document_title: FM broadcasting

question_text: what is the lowest # on the fm dial

question_tokens: what is the lowest # on the fm dial

text: FM broadcasting

text: Broadcast bands[edit]

text: Throughout the world, the FM broadcast band falls within the VHF part of the radio spectrum. Usually 87.5 to 108.0 MHz is used,[1] or some portion thereof, with few exceptions:

text:
In the former Soviet republics, and some former Eastern Bloc countries, the older 65–74 MHz band is also used. Assigned frequencies are at intervals of 30 kHz. This band, sometimes referred to as the OIRT band, is slowly being phased out in many countries. In those countries the 87.5–108.0 MHz band is referred to as the CCIR band.
In Japan, the band 76–95 MHz is used.

text: The frequency of an FM broadcast station (more strictly its assigned nominal center frequency) is usually an exact multiple of 100 kHz. In most of South Korea, the Americas, the Philippines and the Caribbean, only odd multiples are used. In some parts of Europe, Greenland and Africa, only even multiples are used. In the UK odd or even are used. In Italy, multiples of 50 kHz are used.

text: There are other unusual and obsolete FM broadcasting standards in some countries, including 1, 10, 30, 74, 500, and 300 kHz. However, to minimise inter-channel interference, stations operating from the same or geographically close transmitter sites tend to keep to at least a 500 kHz frequency separation even when closer frequency spacing is technically permitted, with closer tunings reserved for more distantly spaced transmitters, as potentially interfering signals are already more attenuated and so have less effect on neighboring frequencies.[citation needed]

text: Modulation characteristics[edit]

text: Modulation[edit]

text: Frequency modulation or FM is a form of modulation which conveys information by varying the frequency of a carrier wave; the older amplitude modulation or AM varies the amplitude of the carrier, with its frequency remaining constant. With FM, frequency deviation from the assigned carrier frequency at any instant is directly proportional to the amplitude of the input signal, determining the instantaneous frequency of the transmitted signal. Because transmitted FM signals use more bandwidth than AM signals, this form of modulation is commonly used with the higher (VHF or UHF) frequencies used by TV, the FM broadcast band, and land mobile radio systems.

text: Pre-emphasis and de-emphasis[edit]

text: Random noise has a triangular spectral distribution in an FM system, with the effect that noise occurs predominantly at the highest audio frequencies within the baseband. This can be offset, to a limited extent, by boosting the high frequencies before transmission and reducing them by a corresponding amount in the receiver. Reducing the high audio frequencies in the receiver also reduces the high-frequency noise. These processes of boosting and then reducing certain frequencies are known as pre-emphasis and de-emphasis, respectively.

text: The amount of pre-emphasis and de-emphasis used is defined by the time constant of a simple RC filter circuit. In most of the world a 50 µs time constant is used. In the Americas and South Korea, 75 µs is used. This applies to both mono and stereo transmissions. For stereo, pre-emphasis is applied to the left and right channels before multiplexing.

text: The amount of pre-emphasis that can be applied is limited by the fact that many forms of contemporary music contain more high-frequency energy than the musical styles which prevailed at the birth of FM broadcasting. They cannot be pre-emphasized as much because it would cause excessive deviation of the FM carrier. Systems more modern than FM broadcasting tend to use either programme-dependent variable pre-emphasis; e.g., dbx in the BTSC TV sound system, or none at all.

text: Stereo FM[edit]

text: Long before FM stereo transmission was considered, FM multiplexing of other types of audio level information was experimented with.[2] Edwin Armstrong who invented FM was the first to experiment with multiplexing, at his experimental 41 MHz station W2XDG located on the 85th floor of the Empire State Building in New York City.

text: These FM multiplex transmissions started in November 1934 and consisted of the main channel audio program and three subcarriers: a fax program, a synchronizing signal for the fax program and a telegraph "order" channel. These original FM multiplex subcarriers were amplitude modulated.

text: Two musical programs, consisting of both the Red and Blue Network program feeds of the NBC Radio Network, were simultaneously transmitted using the same system of subcarrier modulation as part of a studio-to-transmitter link system. In April 1935, the AM subcarriers were replaced by FM subcarriers, with much improved results.

text: The first FM subcarrier transmissions emanating from Major Armstrong's experimental station KE2XCC at Alpine, New Jersey occurred in 1948. These transmissions consisted of two-channel audio programs, binaural audio programs and a fax program. The original subcarrier frequency used at KE2XCC was 27.5 kHz. The IF bandwidth was +/–5 kHz, as the only goal at the time was to relay AM radio-quality audio. This transmission system notably used a 75 microsecond audio pre-emphasis, a technical innovation that became part of the original FM Stereo Multiplex Standard.

text: In the late 1950s, several systems to add stereo to FM radio were considered by the FCC. Included were systems from 14 proponents including Crosby, Halstead, Electrical and Musical Industries, Ltd (EMI), Zenith, and General Electric. The individual systems were evaluated for their strengths and weaknesses during field tests in Uniontown, Pennsylvania using KDKA-FM in Pittsburgh as the originating station. The Crosby system was rejected by the FCC because it was incompatible with existing subsidiary communications authorization (SCA) services which used various subcarrier frequencies including 41 and 67 kHz. Many revenue-starved FM stations used SCAs for "storecasting" and other non-broadcast purposes. The Halstead system was rejected due to lack of high frequency stereo separation and reduction in the main channel signal-to-noise ratio. The GE and Zenith systems, so similar that they were considered theoretically identical, were formally approved by the FCC in April 1961 as the standard stereo FM broadcasting method in the United States and later adopted by most other countries.[3][4] It is important that stereo broadcasts be compatible with mono receivers. For this reason, the left (L) and right (R) channels are algebraically encoded into sum (L+R) and difference (L−R) signals. A mono receiver will use just the L+R signal so the listener will hear both channels through the single loudspeaker. A stereo receiver will add the difference signal to the sum signal to recover the left channel, and subtract the difference signal from the sum to recover the right channel.

text: The (L+R) Main channel signal is transmitted as baseband audio limited to the range of 30 Hz to 15 kHz. The (L−R) signal is amplitude modulated onto a 38 kHz double-sideband suppressed-carrier (DSB-SC) signal occupying the baseband range of 23 to 53 kHz.

text: A 19 kHz pilot tone, at exactly half the 38 kHz sub-carrier frequency and with a precise phase relationship to it, as defined by the formula below, is also generated. This is transmitted at 8–10% of overall modulation level and used by the receiver to regenerate the 38 kHz sub-carrier with the correct phase.

text: The final multiplex signal from the stereo generator contains the Main Channel (L+R), the pilot tone, and the sub-channel (L−R). This composite signal, along with any other sub-carriers, modulates the FM transmitter.

text: The instantaneous deviation of the transmitter carrier frequency due to the stereo audio and pilot tone (at 10% modulation) is

text:
where A and B are the pre-emphasized left and right audio signals and

f

p

{\displaystyle f_{p}}

=19 kHz is the frequency of the pilot tone. Slight variations in the peak deviation may occur in the presence of other subcarriers or because of local regulations.

text: Another way to look at the resulting signal is that it alternates between left and right at 38 kHz, with the phase determined by the 19 kHz pilot signal.[7]

text: Converting the multiplex signal back into left and right audio signals is performed by a decoder, built into stereo receivers.

text: In order to preserve stereo separation and signal-to-noise parameters, it is normal practice to apply pre-emphasis to the left and right channels before encoding, and to apply de-emphasis at the receiver after decoding.

text: Stereo FM signals are more susceptible to noise and multipath distortion than are mono FM signals.[8]

text: In addition, for a given RF level at the receiver, the signal-to-noise ratio for the stereo signal will be worse than for the mono receiver. For this reason many stereo FM receivers include a stereo/mono switch to allow listening in mono when reception conditions are less than ideal, and most car radios are arranged to reduce the separation as the signal-to-noise ratio worsens, eventually going to mono while still indicating a stereo signal is being received.

