7 or lower.[citation needed] The pubescent pelvis will broaden under estrogen therapy even if the skeleton is anatomically masculine.


document_title: Chitty Chitty Bang Bang

question_text: who did barbara windsor play in chitty chitty bang bang

root

text: Chitty Chitty Bang Bang

text: Plot[edit]

text: The story opens with a montage of European Grand Prix races in which one particular car appears to win every race it runs in from 1907 through 1908. However, in its final 1909 race, the car crashes and catches fire, ending its racing career. The car eventually ends up in an old garage in rural England, where two children, Jeremy and Jemima Potts, have grown fond of it. However, a man in the junkyard intends to buy the car from the garage owner, Mr. Coggins, for scrap. The children, who live with their father Caractacus Potts, an eccentric inventor, and the family's equally peculiar grandfather, implore their father to buy the car, but Caractacus cannot afford it. While playing truant from school, they meet Truly Scrumptious, a beautiful upper-class woman with her own motor car, who brings them home to report their truancy to their father. After she leaves, Caractacus promises the children that he will save the car, but is taken aback at the cost he has committed himself to. He looks for ways to raise money to avoid letting them down.

tag: p

text: Later that evening, Potts discovers that the sweets produced by a machine he has invented can be played like a flute. He tries to sell the "Toot Sweets" to Truly's father, Lord Scrumptious, a major confectionery manufacturer. He is almost successful until the whistle attracts a pack of dogs who overrun the factory, resulting in Caractacus's proposition being rejected.

text: Caractacus next takes his automatic hair-cutting machine to a carnival to raise money, but his invention accidentally ruins the hair of a customer. Potts eludes the man by joining a song-and-dance act. He becomes the centre of the show and earns enough in tips to buy the car and rebuild it. They name the car "Chitty Chitty Bang Bang" for the unusual noise of its engine. In the first trip in the car, Caractacus, the children, and Truly picnic on the beach. Caractacus tells them a tale about nasty Baron Bomburst, the tyrant of fictional Vulgaria, who wants to steal Chitty Chitty Bang Bang.

text: As Potts tells his story, the quartet and the car are stranded by high tide and are attacked by pirates working for the Baron. All of a sudden, Chitty deploys huge flotation devices and transforms into a power boat, and they escape Bomburst's yacht and return to shore. The Baron sends two spies to capture the car, but they capture Lord Scrumptious, then Grandpa Potts, mistaking each for the car's creator. Caractacus, Truly, and the children see Grandpa being taken away by airship, and they give chase. When they accidentally drive off a cliff, Chitty sprouts wings and propellers and begins to fly. They follow the airship to Vulgaria and find a land without children; the Baroness Bomburst abhors them and imprisons any she finds. Grandpa has been ordered by the Baron to make another floating car, and he bluffs his abilities to avoid being executed. The Potts' party is hidden by the local Toymaker, who now works only for the childish Baron. Chitty is discovered and taken to the castle. While Caractacus and the toymaker search for Grandpa and Truly searches for food, the children are caught by the Baroness’ Child Catcher.

text: The Toymaker takes Truly and Caractacus to a grotto beneath the castle where the townspeople have been hiding their children. They concoct a scheme to free the children and the village from the Baron. The Toymaker sneaks them into the castle disguised as life-size dolls for the Baron's birthday. Caractacus snares the Baron, and the children swarm into the banquet hall, overcoming the Baron's palace guards and guests. In the ensuing chaos, the Baron, Baroness, and the evil Child Catcher are captured. The Potts family and Truly fly back to England. When they arrive home, Lord Scrumptious surprises Caractacus with an offer to buy the Toot Sweet as a canine confection. Caractacus, realising that he will be rich, rushes to tell Truly the news. They kiss, and Truly agrees to marry him. As they drive home, he acknowledges the importance of pragmatism, as the car takes off into the air again.

text: Cast[edit]

text: The cast includes:[5]

text:
Dick Van Dyke as Caractacus Potts
Sally Ann Howes as Truly Scrumptious
Adrian Hall as Jeremy Potts
Heather Ripley as Jemima Potts
Lionel Jeffries as Grandpa Bungie Potts
Gert Fröbe as Baron Bomburst
Anna Quayle as Baroness Bomburst
Benny Hill as the Toymaker
James Robertson Justice as Lord Scrumptious
Robert Helpmann as the Child Catcher
Barbara Windsor as Blonde
Davy Kaye as Admiral
Stanley Unwin as the Chancellor
Peter Arne as the Captain of Bomburst's Army
Desmond Llewelyn as Mr. Coggins
Victor Maddern as Junkman
Arthur Mullard as Big Man
Max Wall as Inventor
Gerald Campion as Minister
Max Bacon as Orchestra Leader
Alexander Doré as First Spy
Bernard Spear as Second Spy
Richard Wattis as Secretary at Sweet Factory  (uncredited)
Phil Collins as Vulgarian Child (scene cut)

tag: ul

text: The part of Truly Scrumptious had originally been offered to Julie Andrews, to reunite her with Van Dyke after their success in Mary Poppins. Andrews rejected the role specifically because she considered that the part was too close to the Poppins mould.[6] Instead, Sally Ann Howes was given the role. Dick Van Dyke was cast after he turned down the role of Fagin from another 1968 musical Oliver! (which ended up going to Ron Moody).

text: Production[edit]

text: Hughes said he did not enjoy making the film. "We took too long to make it," he said. "I sweated over it for about a year and really it was a only a children's film. I think such a thing should be made quickly and with enthusiasm. My enthusiasm ran out long before the end."[7]

text: The Caractacus Potts inventions in the film were created by Rowland Emett; by 1976, Time magazine, describing Emett's work, said no term other than "Fantasticator...could remotely convey the diverse genius of the perky, pink-cheeked Englishman whose pixilations, in cartoon, watercolor and clanking 3-D reality, range from the celebrated Far Tottering and Oyster Creek Railway to the demented thingamabobs that made the 1968 movie Chitty Chitty Bang Bang a minuscule classic."[8]

text: Six Chitty-Chitty Bang-Bang cars were created for the film, only one of which was fully functional. At a 1973 auction in Florida, one of them sold for $37,000, equal to $203,972 today.[9] The original "hero" car, in a condition described as fully functional and road-going, was offered at auction on 15 May 2011 by a California-based auction house.[10] The car sold for $805,000, less than the $1–2 million it was expected to reach.[11] It was purchased by New Zealand film director Sir Peter Jackson.[12]

text: Locations[edit]

text:
Feature in film
Location of filming

Scrumptious Sweet Co. factory (exterior)
Kempton Waterworks, Snakey Lane, Hanworth, Greater London, England.[13] This location now includes a steam museum open to the public.

Scrumptious Mansion
Heatherden Hall at Pinewood Studios in Iver Heath, Buckinghamshire, England[13]

Windmill/Cottage
Cobstone Windmill in Ibstone, near Turville, Buckinghamshire, England[13]

Duck Pond
Russell's Water, Oxfordshire, England[13]

Train scene
The Longmoor Military Railway, Hampshire, England

Beach
Cap Taillat, St. Tropez, France

River bridge where spies attempt to blow up Chitty
Iver Bridge, Iver, Buckinghamshire, England

Railway bridge where spies kidnap Lord Scrumptious
Ilmer Bridge, Ilmer, Buckinghamshire, England

White rock spires in the ocean and lighthouse
The Needles stacks, Isle of Wight, England

White cliffs
Beachy Head, East Sussex, England

Baron Bomburst's castle
Neuschwanstein Castle for the exterior.Bavaria, Germany

Vulgarian village
Rothenburg ob der Tauber, Bavaria, Germany

tag: table

text: Reception[edit]

text: Box office[edit]

text: The film was the tenth most popular at the US box office in 1969.[14]

text: Critical[edit]

text: Time began its review by saying the film is a "picture for the ages—the ages between five and twelve" and ended noting that "At a time when violence and sex are the dual sellers at the box office, Chitty Chitty Bang Bang looks better than it is simply because it's not not all all bad bad"; the film's "eleven songs have all the rich melodic variety of an automobile horn. Persistent syncopation and some breathless choreography partly redeem it, but most of the film's sporadic success is due to Director Ken Hughes's fantasy scenes, which make up in imagination what they lack in technical facility."[15]

text: The New York Times critic Renata Adler wrote, "in spite of the dreadful title, Chitty Chitty Bang Bang ... is a fast, dense, friendly children's musical, with something of the joys of singing together on a team bus on the way to a game"; Adler called the screenplay "remarkably good" and the film's "preoccupation with sweets and machinery seems ideal for children"; she ends her review on the same note as Time: "There is nothing coy, or stodgy or too frightening about the film; and this year, when it has seemed highly doubtful that children ought to go to the movies at all, Chitty Chitty Bang Bang sees to it that none of the audience's terrific eagerness to have a good time is betrayed or lost."[16]

text: Film critic Roger Ebert reviewed the film, writing: "Chitty Chitty Bang Bang contains about the best two-hour children's movie you could hope for, with a marvelous magical auto and lots of adventure and a nutty old grandpa and a mean Baron and some funny dances and a couple of [scary] moments."[17]

text: In 2008 film critic and historian Leonard Maltin considered the picture "one big Edsel, with totally forgettable score and some of the shoddiest special effects ever."[18] In 2013, Entertainment Weekly named Helpmann's depiction of the Child Catcher the 32nd of the "50 Most Vile Movie Villains."[19]

text: As of  5 July 2018[update], the film has a 67% approval rating on Rotten Tomatoes, based on 27 reviews with an average rating of 5.6/10.[20]

text: Accolades[edit]

text: The film was nominated for the American Film Institute's 2006 AFI's Greatest Movie Musicals list.[21]

text: Soundtrack[edit]

text: The original soundtrack album, as was typical of soundtrack albums, presented mostly songs with very few instrumental tracks. The songs were also edited, with specially recorded intros and outros and most instrumental portions removed, both because of time limitations of the vinyl LP and the belief that listeners would not be interested in listening to long instrumental dance portions during the songs.

text: The soundtrack has been released on CD four times, the first two releases using the original LP masters rather than going back to the original music masters to compile a more complete soundtrack album with underscoring and complete versions of songs. The 1997 Rykodisc release included several quick bits of dialogue from the film between some of the tracks and has gone out of circulation. On 24 February 2004, a few short months after MGM released the movie on a 2-Disc Special Edition DVD, Varèse Sarabande reissued a newly remastered soundtrack album without the dialogue tracks, restoring it to its original 1968 LP format.

text: In 2011, Kritzerland released the definitive soundtrack album, a 2-CD set featuring the Original Soundtrack Album plus bonus tracks, music from the Song and Picture Book Album on disc 1, and the Richard Sherman Demos, as well as six Playback Tracks (including a long version of international covers of the theme song). Inexplicably, this release was limited to only 1,000 units.[22]

text: In April 2013, Perseverance Records re-released the Kritzerland double CD set with expansive new liner notes by John Trujillo and a completely new designed booklet by Perseverance regular James Wingrove.

text: Home video releases[edit]

text: This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (November 2010) (Learn how and when to remove this template message)

text: Chitty Chitty Bang Bang was released numerous times in the VHS format. In 1998 the film saw its first DVD release. The year 2003 brought a two-disc "Special Edition" release. On 2 November 2010, 20th Century Fox released a two-disc Blu-ray and DVD combination set featuring the extras from the 2003 release as well as new features. The 1993 LaserDisc release by MGM/UA Home Video was the first home video release with the proper 2.20:1 Super Panavision 70 aspect ratio.

text: Adaptations[edit]

text: Novelisation of film[edit]

text: The film did not follow Fleming's novel closely. A separate novelisation of the film was published at the time of the film's release. It basically followed the film's story but with some differences of tone and emphasis, e.g. it mentioned that Caractacus Potts had had difficulty coping after the death of his wife, and it made it clearer that the sequences including Baron Bomburst were extended fantasy sequences. It was written by John Burke.[23]

text: Comic book adaption[edit]

text: Gold Key: Chitty Chitty Bang Bang. Gold Key Comics. February 1969. [24]


document_title: Uniform Commercial Code

question_text: how many articles are in the uniform commercial code

text: Uniform Commercial Code

text: Goals[edit]

text: The goal of harmonizing state law is important because of the prevalence of commercial transactions that extend beyond one state. For example, goods may be manufactured in State A, warehoused in State B, sold from State C and delivered in State D. The UCC therefore achieved the goal of substantial uniformity in commercial laws and, at the same time, allowed the states the flexibility to meet local circumstances by modifying the UCC's text as enacted in each state. The UCC deals primarily with transactions involving personal property (movable property), not real property (immovable property).

text: Other goals of the UCC were to modernize contract law and to allow for exceptions from the common law in contracts between merchants.

text: History[edit]

text: The UCC is the longest and most elaborate of the uniform acts. The Code has been a long-term, joint project of the National Conference of Commissioners on Uniform State Laws (NCCUSL) and the American Law Institute (ALI),[1] who began drafting its first version in 1942. Judge Herbert F. Goodrich was the Chairman of the Editorial Board of the original 1952 edition,[2] and the Code itself was drafted by some of the top legal scholars in the United States, including Karl N. Llewellyn, William A. Schnader, Soia Mentschikoff, and Grant Gilmore.

text: The Code, as the product of private organizations, is not itself the law, but only a recommendation of the laws that should be adopted in the states. Once enacted by a state, the UCC is codified into the state’s code of statutes. A state may adopt the UCC verbatim as written by ALI and NCCUSL, or a state may adopt the UCC with specific changes. Unless such changes are minor, they can seriously obstruct the Code's express objective of promoting uniformity of law among the various states. Thus persons doing business in different states must check local law.

text: The ALI and NCCUSL have established a permanent editorial board for the Code. This board has issued a number of official comments and other published papers. Although these commentaries do not have the force of law, courts interpreting the Code often cite them as persuasive authority in determining the effect of one or more provisions. Courts interpreting the Code generally seek to harmonize their interpretations with those of other states that have adopted the same or a similar provision.