text: Quadraphonic FM[edit]

text: In 1969, Louis Dorren invented the Quadraplex system of single station, discrete, compatible four-channel FM broadcasting. There are two additional subcarriers in the Quadraplex system, supplementing the single one used in standard stereo FM. The baseband layout is as follows:

text:
50 Hz to 15 kHz Main Channel (sum of all 4 channels) (LF+LR+RF+RR) signal, for mono FM listening compatibility.
23 to 53 kHz (sine quadrature subcarrier) (LF+LR) - (RF+RR) Left minus Right difference signal. This signal's modulation in algebraic sum and difference with the Main channel is used for 2 channel stereo listener compatibility.
23 to 53 kHz (cosine quadrature 38 kHz subcarrier) (LF+RR) - (LR+RF) Diagonal difference. This signal's modulation in algebraic sum and difference with the Main channel and all the other subcarriers is used for the Quadraphonic listener.
61 to 91 kHz (sine quadrature 76 kHz subcarrier) (LF+RF) - (LR+RR) Front-back difference. This signal's modulation in algebraic sum and difference with the main channel and all the other subcarriers is also used for the Quadraphonic listener.
105 kHz SCA subcarrier, phase-locked to 19 kHz pilot, for reading services for the blind, background music, etc.

text: The normal stereo signal can be considered as switching between left and right channels at 38 kHz, appropriately band limited. The quadraphonic signal can be considered as cycling through LF, LR, RF, RR, at 76 kHz.[9]

text: There were several variations on this system submitted by GE, Zenith, RCA, and Denon for testing and consideration during the National Quadraphonic Radio Committee field trials for the FCC. The original Dorren Quadraplex System outperformed all the others and was chosen as the national standard for Quadraphonic FM broadcasting in the United States. The first commercial FM station to broadcast quadraphonic program content was WIQB (now called WWWW-FM) in Ann Arbor/Saline, Michigan under the guidance of Chief Engineer Brian Jeffrey Brown.[10]

text: Other subcarrier services[edit]

text: FM broadcasting has included SCA capability since its inception, as it was seen as another service which licensees could use to create additional income.[11] Initially the users of SCA services were private analog audio channels which could be used internally or rented out, for example Muzak type services. Radio reading services for the blind became a common use, and remain so, and there were experiments with quadraphonic sound. If a station does not broadcast in stereo, everything from 23 kHz on up can be used for other services. The guard band around 19 kHz (±4 kHz) must still be maintained, so as not to trigger stereo decoders on receivers. If there is stereo, there will typically be a guard band between the upper limit of the DSBSC stereo signal (53 kHz) and the lower limit of any other subcarrier.

text: Digital services are now also available. A 57 kHz subcarrier (phase locked to the third harmonic of the stereo pilot tone) is used to carry a low-bandwidth digital Radio Data System signal, providing extra features such as Alternative Frequency (AF) and Network (NN). This narrowband signal runs at only 1,187.5 bits per second, thus is only suitable for text. A few proprietary systems are used for private communications. A variant of RDS is the North American RBDS or "smart radio" system. In Germany the analog ARI system was used prior to RDS for broadcasting traffic announcements to motorists (without disturbing other listeners). Plans to use ARI for other European countries led to the development of RDS as a more powerful system. RDS is designed to be capable of being used alongside ARI despite using identical subcarrier frequencies.

text: In the United States, digital radio services are being deployed within the FM band rather than using Eureka 147 or the Japanese standard ISDB. This in-band on-channel approach, as do all digital radio techniques, makes use of advanced compressed audio. The proprietary iBiquity system, branded as "HD Radio", currently is authorized for "hybrid" mode operation, wherein both the conventional analog FM carrier and digital sideband subcarriers are transmitted. Eventually, presuming widespread deployment of HD Radio receivers, the analog services could theoretically be discontinued and the FM band become all digital.

text: In the United States, services (other than stereo, quad and RDS) using subcarriers are sometimes referred to as subsidiary communications authorization (SCA) services. Uses for such subcarriers include book/newspaper reading services for blind listeners, private data transmission services (for example sending stock market information to stockbrokers or stolen credit card number blacklists to stores[citation needed]) subscription commercial-free background music services for shops, paging ("beeper") services and providing a program feed for AM transmitters of AM/FM stations. SCA subcarriers are typically 67 kHz and 92 kHz.

text: Dolby FM[edit]

text: A commercially unsuccessful noise reduction system used with FM radio in some countries during the late 1970s, Dolby FM was similar to Dolby B[12] but used a modified 25 µs pre-emphasis time constant and a frequency selective companding arrangement to reduce noise. The pre-emphasis change compensates for the excess treble response that otherwise would make listening difficult for those without Dolby decoders.

text: A similar system named High Com FM was tested in Germany between July 1979 and December 1981 by IRT. It was based on the Telefunken High Com broadband compander system, but never introduced commercially in FM broadcasting.[13]

text: Reception distance[edit]

text: FM radio waves do not travel far beyond the visual horizon, so reception distances for FM stations are usually limited to 30—40 miles. They can also be blocked by hills. This is less than the range of AM radio waves, which because of their lower frequency can travel as ground waves or reflect off the ionosphere, so AM radio stations can be received at hundreds (sometimes thousands) of miles. This is a property of the carrier wave's typical frequency (and power), not its mode of modulation.

text: The range of mono FM transmission is related to the transmitter's RF power, the antenna gain, and antenna height. The U.S. FCC publishes curves that aid in calculation of this maximum distance as a function of signal strength at the receiving location.

text: Many FM stations, especially those located in severe multipath areas, use extra audio compression to keep essential sound above the background noise for listeners, occasionally at the expense of overall perceived sound quality. In such instances, however, this technique is often surprisingly effective in increasing the station's useful range.[citation needed]

text: Adoption of FM broadcasting[edit]

text: United States[edit]

text: Despite FM having been patented in 1933, commercial FM broadcasting did not begin until the late 1930s, when it was initiated by a handful of early pioneer stations including W8HK, Buffalo, New York (now WTSS); W1XOJ/WGTR/WSRS, Paxton, Massachusetts (now listed as Worcester, Massachusetts); W1XSL/W1XPW/WDRC-FM, Meriden, Connecticut (now WHCN); W2XMN/KE2XCC/WFMN, Alpine, New Jersey (owned by Edwin Armstrong himself, closed down upon Armstrong's death in 1954); W2XQR/WQXQ/WQXR-FM, New York; W47NV Nashville, Tennessee (signed off in 1951); W1XER/W39B/WMNE, whose studios were in Boston but whose transmitter was atop the highest mountain in the northeast United States, Mount Washington, New Hampshire (shut down in 1948); W9XAO Milwaukee, Wisconsin (later WTMJ-FM, off air in 1950, returning in 1959 on another frequency). Also of note are General Electric stations W2XDA Schenectady and W2XOY New Scotland, New York—two experimental frequency modulation transmitters on 48.5 MHz—which signed on in 1939. The two were merged into one station using the W2XOY call letters on November 20, 1940, with the station taking the WGFM call letters a few years later, and moving to 99.5 MHz when the FM band was relocated to the 88–108 MHz portion of the radio spectrum. General Electric sold the station in the 1980s, and today the station is called WRVE.