text: In one or another of its several revisions, the UCC has been fully enacted[3] with only minimal changes in 49 states, as well as in the District of Columbia, Guam,[4] the Northern Mariana Islands,[5] and the U.S. Virgin Islands. In addition, both Louisiana and Puerto Rico have enacted most provisions of the UCC with only minimal changes, except Articles 2 and 2A, preferring instead to maintain their own civil law tradition for governing the sale and lease of goods.[6][7] Also, some Native American tribes have adopted portions of the UCC, including the Navajo Nation that adopted Articles 1, 2, 3, and 9 with only minimal changes.[8]

text: Although the substantive content is largely similar, some states have made structural modifications to conform to local customs. For example, Louisiana jurisprudence refers to the major subdivisions of the UCC as “chapters” instead of articles, since the term “articles” is used in that state to refer to provisions of the Louisiana Civil Code. Arkansas has a similar arrangement as the term “article” in that state's law generally refers to a subdivision of the Arkansas Constitution. In California, they are titled "divisions" instead of articles, because in California, articles are a third- or fourth-level subdivision of a code, while divisions or parts are always the first-level subdivision. Also, California does not allow the use of hyphens in section numbers because they are reserved for referring to ranges of sections; therefore, the hyphens used in the official UCC section numbers are dropped in the California implementation.

text: UCC Articles[edit]

text: The 1952 Uniform Commercial Code was released after ten years of development, and revisions were made to the Code from 1952 to 1999.[1] The Uniform Commercial Code deals with the following subjects under consecutively numbered Articles:

text:
ART.
TITLE
CONTENTS

1
General Provisions
Definitions, rules of interpretation

2
Sales
Sales of goods

2A
Leases
Leases of goods

3
Negotiable Instruments
Promissory notes and drafts (commercial paper)

4
Bank Deposits and Collections
Banks and banking, check collection process

4A
Funds Transfers
Transfers of money between banks

5
Letters of Credit
Transactions involving letters of credit

6
Bulk Transfers and Bulk Sales
Auctions and liquidations of assets

7
Warehouse Receipts, Bills of Lading and Other Documents of Title
Storage and bailment of goods

8
Investment Securities
Securities and financial assets

9
Secured Transactions
Transactions secured by security interests

text: In 2003, amendments to Article 2 modernizing many aspects (as well as changes to Article 2A and Article 7) were proposed by the NCCUSL and the ALI. Because no states adopted the amendments and, due to industry opposition, none were likely to, in 2011 the sponsors withdrew the amendments. As a result, the official text of the UCC now corresponds to the law that most states have enacted.

text: In 1989, the National Conference of Commissioners on Uniform State Laws recommended that Article 6 of the UCC, dealing with bulk sales, be repealed as obsolete. Approximately 45 states have done so. Two others have followed the alternative recommendation of revising Article 6.[citation needed]

text: A major revision of Article 9, dealing primarily with transactions in which personal property is used as security for a loan or extension of credit, was enacted in all states. The revision had a uniform effective date of July 1, 2001 although in a few states it went into effect shortly after that date.[9] In 2010, NCCUSL and the ALI proposed modest amendments to Article 9. Several states have already enacted these amendments, which have a uniform effective date of July 1, 2013.[citation needed]

text: The controversy surrounding with what is now termed the Uniform Computer Information Transactions Act (UCITA) originated in the process of revising Article 2 of the UCC. The provisions of what is now UCITA were originally meant to be "Article 2B" within a revised Article 2 on Sales. As the UCC is the only uniform law that is a joint project of NCCUSL and the ALI, both associations must agree to any revision of the UCC (i.e., the model act; revisions to the law of a particular state only require enactment in that state). The proposed final draft of Article 2B met with controversy within the ALI, and as a consequence the ALI did not grant its assent. The NCCUSL responded by renaming Article 2B and promulgating it as the UCITA. As of October 12, 2004, only Maryland and Virginia have adopted UCITA.

text: The overriding philosophy of the Uniform Commercial Code is to allow people to make the contracts they want, but to fill in any missing provisions where the agreements they make are silent. The law also seeks to impose uniformity and streamlining of routine transactions like the processing of checks, notes, and other routine commercial paper. The law frequently distinguishes between merchants, who customarily deal in a commodity and are presumed to know well the business they are in, and consumers, who are not.

text: The UCC also seeks to discourage the use of legal formalities in making business contracts, in order to allow business to move forward without the intervention of lawyers or the preparation of elaborate documents. This last point is perhaps the most questionable part of its underlying philosophy; many[who?] in the legal profession have argued that legal formalities discourage litigation by requiring some kind of ritual that provides a clear dividing line that tells people when they have made a final deal over which they could be sued.

text: Article 2[edit]

text: Article 2 deals with sales, and Article 2A deals with leases.

text: Contract formation[edit]

text:
Firm offers (offers by USAUS Inc to buy or sell goods and promising to keep the offer open for a period of time) are valid without consideration if signed by the offeror, and are irrevocable for the time stated on the Purchase Order(but no longer than 3 months), or, if no time is stated, for a reasonable time.[10]
Offer to buy goods for “prompt shipment” invites acceptance by either prompt shipment or a prompt promise to ship. Therefore, this offer is not strictly unilateral. However, this “acceptance by performance” does not even have to be by conforming goods, (for example, incomplete sets).[11]
Consideration—modifications without consideration may be acceptable in a contract for the sale of goods.[12]
Failure to state price—In a contract for the sale of goods, the failure to state a price will not prevent the formation of a contract if the parties' original intent was to form a contract. A reasonable price will be determined by the court.[10]
Assignments—a requirements contract can be assigned, provided the quantity required by the assignee is not unreasonably disproportionate to original quantity.[13]

text: Contract repudiation and breach[edit]

text:
Nonconforming goods—If non-conforming goods are sent with a note of accommodation, such tender is construed as a counteroffer, and if accepted, forms a new contract and binds buyer at previous contract price. If seller refuses to conform and buyer does not accept, the buyer must return all non conforming goods at sellers expense within thirty days of receipt.
Perfect tender—The buyer however does have a right of “perfect tender” and can accept all, reject all, or accept conforming goods and reject the rest; within a reasonable time after delivery but before acceptance, he must notify the seller of the rejection. If the buyer does not give a specific reason (defect), he cannot rely on the reason later, in legal proceedings. (akin to the cure before cover rationale). Also, the contract is not breached per se if the seller delivered the non-conforming goods, however offensive, before the date of performance has hit.
“Reasonable time/good faith”, four weeks minimum lead time, standard—Such standard is required from a party to a contract indefinite as to time, or made indefinite by waiver of original provisions.
Requirements/Output contracts—The UCC provides protection against disproportionate demands, but must meet the “good faith” requirement.
Reasonable grounds for insecurity—In a situation with a threat of non-performance, the other part may suspend its own performance and demand assurances in writing. If assurance not provided “within a reasonable time not exceeding 30 days,” the contract is repudiated.[14]
Battle of forms—New terms will be incorporated into the agreement unless:

text: Look at what the item is to determine whether the new terms “materially alter” the original offer. (delay in delivery of nails not the same as for fish).