text: WEFM (in the Chicago area) and WGFM (in Schenectady, New York) were reported as the first stereo stations.[14]

text: The first commercial FM broadcasting stations were in the United States, but initially they were primarily used to simulcast their AM sister stations, to broadcast lush orchestral music for stores and offices, to broadcast classical music to an upmarket listenership in urban areas, or for educational programming. By the late 1960s, FM had been adopted for broadcast of stereo "A.O.R.—'Album Oriented Rock' Format", but it was not until 1978 that listenership to FM stations exceeded that of AM stations in North America. During the 1980s and 1990s, Top 40 music stations and later even country music stations largely abandoned AM for FM. Today AM is mainly the preserve of talk radio, news, sports, religious programming, ethnic (minority language) broadcasting and some types of minority interest music. This shift has transformed AM into the "alternative band" that FM once was. (Some AM stations have begun to simulcast on, or switch to, FM signals to attract younger listeners and aid reception problems in buildings, during thunderstorms, and near high-voltage wires. Some of these stations now emphasize their presence on the FM dial.)

text: Europe[edit]

text: The medium wave band (known as the AM band because most stations using it employ amplitude modulation in North America) is overcrowded[citation needed] in Western Europe, leading to interference problems and, as a result, many MW frequencies are suitable only for speech broadcasting.

text: Belgium, the Netherlands, Denmark and particularly Germany were among the first countries to adopt FM on a widespread scale. Among the reasons for this were:

text:
The medium wave band in Western Europe became overcrowded after World War II, mainly due to the best available medium wave frequencies being used at high power levels by the Allied Occupation Forces, both for broadcasting entertainment to their troops and for broadcasting Cold War propaganda across the Iron Curtain.
After World War II, broadcasting frequencies were reorganized and reallocated by delegates of the victorious countries in the Copenhagen Frequency Plan. German broadcasters were left with only two remaining AM frequencies and were forced to look to FM for expansion.

tag: ol

text: Public service broadcasters in Ireland and Australia were far slower at adopting FM radio than those in either North America or continental Europe.

text: United Kingdom[edit]

text: In the United Kingdom, the BBC began FM broadcasting in 1955, with three national networks: the Light Programme, Third Programme and Home Service. These three networks used the sub-band 88.0–94.6 MHz. The sub-band 94.6–97.6 MHz was later used for BBC and local commercial services.

text: However, only when commercial broadcasting was introduced to the UK in 1973 did the use of FM pick up in Britain. With the gradual clearance of other users (notably Public Services such as police, fire and ambulance) and the extension of the FM band to 108.0 MHz between 1980 and 1995, FM expanded rapidly throughout the British Isles and effectively took over from LW and MW as the delivery platform of choice for fixed and portable domestic and vehicle-based receivers. In addition, Ofcom (previously the Radio Authority) in the UK issues on demand Restricted Service Licences on FM and also on AM (MW) for short-term local-coverage broadcasting which is open to anyone who does not carry a prohibition and can put up the appropriate licensing and royalty fees. In 2010 around 450 such licences were issued.

text: When the BBC's radio networks were renamed Radio 2, Radio 3 and Radio 4 respectively in 1967 to coincide with the launch of Radio 1, the new station was the only one of the main four to not have an FM frequency allocated, which was the case for 21 years. Instead, Radio 1 shared airtime with Radio 2 FM, on Saturday afternoons, Sunday evenings, weekday evenings (10pm to midnight) and Bank Holidays. Eventually in 1987 a frequency range of 97.6-99.8 MHz was allocated as police relay transmitters were moved from the 100 MHz frequency, starting in London before being broadly completed by 1989.[15]

text: Italy[edit]

text: Italy adopted FM broadcast widely in the early 1970s, but first experiments made by RAI dated back to 1950,[16] when the "movement for free radio", developed by so-called "pirates", forced the recognition of free speech rights also through the use of "free radio media such as Broadcast transmitters", and took the case to the Constitutional Court of Italy. The court finally decided in favor of Free Radio. Just weeks after the court's final decision there was an "FM radio boom" involving small private radio stations across the country. By the mid 1970s, every city in Italy had a crowded FM radio spectrum.

text: Greece[edit]

text: Greece was another European country where the FM radio spectrum was used at first by the so-called "pirates" (both in Athens and Thessaloniki, the two major Greek cities) in the mid 1970s, before any national stations had started broadcasting on it; there were many AM (MW) stations in use for the purpose. No later than the end of 1977, the national public service broadcasting company EIRT (later also known as ERT) placed in service its first FM transmitter in the capital, Athens. By the end of the 1970s, most of Greek territory was covered by three National FM programs, and every city had many FM "pirates" as well. The adaptation of the FM band for privately owned commercial radio stations came far later, in 1987.

text: Australia[edit]

text: FM started in Australia in 1947 but did not catch on and was shut down in 1961 to expand the television band: some TV stations were allocated within the VHF band (98–108 MHz). The official policy on FM at the time was to eventually introduce it on another band, which would have required FM tuners custom-built for Australia. This policy was finally reversed and FM broadcasting was reopened in 1975 using the VHF band, after the few encroaching TV stations had been moved. Subsequently, it developed steadily until in the 1980s many AM stations transferred to FM due to its superior sound quality. Today, as elsewhere in the developed world, most urban Australian broadcasting is on FM, although AM talk stations are still very popular. Regional broadcasters still commonly operate AM stations due to the additional range the broadcasting method offers. Some stations in major regional centres simulcast on AM and FM bands. Digital radio using the DAB+ standard has been rolled out to capital cities.

text: New Zealand[edit]

text: Like Australia, New Zealand adopted the FM format relatively late. As was the case with privately owned AM radio in the late 1960s, it took a spate of 'pirate' broadcasters to persuade a control-oriented, technology averse government to allow FM to be introduced after at least five years of consumer campaigning starting in the mid-1970s, particularly in Auckland. An experimental FM station, FM 90.7, was broadcast in Whakatane in early 1982. Later that year, Victoria University of Wellington's Radio Active began full-time FM transmissions. Commercial FM licences were finally approved in 1983, with Auckland-based 91FM and 89FM being the first to take up the offer.[1]. Broadcasting was deregulated in 1989.

text: Trinidad and Tobago[edit]

text: Trinidad and Tobago's first FM Radio station was 95.1FM, now rebranded as 951 The Best Mix, was launched in March 1976 by the TBC Radio Network.

text: Turkey[edit]

text: In Turkey, FM broadcasting began in the late 1960s, carrying several shows from the One television network which was transferred from the AM frequency (also known as MW in Turkey). In subsequent years, more MW stations were slowly transferred to FM, and by the end of the 1970s, most radio stations that were previously on MW had been moved to FM, though many talk, news and sport, but mostly religious stations, still remain on MW.

text: Other countries[edit]

text: Most other countries implemented FM broadcasting through 1960s and expanded their use of FM through the 1990s. Because it takes a large number of FM transmitting stations to cover a geographically large country, particularly where there are terrain difficulties, FM is more suited to local broadcasting than for national networks. In such countries, particularly where there are economic or infrastructural problems, "rolling out" a national FM broadcast network to reach the majority of the population can be a slow and expensive process. Despite this, mostly in east European counties, national FM broadcast networks were established in the late 1960s and 1970s. In all Soviet-dependent countries but GDR, the OIRT band was used. First restricted to 68–73 MHz with 100 kHz channel spacing, then in the 1970s eventually expanded to 65.84–74.00 MHz with 30 kHz channel spacing.[17]

text: ITU Conferences about FM[edit]

text: The frequencies available for FM were decided by some important conferences of ITU. The milestone of those conferences is the Stockholm agreement of 1961 among 38 countries.[18] A 1984 conference in Geneva made some modifications to the original Stockholm agreement particularly in the frequency range above 100 MHz.

text: FM broadcasting switch-off[edit]

text: Small-scale use of the FM broadcast band[edit]

text: Consumer use of FM transmitters[edit]

text: In some countries, small-scale (Part 15 in United States terms) transmitters are available that can transmit a signal from an audio device (usually an MP3 player or similar) to a standard FM radio receiver; such devices range from small units built to carry audio to a car radio with no audio-in capability (often formerly provided by special adapters for audio cassette decks, which are becoming less common on car radio designs) up to full-sized, near-professional-grade broadcasting systems that can be used to transmit audio throughout a property. Most such units transmit in full stereo, though some models designed for beginner hobbyists might not. Similar transmitters are often included in satellite radio receivers and some toys.

text: Legality of these devices varies by country. The U.S. Federal Communications Commission and Industry Canada allow them. Starting on 1 October 2006, these devices became legal in most countries in the European Union. Devices made to the harmonised European specification became legal in the UK on 8 December 2006.[19]

text: The FM broadcast band is also used by some inexpensive wireless microphones sold as toys for karaoke or similar purposes, allowing the user to use an FM radio as an output rather than a dedicated amplifier and speaker. Professional-grade wireless microphones generally use bands in the UHF region so they can run on dedicated equipment without broadcast interference.

text: Some wireless headphones transmit in the FM broadcast band, with the headphones tunable to only a subset of the broadcast band. Higher-quality wireless headphones use infrared transmission or UHF ISM bands such as 315 MHz, 863 MHz, 915 MHz, or 2.4 GHz instead of the FM broadcast band.

text: Microbroadcasting[edit]

text: Low-power transmitters such as those mentioned above are also sometimes used for neighborhood or campus radio stations, though campus radio stations are often run over carrier current. This is generally considered a form of microbroadcasting. As a general rule,[vague] enforcement towards low-power FM stations is stricter than with AM stations, due to problems such as the capture effect,[citation needed] and as a result, FM microbroadcasters generally do not reach as far as their AM competitors.

text: Clandestine use of FM transmitters[edit]

text: FM transmitters have been used to construct miniature wireless microphones for espionage and surveillance purposes (covert listening devices or so-called "bugs"); the advantage to using the FM broadcast band for such operations is that the receiving equipment would not be considered particularly suspect. Common practice is to tune the bug's transmitter off the ends of the broadcast band, into what in the United States would be TV channel 6 (<87.9 MHz) or aviation navigation frequencies (>107.9 MHz); most FM radios with analog tuners have sufficient overcoverage to pick up these slightly-beyond-outermost frequencies, although many digitally tuned radios have not.

text: Constructing a "bug" is a common early project for electronics hobbyists, and project kits to do so are available from a wide variety of sources. The devices constructed, however, are often too large and poorly shielded for use in clandestine activity.

text: In addition, much pirate radio activity is broadcast in the FM range, because of the band's greater clarity and listenership, the smaller size and lower cost of equipment.


document_title: The Secret Life of Pets

question_text: who plays max in secret life of pets

question_tokens: who plays max in secret life of pets

root

text: The Secret Life of Pets

text: Plot[edit]

text: A Jack Russell Terrier named Max lives with his owner Katie in a Manhattan apartment. While she is at work during the day, he hangs out with other pets in the building: tabby cat Chloe, pug Mel, dachshund Buddy, and budgerigar Sweet Pea. One day, Katie adopts Duke, a large mongrel from the pound, leaving Max jealous because of her divided focus on Duke. Enraged by Max's attitude towards him, Duke tries to abandon Max in an alley, but they are both attacked by cats led by Sphynx cat Ozone who removes both dogs' collars and leaves them to be caught by Animal Control. Duke fears that he will be put down if he goes back to the pound. When Gidget, a white Pomeranian discovers that Max is missing, she has to find him.

tag: p

text: Max and Duke are rescued by a white rabbit named Snowball, the leader of "The Flushed Pets" – a gang of sewer-dwelling animals who hate humans because their owners mistreated them. After Max and Duke pretend to despise humans as much as they do by saying they killed their owners, the Flushed Pets invite them to join. Before they can prove their loyalty, by allowing a one-fanged viper to bite them, Snowball learns from the cats that Max and Duke are domesticated. The two dogs escape the sewers and board a ferry to Brooklyn, inadvertently killing the viper in the process. Snowball vows to kill them and leads the Flushed Pets after them.

text: Meanwhile, Gidget recruits a red-tailed hawk named Tiberius to find Max, but he mistakenly returns carrying Ozone, whom Gidget coerces into telling what he knows about the dogs. They then enlist Mel, Buddy, Chloe, guinea pig Norman and Sweet Pea. On the way, they meet Pops, an old Basset Hound, who helps Gidget and the pets find Max. Meanwhile, Max and Duke raid a sausage factory for food. Then, Gidget and her team encounter Snowball, who vows to kill them as well, and Norman is captured as the rest of Gidget's team flees.

text: In the meantime, Duke tells Max about his previous owner, Fred, an elderly man who adopted him as a puppy and loved spending time with him. One day, Duke got lost while chasing a butterfly and was caught by Animal Control, but Fred never came to claim him. Max convinces him to visit Fred's house in a nearby neighborhood, confident Fred will still love him and take him back. When they arrive at Fred's house, they learn from the resident cat Reginald that Fred has died. Heartbroken, Duke accuses Max of attempting to get rid of him and barks at the new homeowners who have just returned to the house and called Animal Control. The handlers catch Max, but Duke interferes long enough for Max to escape and ends up being captured instead.

text: While trying to rescue Duke as he follows the Animal Control van, Max is attacked by Snowball who tries to kill him. However, when his gang is captured, Snowball realizes that he and Max must work together to rescue them. They drive a city bus into the van on the Brooklyn Bridge, stopping traffic. The Flushed Pets encircle Max, unaware of his partnership with Snowball, but Gidget and her team save him. Gidget uses her kung-fu fighting skills, and Max starts to fall in love with her. The van gets stuck in scaffolding and the Flushed Pets escape. As soon as Max gets the keys to Duke's cage, the van plummets into the East River with him inside. Max is unable to free Duke, so Snowball jumps into the river to retrieve the keys, allowing them to escape the sinking van. Once out of the river, Snowball realizes how good being heroic feels.

text: The entire group returns to the apartment block by pig-driven taxi. Max expresses his love for Gidget, who returns his affection. Snowball and the Flushed Pets then come up with a new plan to annihilate all humans, but a little girl named Molly arrives to adopt Snowball and the remaining Flushed Pets return to the sewers. At first, Snowball resists, but gives in and lets himself become a domesticated pet. The other pets return to their homes and embrace their owners, and Max and Duke finally reunite with Katie, sparking a true friendship.

text: In a mid-credits scene, Buddy and Mel show up in costume at a party in poodle Leonard's apartment. Leonard's owner returns and Tattoo crashes to the floor on the chandelier.

text: Cast[edit]

text:
Louis C.K. as Max, a Jack Russell Terrier.[8]
Eric Stonestreet as Duke, a large, brown, shaggy mongrel.[8]
Kevin Hart as Snowball, a white rabbit.[8]
Jenny Slate as Gidget, a white Pomeranian and Max's love interest.
Ellie Kemper as Katie, Max and Duke's friendly owner.[1][9]
Lake Bell as Chloe, an obese and apathetic grey tabby cat[9] who is one of Max's friends.
Dana Carvey as Pops, an elderly Basset Hound,[10] who is paralyzed in his back legs.
Hannibal Buress as Buddy, a laid-back dachshund[9][11] and one of Max's friends.
Bobby Moynihan as Mel, a hyperactive pug and one of Max's friends.
Steve Coogan as Ozone, a Cockney-accented Sphynx cat.

Steve Coogan also voices Reginald, a malevolent Himalayan cat.