text:
Battle of forms—A written confirmation of an offer sent within a reasonable time operates as an acceptance even though it states terms additional terms to or different from those offered, unless acceptance is expressly made conditional to the additions.
Statute of frauds as applicable to the sale of goods—The actual contract does not need to be in writing. Just some note or memo must be in writing and signed. However, the UCC exception to the signature requirement is where written confirmation is received and not objected to within 10 days.[15]
Cure/cover—Buyer must give seller time to cure the defective shipment before seeking cover
FOB place of business—The seller assumes risk of loss until goods are placed on a carrier. FOB destination: seller risks loss until shipment arrives at destination. If the contract leaves out the delivery place, it is the seller’s place of business.
Risk of loss—Equitable conversion does not apply. In sale of specific goods, the risk of loss lies with the seller until tender. Generally, the seller bears risk of loss until the buyer takes physical possession of the goods (the opposite of realty)
Reclamation—Successful reclamation of goods excludes all other remedies with respect to the goods.[16] A seller can reclaim goods upon demand within 20 days after buyer receives them if the seller discovers that the buyer received the goods while insolvent.
Rightfully rejected goods—A merchant buyer may follow reasonable instructions of the seller to reject the goods. If no such instructions are given, the buyer make a reasonable effort to sell them, and the buyer/bailee entitled to 10% of the gross proceeds.
Implied warranty of fitness—Implied warranty of fitness arises when the seller knows the buyer is relying upon the seller's expertise in choosing goods. Implied warranty of merchantability: every sale of goods fit for ordinary purposes. Express warranties: arise from any statement of fact of promise.
UCC damages for repudiating/breaching seller—Difference between 1) the market price when the buyer learned of breach and the 2) contract price 3) plus incidental damages. An aggrieved seller simply suing for the contract price is economically inefficient.[17]
Specially manufactured goods—Specially manufactured goods are exempt from statute of frauds where manufacturer has made a “substantial beginning” or “commitments for the procurement” of supplies.

text: Section 2-207: Battle of the forms[edit]

text: One of the most confusing and fiercely litigated sections of the UCC is Section 2-207,[18] which Professor Grant Gilmore called "arguably the greatest statutory mess of all time."[19] It governs a "battle of the forms" as to whose boilerplate terms, those of the offeror or the offeree, will survive a commercial transaction where multiple forms with varying terms are exchanged. This problem frequently arises when parties to a commercial transaction exchange routine documents like requests for proposals, invoices, purchase orders, and order confirmations, all of which may contain conflicting boilerplate provisions.

text: The first step in the analysis is to determine whether the UCC or the common law governs the transaction. If the UCC governs, courts will usually try to find which form constitutes the offer. Next, offeree's acceptance forms bearing the different terms is examined. One should note whether the acceptance is expressly conditional on its own terms. If it is expressly conditional, it is a counteroffer, not an acceptance. If performance is accepted after the counteroffer, even without express acceptance, under 2-207(3), a contract will exist under only those terms on which the parties agree, together with UCC gap-fillers.

text: If the acceptance form does not expressly limit acceptance to its own terms, and both parties are merchants, offeror's acceptance of offeree's performance, though offeree's forms contain additional or different terms, forms a contract. At this point, if offeree's terms cannot coexist with offeror's terms, both terms are "knocked out" and UCC gap-fillers step in. If offeree's terms are simply additional, they will be considered part of the contract unless (a) the offeror expressly limits acceptance to the terms of the original offer, (b) the new terms materially alter the original offer or (c) notification of objection to the new terms has already been given or is given within a reasonable time after they are promulgated by the offeree.

text: Because of the massive confusion engendered by Section 2-207, a revised version was promulgated in 2003, but the revision has never been enacted by any state.

text: Article 8[edit]

text: The ownership of securities is governed by Article 8 of the Uniform Commercial Code (UCC). This Article 8, a text of about thirty pages,[20] underwent important recasting in 1994. That update of the UCC treats the majority of the transfers of dematerialized securities as mere reflections of their respective initial issue registered by the two American central securities depositories, respectively the Depository Trust Company (DTC) for the securities issued by corporations and the Federal reserve for the securities issued by the Treasury Department. In this centralised system, the title transfer of the securities does not take place at the time of the registration on the account of the investor, but within the systems managed by the DTC or by the Federal reserve.

text: This centralization is not accompanied by a centralized register of the investors/owners of the securities, such as the systems established in Sweden and in Finland (so-called "transparent systems"). Neither the DTC nor the Federal Reserve hold an individual register of the transfers of property. The consequence for an investor is that proving ownership of its securities relies entirely on the accurate replication of the transfer recorded by the DTC and FED at the lower tiers of the holding chain of the securities.

text: Each one of these links is composed respectively of an account provider (or intermediary) and of an account holder.

text: The rights created through these links, are purely contractual claims: these rights are of two kinds:

text: 1) For the links where the account holder is itself an account provider at a lower tier, the right on the security during the time where it is credited there is characterized as a "securities entitlement", which is an "ad hoc" concept invented in 1994: i.e. designating a claim that will enable the account holder to take part to a prorate distribution in the event of bankruptcy of its account provider.

text: 2) For the last link of the chain, in which the account holder is at the same time the final investor, its "security entitlement" is enriched by the "substantial" rights defined by the issuer: the right to receive dividends or interests and, possibly, the right to take part in the general meetings, when that was laid down in the account agreement concluded with the account provider. The combination of these reduced material rights and of these variable substantial rights is characterised by article 8 of the UCC as a "beneficial interest".

text: This decomposition of the rights organized by Article 8 of the UCC results in preventing the investor to revindicate the security in case of bankruptcy of the account provider, that is to say the possibility to claim the security as its own asset, without being obliged to share it at its prorate value with the other creditors of the account provider. As a consequence, it also prevents the investor from asserting its securities at the upper level of the holding chain, either up to the DTC or up to a sub-custodian. Such a "security entitlement," unlike a normal ownership right, is no longer enforceable "erga omnes" to any person supposed to have the security in its custody. The "security entitlement" is a mere relative right, therefore a contractual right.

text: This re-characterization of the proprietary right into a simple contractual right may enable the account provider, to "re-use" the security without having to ask for the authorization of the investor. This is especially possible within the framework of temporary operations such as security lending, option to repurchase, buy to sell back or repurchase agreement. This system the distinction between the downward holding chain which traces the way in which the security was subscribed by the investor and the horizontal and ascending chains which trace the way in which the security has been transferred or sub-deposited.[21]

text: Contrary to claims suggesting that Article 8 denies American investors their security rights held through intermediaries such as banks, Article 8 has also helped US negotiators during the negotiations of the Geneva Securities Convention, also known as the Unidroit convention on substantive rules for intermediated securities.

text: Article 9[edit]

text: Article 9 governs security interests in personal property as collateral to secure a debt. A creditor with a security interest is called a secured party.

text: Fundamental concepts under Article 9 include how a security interest is created (called attachment); how to give notice of a security interest to the public, which makes the security interest enforceable against others who may claim an interest in the collateral (called perfection); when multiple claims to the same collateral exist, determining which interests prevail over others (called priority); and what remedies a secured party has if the debtor defaults in payment or performance of the secured obligation.

text: Article 9 does not govern security interests in real property, except fixtures to real property. Security interests in real property include mortgages, deeds of trusts, and installment land contracts. There may be significant legal issues around security interests in Bitcoin.[22]

text: The Model Tribal Secured Transactions Act (MTSTA), a model act tailored to provide Native American tribes with a legal system to govern secured transactions in Indian country, was derived from the UCC, primarily Article 9.

text: International influence[edit]

text: Certain portions of the UCC have been highly influential outside of the United States. Article 2 had some influence on the drafting of the United Nations Convention on Contracts for the International Sale of Goods (CISG), though the end result departed from the UCC in many respects (such as refusing to adopt the mailbox rule). Article 5, governing letters of credit, has been influential in international trade finance simply because so many major financial institutions operate in New York. Article 9, which established a unified framework for security interests in personal property, directly inspired the enactment of Personal Property Security Acts in every Canadian province and territory but Quebec from 1990 onward, followed by the New Zealand Personal Property Securities Act 1999 and then the Australia Personal Property Securities Act 2009.


document_title: Abraj Al Bait

question_text: when was the makkah royal clock tower hotel built

text: Abraj Al Bait

text: Description[edit]

text: The tallest tower in the complex is the tallest building in Saudi Arabia, with a height of 581.1 metres (1,906 feet). Currently it is the fifth-tallest freestanding structure in the world, surpassing the Ping An Finance Centre in Shenzhen, China but shorter than the Burj Khalifa in Dubai, UAE, the Tokyo Skytree in Tokyo, Japan, the Shanghai Tower in Shanghai, China, and the Canton Tower in Guangzhou, China.

text: The site of the complex is located across the piazza to the south from the main entrance (King Abdul-Aziz Gate) to the Masjid al Haram mosque, which houses the Kaaba. To accommodate worshippers visiting the Kaaba, the Abraj Al-Bait Towers has two large prayer rooms (one for men, one for women) capable of holding more than 10,000 people. The tallest tower in the complex also contains a five-star hotel, operated by Fairmont Hotels and Resorts, to help provide lodging for the millions of pilgrims that travel to Mecca annually to participate in the Hajj.

text: In addition, the Abraj Al-Bait Towers has a five-story shopping mall (the Abraj Al Bait Mall) and a parking garage capable of holding over a thousand vehicles. The project uses clock faces for each side of the main hotel tower. The highest residential (penthouse) floor stands at 370 m (1,210 ft), just below the media displays under the clock faces. These are with 43 m × 43 m (141 ft × 141 ft) the largest in the world. The roof of the clocks is 450 m (1,480 ft) above the ground, making them the world's most elevated architectural clocks. A 151-metre-tall (495 ft) spire has been added on top of the clock giving it a total height of 601 m (1,972 ft). Behind the clock faces there is an Astronomy Exhibition situated. In the spire base and the glass covered floors (The Jewel) there is a scientific center which is used to sight the moon in the beginnings of the Islamic Months and to operate an atomic clock which is steering the tower clocks.[8]

text: The building was planned to be 734 m (2,408 ft) tall in 2006. In 2009, it was published that the final height would be 601 m (1,972 ft). The complex was built by the Saudi Binladin Group, Saudi Arabia's largest construction company. The tallest building in the complex (from a height of 450 m (1,480 ft) up until the tip) was designed by the German architect Mahmoud Bodo Rasch and his firm SL Rasch GmbH.[9] The façade was constructed by Premiere Composite Technologies, the clock by German tower clock manufacturer PERROT GmbH & Co. KG Turmuhren und Läuteanlagen.[10] According to the Saudi Ministry of Religious Endowments, the project cost US$15 billion.[11]

text: List of component towers[edit]

text:
Tower
Height
Floors
Completion
Tenants

Makkah Royal Clock Tower
601 m (1,972 ft)[12]
120[13]
2012[3]
Fairmont Makkah Clock Royal Tower Hotel

Hajar
279 m (915 ft)
58
2012
Mövenpick Hotel & Residences Hajar Tower Makkah

ZamZam
279 m (915 ft)
58
2012
Pullman ZamZam Makkah

Safa
220 m (720 ft)
46
2007
Raffles Makkah Palace

Marwah
220 m (720 ft)
46
2008[14]
Al Marwa Rayhaan by Rotana - Makkah

Al Maqam
232 m (761 ft)
61[15]
2012
Swissôtel al Maqam Makkah

Qibla
232 m (761 ft)
61[16]
2012
Swissôtel Makkah

text: Features[edit]

text:
Top-left:
Metropolitan Life Insurance Company Tower

Bottom-left:
Allen-Bradley Clock Tower (previous record holder)

Middle:
Abraj Al Bait

Top-right:
Palace of Westminster clock tower

Bottom-right:
Kremlin Clock

text: The building is topped by a four-faced clock, visible from 25 kilometres (16 miles) away. The clock is the highest in the world at over 400 m (1,300 ft) above the ground. The clock faces are the largest in the world, surpassing the Cevahir Mall clock in Istanbul.

text: Each of the clock's four faces measures 43 m (141 ft) in diameter and are illuminated by 2 million LED lights, with four oriented edges, just above the clock alongside huge Arabic script reading: "God is [the] greatest" on the north and south faces and on the west and east "There is no god but God. Muhammad is the messenger of God.". Four golden domes on pillars on all the corners are also present. Another 21,000 white and green coloured lights, the same as the Saudi Flag, fitted at the top of the clock, flash to signal Islam's five-time daily prayers, and are visible as far as 30 km (19 mi) away. On special occasions such as new year, 16 bands of vertical lights shoot 10 km (6.2 mi) up into the sky. The clock's four faces are covered with 98 million pieces of glass mosaics. The Saudi coat of arms is displayed at the centre of each clock behind the dials. The minute hand is 23 m (75 ft) long, while the hour hand is 17 m (56 ft) long.

text: A (non public) viewing deck is located 558 m (1,831 ft) above the ground, right under the crescent. There is also a public viewing deck at the base of the clocks at 393 metres' height.

text: There were rumours[17][18] that the clock would be set to local Mecca Time, in an attempt to replace the IERS reference meridian (successor of the former Greenwich meridian) as the prime meridian for global time keeping, but the clock is set to Arabia Standard Time (UTC+03:00).

text: Spire[edit]

text: The clocks are topped by a 128-metre (420 ft) spire with a 23-metre-high (75 ft) golden crescent at the top. The spire has an eight-story glass-covered base (The Jewel) which belongs to a scientific center having its own small exhibition, another observation deck at 475 m (1,558 ft) and a prayer floor in 480 m (1,570 ft). The highest floor in The Jewel is the Control Tower Floor, which was planned to be used for controlling air traffic in the sky above Makkah (mainly helicopters for air planes are not allowed near Makkah). But this was skipped for technical reasons and the future usage is not clear yet. Above from The Jewel the spire has only technical installations for sound, light and other infrastructure and eventually the last viewing deck and the crescent above it. The crescent has two regular floors with living areas and a few service floors and rooms.

text: The crescent was constructed in Dubai by Premier Composite Technologies in April 2011. The crescent is made of fibreglass-backed mosaic gold, and it weighs up to 35 tonnes. Peugeot Joseph, the company official, said a team of five engineers and a hundred workers carried out the project, which cost 90 million United Arab Emirates dirhams and took three months to build.

text: The company has also constructed the Mecca Clock. The crescent was divided into 10 parts to move it to Mecca.[19] The crescent was partly assembled on the base of the clock face to reduce it to 5 parts. Those five parts were then lifted and installed above the spire from 20 June to 6 July 2011.