Albert Brooks as Tiberius, a curmudgeonly red-tailed hawk.[9][11]
Chris Renaud as Norman, a guinea pig who keeps getting lost trying to find his apartment.
Michael Beattie as Tattoo, a slow-witted tattooed pig who is one of the Flushed Pets.
Sandra Echeverría as Maria, a character from the La Pasión de la Pasión telenovela that Gidget watches.
Jaime Camil as Fernando, a character from the La Pasión de la Pasión telenovela that Gidget watches.
Kiely Renaud as Molly, a little girl who adopts Snowball.

tag: ul

text: Production[edit]

text: In January 2014, it was announced that Louis C.K., Eric Stonestreet, and Kevin Hart had joined the cast of the film, with Chris Renaud set to direct from a screenplay written by Brian Lynch, Cinco Paul and Ken Daurio, while Illumination Entertainment would produce, and Universal Pictures would distribute the film and was originally titled Max.[12][8] In June 2014, Albert Brooks, Hannibal Buress, Bobby Moynihan, Lake Bell and Ellie Kemper joined the cast.[9] The animation was created entirely in France by Illumination MacGuff.[13]

text: Music and soundtrack[edit]

text:
The Secret Life of Pets (Original Motion Picture Soundtrack)

Soundtrack album by Alexandre Desplat

Released
July 1, 2016 (2016-07-01)

Recorded
2016

Genre

Film score
Jazz
Classical

Length
51:31

Label
Back Lot Music

Producer
Dominique Lemonnier

Alexandre Desplat soundtrack chronology

Florence Foster Jenkins
(2016)Florence Foster Jenkins2016
The Secret Life of Pets
(2016)
The Light Between Oceans
(2016)The Light Between Oceans2016

tag: table

text: The original score for the film was composed by Alexandre Desplat.[14] The soundtrack was released on July 1, 2016 by Back Lot Music.[15]

text: All music composed by Alexandre Desplat, except "We Go Together" by The Sausage Factory Singers.

text:
[show]Track listing

No.
Title
Length

1.
"Meet the Pets"
2:37

2.
"Katie's Leaving"
0:55

3.
"Meet Duke"
3:36

4.
"Fetch Me a Stick"
3:09

5.
"Telenovela Squirrels"
1:24

6.
"Hijack!"
2:00

7.
"Gidget Meets Tiberius"
4:56

8.
"Initiation Time"
1:01

9.
"Rooftop Route"
1:27

10.
"The Viper"
1:49

11.
"You Have an Owner?"
3:04

12.
"Good Morning Max"
1:21

13.
"Sewer Chase"
1:09

14.
"Who's With Me?"
1:21

15.
"Me Like What Me See"
0:54

16.
"Traveling Bossa"
1:56

17.
"Flushed Out To Brooklyn"
2:47

18.
"Sausages!"
1:13

19.
"Duke's Old House / Captured"
3:03

20.
"Brooklyn Bridge Showdown"
2:34

21.
"Rescuing Duke"
2:46

22.
"Wet But Handsome / Blue Taxi"
1:24

23.
"Max and Gidget"
1:36

24.
"Welcome Home"
1:57

25.
"We Go Together" (originally from Grease)
1:24

Total length:
51:31

text: Release[edit]

text: The film was originally scheduled to be released on February 12, 2016, but was pushed back to July 8, 2016.[2] It was released in 2D, 3D, and IMAX 3D using DMR.[16][better source needed] The Secret Life of Pets premiered at the 2016 Annecy International Animated Film Festival on June 16, 2016, and was screened at VidCon.[17] The film is accompanied by a Despicable Me short film entitled Mower Minions.

text: Home media[edit]

text: The Secret Life of Pets was released on Digital HD on November 22, 2016, and on Blu-ray, Blu-ray 3D, Ultra HD Blu-ray, and DVD on December 6, 2016. In addition to the short film Mower Minions, which was released theatrically with the feature film, the releases also include two short films: Norman Television and Weenie.[18]

text: Reception[edit]

text: Box office[edit]

text: The Secret Life of Pets grossed $368.4 million in Canada and the U.S., and $507.1 million in other countries for a worldwide total of $875.5 million, against a production budget of $75 million.[4] Its international takings helped push Universal Pictures [International] past $1 billion for the tenth consecutive year,[19] and aided Illumination Entertainment to pass the $4 billion mark for the first time since 2010.[20]

text: It is the fifth highest-grossing original worldwide film of all time (behind Avatar, Zootopia, The Lion King, and Finding Nemo),[21] the sixth highest-grossing film of 2016,[22] the 12th highest-grossing animated film of all time, and the 50th highest-grossing film of all time. Deadline.com calculated the net profit of the film to be $374.6 million, when factoring together all expenses and revenues for the film, making it the most profitable release of 2016.[23]

text: North America[edit]

text: In Canada and the United States, the film was projected to gross around $70 million in its opening weekend, with some predictions going as high as $100 million.[24][25][26] It received the widest release for an animated film as well as for a PG-rated film (breaking Shrek Forever After's record) and the seventh widest of all time overall, across 4,370 theaters, the widest release since The Dark Knight Rises.[25][27][28][29] It made $5.3 million from Thursday night previews in 3,009 theaters, which is the second biggest of all time for Illumination, behind only Minions ($6.2 million), and the third biggest of all time for an animated film, behind Finding Dory ($9.2 million) and Minions.[26][30] This was followed by a record-breaking $38.5 million opening day gross (including previews), the biggest for an original film.[31][32] In its opening weekend, it exceeded expectations and grossed $104.4 million, finishing first at the box office.[33] Its debut is the sixth biggest for an animated film, the sixth highest weekend debut in July, and the fourth biggest opening weekend for Universal Pictures.[34] It also set the record for largest opening for an original film, eclipsing the $90.4 million debut of Inside Out.[35][36]

text: In its second weekend, the film made $50.8 million (-51.3%) while maintaining the top spot, despite facing stiff competition with newcomer Ghostbusters.[37] Although it slipped into second place when overtaken by Star Trek Beyond in its third weekend, it was still able to fend off the two other new releases—Lights Out and Ice Age: Collision Course—by earning another $29.6 million.[38] It passed $300 million on its twenty-sixth day—the same day it crossed $400 million worldwide[39]—becoming the seventh film of 2016,[40] the seventh Universal Pictures film (the first for the year),[41] and the twelfth animated film overall to reach the benchmark.[42]

text: Outside North America[edit]

text: Internationally, The Secret Life of Pets received a scattered release from June to September in a total of 69 markets, and faced competition from other animated films such as Finding Dory and Ice Age: Collision Course in the course of its release.[43][44][45] In total, it had number-one openings in 45 markets and recorded the biggest opening for an original animated film in 17 territories, and the No. 1 animated film of 2016 to date in 13 markets.[20][46] It topped the international box office in its ninth weekend after earning $43.8 million in 53 markets (dethroning Suicide Squad).[47] However, this wasn't the film's biggest single weekend gross. Its biggest weekend gross was actually in its seventh weekend when it grossed $69.3 million. It opened at No. 3 behind Suicide Squad ($133.3 million) and the Chinese film Time Raiders ($64.6 million) that weekend.[48]

text: It was released in the United Kingdom and Norway two weeks ahead of its U.S. release, where it grossed a combined total of $14.1 million in the two markets.[43] Prior to its official debut in the UK and Ireland on June 24, the film had two days worth of previews on June 18 and 19, from which it made £3.63 million ($5.2 million) in two days. This figure was later counted in the film's official opening weekend.[49] It went on to score the fourth biggest original animation opening weekend ever there, with £9.58 million ($13.4 million) from 592 theaters, trailing behind Inside Out, Monsters, Inc., and Up. Excluding previews, its total three-day opening was $8.1 million.[50][51] This was amidst Brexit and despite facing competition from Independence Day: Resurgence.[43][52] The film held off extremely well in its second and third weekend falling just 20% and 24%, earning £4.47 million ($6.1 million) and £3.62 million ($4.8 million) respectively despite facing some competitions.[53][54] It has topped the box office for three consecutive weekends and has grossed total of $41 million there.[55] In Norway, it took the number one spot as well, with $778,000.[43] It scored the biggest animation opening of 2016 and the second biggest of all time overall in both Taiwan ($2 million)—behind Madagascar, and Hong Kong ($1.9 million)—behind Inside Out.[44]

text: In Argentina, the film had a record-breaking number-one debut with $4 million from 195 screens — the biggest opening weekend ever for an animated film and the second biggest opening ever for any film (behind Furious 7). Similarly, Chile also recorded the second biggest animated opening ever with $1.7 million (behind Minions). Colombia also opened at No. 1 with a huge $1.5 million.[56] In Mexico, other than opening at No. 1, it posted the biggest original animated opening of all time with $7.6 million, surpassing the studio's own previous record holder Inside Out.[45] Also in Russia, it scored the biggest original animated opening and the second biggest ever for an animated film, behind Minions with $16.3 million, although this included $6.4 million five days worth of previews.[47] It went on to become the highest-grossing film of the summer that year.[57] In Japan, the film opened on August 11—the date of Japan's first Mountain Day national holiday—with Toho-Towa distributing, and earned $4.6 million on 370,000 admissions for its two-day opening weekend dethroning Shin Godzilla off the top spot. The cumulative total for the four-day holiday (August 11–14) was $9.7 million.[19][58] Similarly, it had number-one debuts in Germany ($7.1 million) and France ($5.9 million), Australia ($5.6 million), Italy ($5.1 million), Brazil ($4.4 million), Spain ($4.5 million), Poland ($1.7 million), Singapore ($1.3 million), Belgium ($1.2 million) and Denmark ($1.2 million), Indonesia ($1.1 million), the Philippines ($1 million), and South Africa ($463,000). In Germany, it scored the best animation opening since Minions.[45][59][60][61][62][63][64][65] It topped the box office in Israel for five straight weekends and in Australia, Russia and Spain for three weekends.[45][47][61][63] In Japan, the film was the highest-grossing foreign release of the weekend, holding the top spot for four consecutive weekends.[60]

text: In China—the world's second biggest film market—the film opened on a Tuesday, earning a modest $5.2 million on its opening day. To Sunday, it achieved a six-day opening of $29.3 million and $15.5 million for the weekend alone (Friday to Sunday), with per screen averages over $500 per screen per day. In both instances, it was behind the local film Time Raiders.[59][66][67] In South Korea, despite debuting in fifth place, it had an opening of $6.9 million.[59] Elsewhere, it grossed $2.7 million in the Netherlands, $1.2 million in Sweden and in Hungary it scored the biggest opening of the year with $738,000,[59] and also in Portugal ($965,000), Latvia ($224,000),[47] and South Africa.[64]

text: In terms of total earnings, its biggest markets are China ($58 million), United Kingdom and Ireland ($47.2 million), Japan ($41.6 million) and Russia ($34.2 million).[19][47][68] It became the third highest-grossing film of all time in Russia (behind Avatar and Zootopia)[61] and the highest-grossing film of 2016 in Spain.[20][62]

text: Critical response[edit]

text: On Rotten Tomatoes, the film has an approval rating of 75% based on 204 reviews with an average rating of 6.2/10. The site's critical consensus reads, "Fast-paced, funny, and blessed with a talented voice cast, The Secret Life of Pets offers a beautifully animated, cheerfully undemanding family-friendly diversion."[69] On Metacritic, the film has a score of 61 out of 100 based on 39 critics, indicating "generally favorable reviews."[70] Audiences polled by CinemaScore gave the film an average grade of "A–" on an A+ to F scale.[71]

text: Peter Travers of Rolling Stone gave the film three out of four stars and called it "an animated fluffball-a sort of Toy Story with pets does everything to drive you crazy and ends up being totally irresistible."[72] Scott Tobias, writing for NPR, characterized the film's concept as "Toy Story but with house pets," highlighting the film's "thinly distinguished characters" and "gloppy sentimentality."[73] Steven Rea of The Philadelphia Inquirer gave the film three out of four stars and said "In much the same way that the smash Zootopia demonstrated that creatures of different culture and class and species are better off when they come together, The Secret Life of Pets is a testament to teamwork and friendship and fixing the rifts that divide us. Let the fur – and the warm, fuzzy feelings – fly."[74]

text: However, some critics disliked the film's unexpected similarities with Pixar's Toy Story.[75] Matthew Parkinson of The Escapist compared the plots of both films and wrote that "The Secret Life of Pets feels like one of those hour-long ripoffs you'd see on a children's television network."[76] Ethan Anderton of the website /Film criticised the film's characterisation, and noted that the relationship between Max and Duke was akin to "Woody and Buzz Lightyear all over again."[77]

text: Accolades[edit]

text:
List of awards and nominations

Award
Date of ceremony
Category
Recipient(s)
Result
Ref(s)

Annie Awards
February 4, 2017
Outstanding Achievement, Character Design in an Animated Feature Production
Eric Guillon
Nominated
[78]

Outstanding Achievement, Music in an Animated Feature Production
Alexandre Desplat

British Academy Children's Awards
November 20, 2016
BAFTA Kids' Vote
The Secret Life of Pets
[79][80]

Cinema Audio Society
February 18, 2017
Outstanding Achievement in Sound Mixing for a Motion Picture – Animated
David Acord, Jason Butler, Gary A. Rizzo, Carlos Sotolongo and Frank Wolf
[81]

Hollywood Music in Media Awards
November 17, 2016
Best Original Score – Animated Film
Alexandre Desplat
Won
[82][83]

2017 Kids' Choice Awards
March 11, 2017
Favorite Animated Movie
The Secret Life of Pets
Nominated
[84]

Favorite Voice From an Animated Movie
Kevin Hart

Favorite Villain
Won

Most Wanted Pet

NAACP Image Awards
February 11, 2017
Outstanding Character Voice-Over Performance
Nominated
[85]

People's Choice Awards
January 18, 2017
Favorite Family Movie
The Secret Life of Pets
[86]

Favorite Animated Movie Voice
Kevin Hart

Producers Guild of America
January 28, 2017
Best Animated Motion Picture
Janet Healy and Chris Meledandri
[87]

text: Sequel[edit]

text: In August 2016, it was announced that there would be a sequel with director Chris Renaud, producers Chris Meledandri and Janet Healy, and writer Brian Lynch, with a release date of July 13, 2018.[88] On January 25, 2017, its release date was pushed back to July 3, 2019.[89] On August 15, 2017, its release date was moved forward to June 7, 2019.[7] In November 2017, it was announced that Louis C.K. would not be reprising his role as Max after being accused of and having admitted to inappropriate sexual conduct with five women.[90]


document_title: Puck (Glee)

question_text: who does puck end up with in glee

question_tokens: who does puck end up with in glee

text: Puck (Glee)

text: Development[edit]

text: Casting and creation[edit]

text: Puck is played by Mark Salling. He has also been portrayed as a preschooler by Matthew Lepper in the episode "The Substitute". Salling had sent 100 packets to agents and managers, and "one called me and submitted me for Glee that day in her office."[1] He had five auditions for Glee before being cast as Puck.[2]

text: Characterization[edit]

text: Salling found it challenging to make the character "more than two-dimensional so he can be likable at the same time", which necessitated "find[ing] the balance between arrogance and cocky and sensible and likable".[3] He recalled that "in the breakdown for the show, when they were describing his character in the very beginning, it's like Puck: a man-child."[4] Salling explained that Puck has "stars in his eyes, he's hoping to get out of this small town."[1] Salling gained 20 pounds (9.1 kg) before filming the pilot episode in order to better embody his football playing character. He then lost 30 pounds (14 kg) for a scene in the third episode that required him to be toned, which he described as "an extreme experience".[3]

text: Relationships[edit]

text: Puck's main basis for relationships at the beginning is sexual rather than romantic. He has sexual encounters with his female pool-cleaning clients and fellow students, including a recurrent relationship with cheerleader Santana Lopez (Naya Rivera) that seems to be casual, though Santana confronts both Mercedes Jones (Amber Riley) and Lauren Zizes (Ashley Fink) when Puck starts pursuing them in the first and second seasons respectively. He falls in love with Quinn Fabray (Dianna Agron) after he takes her virginity and impregnates her despite the fact that she's dating his best friend Finn Hudson (Cory Monteith) at the time, but he can't give up flirting with and seducing others even when Quinn contemplates raising the baby-to-be with him as he wants rather than giving it up for adoption, since she refuses to have sex with him again. The brief pairing of Puck with Rachel Berry (Lea Michele) in the episode "Mash-Up", spurred by his mother urging him to find a Jewish girlfriend, dissolves because he wants Quinn and she wants Finn. Series creator Ryan Murphy was surprised by the positive fan response to their pairing, which he described as "strange and bizarre", explaining that he had believed fans would prefer Rachel to be with Finn. As a result of the response, Murphy planned to revisit their romance later in the season,[5] though nothing much came of it.