text: The minaret and its base have massive loudspeakers which emit prayer calls to a distance of 7 km while nearly 21,000 lamps illuminate the surrounding area to a distance of 30 km (19 mi). During occasions like Muslim Eids and new Hijri years, a 16-beam light illuminates an area of a diameter of around 10 km (6 mi) while 21,000 lamps beam white and green lights to a distance of 30 km (19 mi). The light beams are intended to allow deaf persons or Muslims in far areas to know prayer timings in the western parts of Mecca and nearby cities.[20] Yet, despite the claimed need for illumination and awareness of prayer timings in discrete areas and portions around and in Mecca, there are well over 200 existing old mosques in the city; most are frequently attended and therefore well equipped with Muadhins to call the prayer.[21][22]

text: Floor plans (clock tower)[edit]

text: The following is a breakdown of floors in the clock tower.[12]

text:
Floors
Use

VD[23]
Viewing Deck

CTP
Control Tower Platform

CT
Control Tower

S8
Service Area

P
Prayer Room and mezzanine

LG
Lunar Gallery

LC
Lunar Committee

LR
Lunar Research Offices

LE
Lunar Exhibition

LLM
Lunar Library

LL
Lunar Lobby and Makkah Time Centre

S7
Service Area

A2–A4[24]
Makkah Astronomy Exhibition

A1[25]
Makkah Astronomy Exhibition, Observation Deck

S6
Service Area

PH
Penthouse

R1–R5
Royal Floors

S5–S5M
Service Area

31–53
Emaar Residences

30–30M
Emaar Residences (Duplex)

S3
Service Area

29
Restaurants

28–28G
Fairmont Gold Lounge

1–27
Hotel Guest Rooms

S2M
Service Area

S2
Prayer Room

M4
Emaar Residences Lobby

M3
Restaurants

M2
Hotel Lobby

M1
Health Club

PLM
Meeting Rooms

PL
Ballrooms

L11–L12
Retail Shops, Hospital

L5–L10
Studios, Prayer Rooms

S1
Service Area

L1–L4
Mall

GL
Haram Level, Mall

B1
Retail Shops

B2
Bus Station, Tunnel

text: Incidents[edit]

text: Construction fires[edit]

text: The Abraj-Al-Bait complex had two fire incidents during construction. The first fire accident was at Hajar Tower on 28 October 2008. It took 400 firefighters to put out the fire, which burned for 10 hours, consuming nine floors of the tower.[26] According to eyewitness reports, the blaze erupted shortly after midnight, and spread rapidly because of wood used for construction stored in the premises. Soon, the entire building was engulfed in smoke. Hospitals were put on high alert, but no injuries were reported. A civil defence spokesman said the fire started on the 32nd floor of the Hajar Tower.[27]

text: The second fire struck the Safa Tower on 1 May 2009. No deaths or injuries were reported in the blaze which was quickly contained by Civil Defence. Eyewitnesses said the fire broke out soon after Asr prayer while some workers in the building were welding iron rods on wooden scaffoldings. The fire damaged a large part of the under-construction tower. According to Major General Adel Zamzami, director general of Civil Defence in the Mecca province, the fire broke out at the 14th floor and reached up to the 20th.[26]

text: Controversy[edit]

text: The construction engendered some controversy as the location chosen for the towers was the historic 18th-century Ottoman Ajyad Fortress, which was demolished to make way for them.[28] The development has also been criticised for having "transformed a type of architecture that evolved from a dense urban grain of low-rise courtyards and narrow streets into ... an endlessly repeatable pattern for the decoration of standardised [concrete] slab(s)".[29]


document_title: (Ghost) Riders in the Sky: A Cowboy Legend

question_text: when did frankie laine record ghost riders in the sky

text: Overview[edit]

text: The song tells a folk tale of a cowboy who has a vision of red-eyed, steel-hooved cattle thundering across the sky, being chased by the spirits of damned cowboys. One warns him that if he does not change his ways, he will be doomed to join them, forever "trying to catch the Devil's herd across these endless skies". Jones stated he had been told the story when he was 12 years old by an old cowboy friend.[1]

text: More than 50 performers have recorded versions of the song. Charting versions were recorded by The Outlaws, Vaughn Monroe ("Riders in the Sky" with orchestra and vocal quartet), which topped the Billboard magazine charts, by Bing Crosby (with the Ken Darby Singers), Frankie Laine, Burl Ives (two different versions), Marty Robbins, The Ramrods and Johnny Cash. Other recordings were made by Eddy Arnold, Peggy Lee (with the Jud Conlon Singers), Christopher Lee, and Spike Jones and his City Slickers. Gene Autry sang it in the 1949 movie, Riders in the Sky. Jones himself recorded it for his 1957 album Creakin' Leather.[4] Children of Bodom, Impaled Nazarene and Die Apokalyptischen Reiter have also made covers.

text: The melody is based on the song "When Johnny Comes Marching Home."[5]

text: Recordings[edit]

text: The original version by Stan Jones was recorded in late 1948.  Fellow songwriter Eden Ahbez sent the song to Burl Ives, who recorded his own version a year later.

text:
Burl Ives recorded the song on February 17, 1949, and the song was released by Columbia Records as catalog No. 38445. The recording first appeared on the Billboard charts on April 22, 1949, lasting six weeks and peaking at No. 21.[6]
The version by Vaughn Monroe and His Orchestra with Vaughn Monroe and The Moon Men on vocals, was recorded on March 14, 1949, and released by RCA Victor Records as catalog No. 20-3411 (in USA) and by EMI on the His Master's Voice label as catalog No. BD 1247, HN 3014, HQ 2071, IM 1425 and GY 878. The recording first appeared on the Billboard charts on April 15, 1949, lasting 22 weeks and reaching No. 1.[6] Billboard ranked it as the No. 1 song for 1949.[7]
The Bing Crosby version was recorded on March 22, 1949,[8] and released by Decca Records as catalog No. 24618. The recording first appeared on the Billboard charts on May 6, 1949, lasting 6 weeks and peaking at No. 14.[6]
The Peggy Lee version was recorded on April 18, 1949, and released by Capitol Records as catalog No. 57-608. It reached No. 2 on Billboard's Most Played By Disc Jockeys listing without appearing in the retail Top 30.
Spike Jones recorded the song on May 24, 1949, and it was released by RCA Victor Records as catalog No. 20-3741. Copies of the original release, containing lyrics ridiculing RCA stockholder Vaughn Monroe, are rare. The recording parodies the original Monroe recording, injecting much of Jones' quintessential humor along the way.
Gene Autry recorded the song for Columbia Records on August 16, 1949, which issued as Columbia 20635, backed with "Cowboy's Trademarks" (recorded August 27, 1940), and sang it in his 1949 film Riders in the Sky  released through Columbia Pictures.

text:
Opening track of Scatman Crothers' 1956 album, Rock 'n' roll with Scat Man.
Theodore Bikel sang a humorous version of the song in his An Actor's Holiday album (1956).