text: In the second season, Puck recruits Lauren to join the glee club when the club needs a twelfth member in order to participate in the Sectionals competition. Within a couple of months, he has fallen in love with her, but she doesn't succumb to his blandishments, and he's forced to woo her over a long period of time, starting as friends. He supports her in her first solo for glee club and runs her campaign for prom queen. They are still a couple at the end of the school year. In the fourth episode of the third season, Puck and the adoptive mother of his child Shelby Corcoran kiss. He ends the series dating Quinn.

text: Storylines[edit]

text: Season 1[edit]

text: Puck is introduced as a football player and bully at William McKinley High School; he is frequently seen throwing fellow students into dumpsters, or tossing slushies in their faces. It is later revealed that he is Jewish. He is the best friend of Finn, the quarterback,[6] and has a summer pool-cleaning business that leads to sexual encounters with his adult female clients. Despite that, he sleeps with fellow students, including in an on-again, off-again relationship with Santana Lopez (Naya Rivera), a cheerleader, which does not completely end forever until the middle of the second season.[7] Puck initially acts homophobic and mocks Finn for joining the school glee club, New Directions, but later becomes a part of glee club director Will Schuester's (Matthew Morrison) all-male a cappella group, the Acafellas, hoping to impress the mothers at a performance for the school's PTA meeting.[7] He subsequently joins New Directions along with two other members of the football team. When Finn's girlfriend Quinn is impregnated and tells Finn the baby is his, Puck realizes that he is the actual father, and offers to support Quinn. She rejects his proposal, calling him a "Lima loser".[8] Puck begins dating Rachel Berry (Lea Michele), the glee club lead vocalist, after his mother urges him to find a Jewish girlfriend; Rachel is initially resistant, but agrees after Puck sings "Sweet Caroline" for her in front of the glee club. However, Rachel later breaks up with him after a brief romance.

text: When the glee club holds a bake sale to pay for a wheelchair-accessible bus so Artie (Kevin McHale) can ride with the club to Sectionals competition, it only succeeds because Puck makes a special, popular cupcake recipe—he secretly adds pot, which gives everyone the munchies. He offers financials to Quinn to show he will be a good father and provider; she figures out that it’s the money from the bake sale, and refuses to accept it, though she expresses her gratitude and apologizes for abusing him verbally.[9] Quinn reconsiders her plan to have the baby adopted and gives Puck a chance to prove himself by helping her to babysit Terri Schuester's (Jessalyn Gilsig) three nephews. Puck impresses her, but Quinn later learns that he was sexting Santana mostly. Puck claims he will be help her to parent their child, but he cannot remain in a committed relationship with Quinn if she refuses to have sex with him; Quinn returns to her original plan of giving the baby to Terri, who is faking a pregnancy to hold on to Will.[10] Rachel begins to suspect that Puck is the father of Quinn's baby and tells Finn. Finn attacks Puck and confronts Quinn, who admits the truth. Puck again offers to be with Quinn, but she declines and tells him she wants to be alone,[11] though she moves in with Puck's family since her parents had kicked her out and she can no longer stay at Finn’s house.

text: In the episode "Laryngitis", when Puck's mohawk is shaved off by his doctor, he finds the other McKinley students no longer respect him as a badass. He romances fellow glee club member Mercedes, once a popular cheerleader, to restore his status. His plan is successful, but he and Mercedes ultimately have nothing in common, and split when she quits cheerleading and he returns to his bullying ways. In the first-season finale, "Journey to Regionals", Quinn goes into labour immediately after the club performs at the Regionals competition, and Puck is in the delivery room when Quinn give birth to a baby girl, whom Puck names Beth. When Puck and Quinn visit their baby in the hospital nursery, Puck tells Quinn that he loves her. Beth is adopted by Rachel's birth mother Shelby Corcoran (Idina Menzel), the coach of Vocal Adrenaline, the show choir that defeated New Directions at Regionals.

text: Season 2[edit]

text: In the season opener, "Audition", Puck is interviewed by blogger Jacob Ben Israel (Josh Sussman) and reveals that he had a vasectomy over the summer, saying it was the only responsible thing to do. Soon after the school year begins, Puck is arrested and sent to a juvenile detention center for driving his mother's car through a convenience store window and driving off with the ATM. He returns in "Never Been Kissed", but he is now on probation and helps Artie out in an attempt to satisfy his community service, although this is only initially because Puck claimed he was "helping a crip" and they misunderstood him. Though he acts tougher than ever to his classmates, Puck eventually confesses to Artie that he was terrified in juvie, and the two come to the agreement that Artie will tutor Puck, who has to pick up garbage to fulfill his community service requirements. In "Furt", Puck, Artie, Mike Chang and Sam Evans confront Dave Karofsky in the boys locker room to get him to stop bullying Kurt Hummel (Chris Colfer). Because he was still on probation, Puck reluctantly had to watch the beat down between Sam and Karofsky, but despite not being allowed to fight and feeling helpless about it, he showed great restraint and was still praised for standing up for Kurt. "Special Education", Puck is asked by Will to find a new glee club member to replace Kurt, who has left McKinley and New Directions. He tries to recruit from the football team, but they lock him in a port-a-potty; he is rescued the next day by Lauren Zizes (Ashley Fink), who becomes the club's new twelfth member. Puck gets intimate with Rachel at her instigation, but leaves abruptly, realizing that he doesn't want to betray Finn for a second time, though Finn dumps Rachel when she confesses to him about it. Puck and Finn finally settle their differences in "The Sue Sylvester Shuffle", and they work together to help the football team win its first-ever championship.

text: In the episode "Silly Love Songs", Puck unexpectedly falls for Lauren, and performs the song "Fat Bottomed Girls" by Queen, which expresses his love of Lauren's bigger body type, but Lauren is offended by the song. Santana, unhappy with being deserted by Puck, slaps Lauren in front of him to warn her away, and Lauren tosses her around like she was nothing, leaving her dazed. Puck immediately begs Lauren to go out with him. She ultimately agrees to go on a pre-Valentine's date with him, but stands him up. Puck clumsily tells Lauren he likes her, not because of her looks but because of her "badass-ness"; Lauren says she is not looking for something casual. They go out on Valentine's Day "as friends", though Puck is clearly hoping for more in the future. In the episode "Sexy", Lauren tells Puck she's decided to make a sex tape to help her become famous, to his delight, but their plans are dashed when substitute sex education teacher Holly Holliday (Gwyneth Paltrow) informs them that as both are underage it would be considered child pornography. As part of a class assignment in the episode "Original Song", Puck writes and sings a song for Lauren—"Big Ass Heart"—that she likes. In "Born This Way", Puck discovers that Lauren had been a child beauty queen; he tells her he will run a campaign for her to become that year’s prom queen, and be her king. After candidate Quinn insults Lauren’s candidacy, Puck helps Lauren dig up dirt on Quinn, but the tactic backfires.[12] Neither Puck nor Lauren win the race for prom queen and king,[13] but they remain a couple; they fly with the rest of New Directions to the nationals competition in New York City, where the glee club comes in twelfth out of fifty teams.[14]