text:
The song was recorded by the Norman Luboff Choir and released on their 1960 album, Songs of the Cowboy.
Lawrence Welk and His Orchestra released an instrumental version in 1961, featuring Neil Levang on guitar, which spent 3 weeks on the Billboard Hot 100 chart, reaching No. 87.[9]
Curtis Lance (Dick Jensen) and the Uniques recorded an instrumental version in 1961.[10]
The Brothers Four recorded a driven, up-tempo version. with edited lyrics and truncated to three stanzas, for their third LP, B.M.O.C.: Best Music On/Off Campus for Columbia Records in 1961.
The Sons of the Pioneers included the song on their album Cool Water put out by RCA Records in 1961 under the name "Riders in the Sky".
A twangy guitar instrumental version by The Ramrods — featuring the sounds of mooing cattle, bronco cheers, and sound of cracking whips — was recorded in late 1960 and it made the Billboard Top 30 in 1961, as well as the UK Top 10. This was covered by UK band The Scorpions (not the German rock band) on the "Parlophone" Label.
The Ventures made a surf rock cover of the song in 1961. A live performance of the tune, featuring surf rock band The Original Surfaris appeared in the 1962 compilation album titled Surf's Up! At Banzai Pipeline. The performance incorporates the riff from the Jørgen Ingmann hit, "Apache".
Bob James, recording as The Bob James Trio, included it as the last track on his very first album Bold Conceptions released in 1962.
The Spotnicks, a Swedish instrumental rock band, covered this song on their 1962 album, The Spotnicks in London, Out-a space.
Frankie Laine recorded the song on his 1963 album, Wanderlust.
Frank Ifield recorded the song for his 1963 UK album, Born Free (Columbia 33SX 1534).[11]
Dick Dale recorded a surf-rock version for his second album, King of the Surf Guitar, released in 1963.
Californian singer Peter Tevis recorded a version with orchestral and choral arrangements by Ennio Morricone for the 1965 album, Un pugno di...West.
Baja Marimba Band recorded this song on the album, Watch Out, in 1966.
Tom Jones recorded this song opening the album, Green, Green Grass of Home, in 1967.
Takeshi Terauchi & Bunnys recorded an instrumental version of this song on their 1967 album, The World Is Waiting For Terry.
Davie Allan and the Arrows recorded two versions, one on the 1967 Blues' Theme album (Tower Records) and the other on the 2008 Moving Right Along album (Spinout Records).
Jimmy Wakely, a cowboy singer, recorded the song on Shasta Records.
Burl Ives made a second version of this song for his 1969 album Got the World by the Tail.

text:
Elvis Presley recorded it in June 1970 at MGM's soundstage in Culver City, California.
Susan Christie released a version on her 1970 album, Paint a Lady.
Roy Clark recorded an instrumental version for his 1973 album Roy Clark/Superpicker, an album of all instrumentals. The song reached No. 27 on the Hot Country Singles chart that year.
Former REO Speedwagon guitarist Gary Richrath quoted the melody of the song during his unaccompanied guitar solo on the band's 1977 live album, Live: You Get What You Play For.
Riders in the Sky recorded this song for their debut album, Three on the Trail, in 1979 and on several of subsequent albums.
Johnny Cash made a recording of the song in 1979 for his album, Silver, which was faithful to the original, and peaked at No.2 on the Billboard Hot Country Singles & Tracks chart. Johnny Cash also performs the song in his guest appearance on The Muppet Show in 1980.

text:
Country singer and rodeo cowboy Chris LeDoux recorded a version of the song for his 1980 album Old Cowboy Heroes. LeDoux's version swaps the placements of "yippie yi yay" and "yippie yi oh", and refers to the cowboy instead as a "cowpoke".
A version by The Shadows reached No. 12 on the UK Singles Chart in 1980. This version was a semitone higher than the original.
Australian band, the Fabulaires from Adelaide did a cover version on their Apocalypso 12" E.P. circa 1980.
Rock band Outlaws made a recording on their 1980 album Ghost Riders that left out the last verse. They also released a live version of the song, recorded in 1982 at the King Biscuit Flower Hour radio show, which appeared on Greatest Hits of The Outlaws... High Tides Forever.
Dean "Red Elvis" Reed recorded the song on the album Country in 1982 in East Germany and Czechoslovakia.[12][13]
A Sesame Street version titled "The Dirtiest Town In The West" with altered lyrics first aired in 1982.
Vic Damone recorded a version on his 1982 album Over The Rainbow.
Psychobilly band King Kurt released a version in 1983 on their album Ooh Wallah Wallah.
The Danish cowpunk band Disneyland After Dark (later just D-A-D) recorded the song "Riding With Sue" in 1986 for their album Call of the Wild where the riffs from the melody were used in an intermezzo.

text:
The Chaps released a Scottish parody version called "Rawhide" in 1982.
Peter, Paul & Mary recorded a parody of the song titled "Yuppies in the Sky" on their 1990 album Flowers and Stones.
Terry Scott Taylor and Daniel Amos recorded a version in 1990 that appeared on The Miracle Faith Telethon compilation album.
Impaled Nazarene recorded a black metal version of the song, which was released on the Sadogoat EP in 1993. It was subsequently included in the CD version of their bonus album, Tol Cormpt Norz Norz Norz.
The Alberta Celtic rock group Captain Tractor recorded an unusual version for their 1994 album Land. New lyrics describe the frenzy of corruption in a prairie town at the climax of a real estate bubble. Rather than fire-and-brimstone Christian imagery, the warning takes the form of vaguely Zen lamentations: "The winds still blow/The rains still fall/The trees don't seem to care at all!"
Buckethead played a dub style version of the song during his Giant Robot album tour in 1994.
Dick Dale once again covered the song for his 1994 album, Unknown Territory. For a time, this version accompanied a NASA montage as part of the preshow video on Space Mountain at Disneyland and Magic Kingdom.
Duane Eddy brought his electrified "twangy guitar" sound along with a sax edition by Jim Horn to a 1996 version on an Curb Album Ghost Rider.[14]
On the 1997 album, VH1 Storytellers, the song was recorded live with Johnny Cash and Willie Nelson. In that performance, Willie Nelson misses the start of the third verse because he forgets the text, and ends up switching the third and fourth verses.
Deborah Harry, lead singer of Blondie, recorded a trance version of the song, which features on the soundtrack to the film Three Businessmen (1998). The song (produced and arranged by Dan Wool and Pray for Rain) is available free on her website.[15]
Christopher Lee recorded a version of this song on the album Devils, Rogues & Other Villains, released by Nikolas Schreck in 1998 on his Wolfslair label.
The Blues Brothers performed the song in the 1998 movie Blues Brothers 2000. This version appeared on both the movie's soundtrack and the compilation album The Blues Brothers' Greatest Hits of All Time. Similar to the "Rawhide" scene in the first movie, the band is mistakenly booked at a bluegrass festival (announced to the crowd as "The Bluegrass Brothers").  Buster Blues' (J. Evan Bonifant) harmonica parts for the film were recorded by John Popper of Blues Traveler.
In 1999, Ned Sublette included a merengue rendition on his album, Cowboy Rumba.

text:
The German "Western Metal" band Dezperadoz (featuring a member of Sodom) covered the song on their 2000 album, The Dawn Of Dying.
Dolan Ellis, Arizona's Official State Balladeer since 1966, included this as the only cover on his CD, Tall Tales, Lost Trails & Heroes, released in 2000. He has sung the song throughout the nation and in 20 foreign countries, solo and as a member of the New Christy Minstrels, always telling the folk tale of Stan Jones, the Cochise County cowboy.
The Texas band, Ghoultown, recorded a version of this song on their album Tales from the Dead West (2000).
Concrete Blonde recorded a version for their last album, 2004's Mojave.
John Frusciante, Michael Rother, and Josh Klinghoffer performed a short instrumental version of the song live in 2004.
German heavy metal band, Die Apokalyptischen Reiter, released a version titled "Ghostriders in the Sky" on their 2006 4-track EP, Friede Sei Mit Dir.[16]
California-based Me First and the Gimme Gimmes covered the song on their 2006 album Love Their Country This cover was later used in 2017 in racing video game Forza Horizon 3's trailer for its Hot Wheels Expansion.
Art Greenhaw, Grammy Award-Winning guitarist, producer and leader of The Light Crust Doughboys, recorded a world music fusion version of this song on the album Lone Star Sitar and released in 2006 on the Greenhaw Records label.[17]
During the credits of the 2007 movie Ghost Rider, a rock cover by the band Spiderbait is played. An instrumental version is also heard at points in the film.
Finnish melodic death metal band Children of Bodom covered this song under the title 'Ghostriders in the Sky' and have released it on the special edition of their 2008 album, Blooddrunk.

text:
Judy Collins, featuring the Nashville Rhythm Section and Ghost Riders Chorus, covered "Ghost Riders in the Sky" on her 2010 album Paradise.
Florida/Utah death metal band, Gorlock, covered it on their 2011 EP titled Despair is My Mistress.
The song is the opening track on Roswell Rudd's album, Trombone For Lovers.
The character of Granddad Brown in the Irish comedy series Mrs Brown's Boys briefly covered Ghost Riders in the Sky in the 2011 Christmas special episode "Mammy's Ass". The scene involves Granddad singing the song whilst Agnes hits him over the head with a metal tray, testing a crash helmet (which Granddad's wearing) her friend Winnie is meant to be testing.
A track on Drop The Lime's 2012 album Enter The Night used the instrumental of "(Ghost) Riders in the Sky".
"Outsider" music star, The Space Lady, featured it on her GREATEST HITS LP. (2013, Night School Records)
Screaming Orphans covered on the album Lonely Boy. (2011)
In 2015, a lower tempo version of Johnny Cash's cover was used on the announcement trailer for the forthcoming Space-Opera RPG, Mass Effect: Andromeda.
Monster truck Black Stallion uses it as its theme song.
Country artist Ray Scott (singer) covered Johnny Cash's version of this song on his EP, "Roots Sessions, Vol. 1" which was released in 2015.
Chrome Division covered Johnny Cash's version of this song on their 2011 "3rd Round Knockout" album.
Devil Driver covered Johnny Cash's version of this song on their 2018 "Outlaws 'Til the End: Vol. 1" album.

text: Additional versions[edit]

text: Versions in various genres have also been made by the following artists:

text:
Carlos Malcolm
All-American Boys Chorus
Boston Pops Orchestra
Chrome Division
Dean Martin
Devildriver
Dixie Chicks
Fred Penner
Kaleidoscope
Marty Robbins
Mary McCaslin
R.E.M.
Scary Bitches (UK goth rock)
Shebeen (North Ireland underground music, as "Ooh Ah Up the 'RA, or The SAM Song")
The Tubes (under the track title, "Cowboy Fee & The Heifer's Dream")
Youn Sun Nah (on her album Lento)
Vocal Majority

text: Non-English versions[edit]

text: Czech[edit]

text:
Czech versions titled "Ďáblovo stádo" by Rudolf Cortéz released in 1956, and by Waldemar Matuška in 1981.
Czech version titled "Nebeští Jezdci" by Taxmeni & Roger Latzgo released in 1991

text: Estonian[edit]

text: Estonian-Canadian musician Jüri Lipp translated and recorded a surf rock version in Estonian in 1968.

text: Finnish[edit]

text:
A Finnish version titled "Aaveratsastajat" was written by Kullervo (born Tapio Kullervo Lahtinen) and it has been recorded by several popular artists including Henry Theel ja Metro-tytöt, Kari Tapio, Danny, Tapani Kansa, Reijo Taipale, and Ismo Alanko.
Juha Vainio wrote an alternative, humoristic version titled "Hirvenmetsästys" (The Moose Hunt). Pertti Metsärinteen yhtye recorded it in 1970.
An instrumental jazz version by Kalle Kalima on the album High Noon released in 2016.

text: French[edit]

text:
A French-language version titled "Les Cavaliers du Ciel" was released by Les Compagnons de la chanson in 1949.
French guitarist and singer, Gill Dougherty, also released a version on his 1990 album, Live In Bourges.
In 1992, another French language version titled "Où tu iras" was released by Les Naufragés, on their album A contre-Courant.

text: German[edit]

text:
In 1949, a German-language version titled "Geisterreiter" was recorded and released by East German entertainer, Rita Paul & Her Cornel-Trio. In the same year, a version was released by Gerhard Wendland.
Additional German-language versions have been released by surf-punk-electro band, Mikrowelle, and television entertainer, Götz Alsmann featuring Bela B of Die Ärzte.
An instrumental version was done by the Austrian band "da Blechhauf`n" in 2012.[18]

text: Italian[edit]

text: An Italian-language version of the song, titled "I Cavalieri del Cielo" was recorded by famous Italian singer Gino Latilla in 1952.

text: Lithuanian[edit]

text: A Lithuanian-language version of the song titled "Jupi Ja Je" was recorded by Adolfas Jarulis ir Estradinės melodijos in 1971.

text: Portuguese[edit]

text: Brazilian artist Milton Nascimento recorded a Portuguese-language version under the title "Cavaleiros do céu" released on his 1981 album, Caçador de Mim.[19]

text: Spanish[edit]

text:
In 1966, a Spanish-language version, "Jinetes en el cielo", was recorded and released by the Mexican group, Los Baby's.[20]
Mexican singer Pedro Vargas also recorded a version.
The popular singer from Spain, Raphael, also released a Spanish version in the 1970s. The lyrical subject was changed to reflect a cowboy doomed to ride for eternity for breaking a young girl's heart. The song ends happily when the girl saves him from that horrible destiny by crying and praying for him then letting a rose fall on his grave.
Mexican singers (and actors) Manolín and Shilinsky (find them in Wikipedia in Spanish) recorded a comic version.[21]

text: Yugoslavian[edit]

text: Iskre - Nebeski Jahači (Ghost Riders In The Sky) 1965

text: Influences[edit]

text: Apart from the numerous recordings by various artists, "Ghost Riders in the Sky" has inspired various artists.

text:
The Doors' "Riders on the Storm", from the album L.A. Woman (1971).[22]
The chorus lines of this song are and have been since the 1960s a terrace song of the Aston Villa Football Club of England. The words have been modified to include the line "Holte Enders in the Sky," a reference to the occupants of the vast stand behind the goal at the southern end of the Villa Park stadium.[23]
REO Speedwagon's "Ridin' the Storm Out", from the album Ridin' the Storm Out (1973).
Def Leppard's "Foolin'", from the album Pyromania (1983), with the line "On and on, we rode the storm".
Motörhead's Iron Fist, from the album Iron Fist (1982).
The song was also the inspiration for the Magazine Enterprises' horror-Western comic-book character the Ghost Rider.[24] After the trademark to the character's name and motif lapsed, Marvel Comics debuted its own near-identical, non-horror version of the character in Ghost Rider #1 (Feb. 1967), drawn by Ayers. This character was renamed the Phantom Rider when Marvel debuted its demonic motorcyclist character Ghost Rider.
The Corries recorded a comic parody of the song called The Portree Kid written by Scottish musician Bill Hill, claiming that this was the original Scottish song and tune which had been usurped by American songwriters. Portree is the largest town on the Isle of Skye.