text: Season 3[edit]

text: Lauren breaks up with Puck at the beginning of school year and drops out of glee club, claiming that it is hurting her reputation.[15] Shelby Corcoran, who adopted baby Beth, gets a teaching job at McKinley, and invites Puck and Quinn to be a part of Beth's life, provided they both become more responsible. Puck does so, and Shelby allows him to see Beth.[16] Quinn decides she wants to regain custody of Beth, but Puck is torn, and tells Shelby of Quinn's plans. He spends increasing amounts of time with Beth, but then falls in love with Shelby.[17] She sleeps with him once, though she tells him afterward she has made a mistake, to his disgust,[18] and subsequently resigns from McKinley.[19] One day his father visits him at work asking him for money for rent. This visit makes Puck fear that he might one day be like his father and visit Beth at work and ask her for money. He decides to be a father that Beth would be proud of and tries to do better in school and graduate with his class. After he fails his history final and discovers that he is not graduating he decides to not care about grades and flunk out. In the episode "Props", he gets into a fight with Rick "The Stick" Nelson and pulls out a knife. Coach Beiste (Dot-Marie Jones) breaks up the fight and she informs Puck that he could get expelled from school for bringing the knife. He tells her that it's a prop knife that they used in their production of West Side Story and that he does not care since he is flunking out anyway. They have a heart to heart and the next day, she tells him that what he told her in their heart to heart the day before and it gave her the strength to leave her abusive husband. She told him that she owes him big time and that she talked to his history teacher and she agreed to let Puck retake the test. In the season finale, Puck studies with Quinn's help and then retakes his final exam. He passes with a C− and graduates from McKinley.

text: Season 4[edit]

text: In the Season 4 premiere, it is revealed that Puck has a paternal half-brother named Jake (Jacob Artist) who he was not aware of, though the two are introduced to each other by Will in the following episode, "Britney 2.0", while Puck is briefly visiting Lima from his new home, Los Angeles. Jake later turns to Puck for advice over the phone on how to get Marley Rose (Melissa Benoist) to date him, and Puck subsequently invites Jake to visit him in California over the Christmas holiday; the two get matching tattoos. Puck decides to return to Lima to live, and the two Puckermans arrange for their mothers to meet on Christmas Day where the two families bond. Puck later starts dating Kitty (Becca Tobin) in order to keep her away from Jake and spoiling his budding relationship with Marley, though Puck and she break up when he moves into Finn's dorm room at the college Finn has just started attending, even though Puck is not enrolled there. He appears less frequently this season, despite still being credited as a series regular.

text: Season 5[edit]

text: Puck makes infrequent guest appearances this season. Puck is devastated by Finn's death. In "The Quarterback", three weeks after the funeral, he steals a memorial tree planted for Finn and demands that Kurt, Finn's stepbrother, give him Finn's football jacket. Coach Beiste takes him to task for being drunk regularly after so many weeks, and the two mourn Finn together, but Beiste tells him he has to guide his own life without Finn's help, and asks him to replant the tree. When he later does so, he tells her that he intends to join the Air Force. In "100" Puck comes back to McKinley to say goodbye to the Glee Club before it is disbanded. He sees Quinn and the two of them have a conversation. He is about to tell Quinn that he still has feelings for her when her boyfriend, Biff McIntosh, shows up and shows Puck that he is rude. Puck sings Avril Lavigne's song Keep Holding On to her hoping that this would win her heart, but she turns him down stating that she loves Biff. Later, Quinn and Biff are having dinner at Breadsticks when Santana, Puck, Mike, and Artie show up. They sit with Quinn at her table and Biff reveals that he doesn't know any thing about Quinn's past. Her friends tell her about her behavior in the episode The Purple Piano Project. Quinn asks Biff to get something out of the car for her and after he leaves, she asks her friends not to mention anything to Biff since she is ashamed of her past. Puck asks her if she is ever going to tell him about their relationship and their daughter, Beth, and she says that she will eventually. This somewhat angers Puck as he tells her that she can't hide from the past and should embrace it. A few days later, Puck is hanging by the school buses when he hears Quinn and Biff fighting. Biff becomes angry with her at the fact that she kept so much from him, including having a baby with Puck. He calls her a slut, causing Puck to snap and punch him. Biff punches Puck back, causing Puck to punch him once more and then throws him into the dumpster. He then tells Quinn that she can help Biff out of the dumpster or join her real friends in the choir room. Later, Puck and Quinn are in the locker room looking at Finn's plaque. Quinn tells Puck that Biff went back to Yale by himself, and the relationship is over. Puck reveals that he still has feelings for her and wants to get back together. Quinn tells Puck that she isn't going to look back to her past, as she wants to look into her future. Puck leaves the locker room heartbroken and storms down the hallway when Quinn runs after him and kisses him, agreeing to give their relationship another chance.

text: Musical performances[edit]

text: As Puck, Salling features in many songs that have been released as singles available for digital download and are also featured in the show's soundtrack albums. He usually accompanies himself on the guitar for solo songs, including "Sweet Caroline", "Only the Good Die Young", "Fat Bottomed Girls", and the song ostensibly composed by Puck, "Big Ass Heart".

text: Neil Diamond's "Sweet Caroline" was his first solo number, in the episode "Mash-Up", and received favorable reviews from critics, and also from Diamond himself, who had initially been reluctant to license the number to the show.[20] Following the episode's broadcast, Diamond posted his approval on the social networking website Twitter, writing: "Hey, so who's this guy Puck singing 'Sweet Caroline' so good, so good, so good on #Glee? Loved it!!"[21] Raymund Flandez of The Wall Street Journal described Puck's voice on the song as "earthly, sensual and full", and Entertainment Weekly's Michael Slezak said that Salling did "more than a serviceable job".[22][23] "Sweet Caroline" was released as a single, available for digital download, and charted at number 34 in the US, 22 in Canada and 37 in Australia.[24]

text: Reception[edit]

text: Critical response[edit]

text: Salling as Puck has received some positive reviews. Flandez said of Puck in the first-season episode "Mash-Up" that we finally saw him "emerging from his bonehead-punk exterior", and that he "wows us with his sensitive, cool guy turn as a solo singer" performing “Sweet Caroline”.[22] In his review of the following episode, "Wheels", Todd VanDerWerff of The A.V. Club wrote, "Mark Salling just seems to have a ridiculous amount of chemistry with all of the female cast members in the show, and it's fun to see him and Dianna Agron get in that food fight. Again, fun stuff, but a serious emotional core that keeps the show grounded."[25]

text: Television critics responded positively to the pairing of Puck and Lauren Zizes. Robert Canning of IGN said the "absolute best part" of the "Silly Love Songs" episode was Puck's "unexpected longing for Lauren Zizes."[26] Todd VanDerWerff of The A.V. Club commented: "For me, the episode's highlight was the very sweet, funny courtship between Puck and Lauren. This may be because the writers have trouble writing for a self-professed bad boy, even though his escapades are straight out of Archie comics and not actually all that “bad” at all. But it’s always fun to watch Salling sing, and it’s always fun to watch him be smitten. Fink ends up being a good match for him, chemistry-wise, as she projects a confidence and certainty that makes it immediately obvious just what Puck sees in Lauren. The storyline also played out like both characters had something approaching real feelings."[27] In the following episode, VanDerWerff found her relationship with Puck "a lot less assured" than before,[28] but Entertainment Weekly's Sandra Gonzalez deemed their scenes "as endearing as they are unrealistic",[29] and E! Online's Jenna Mullins wrote that "the ice around [her] heart melted just a bit when Puck mouthed Lauren that little bit of encouragement at the start of her solo."[30]

text: Puck and Shelby's kiss in the "Pot o' Gold" episode was characterized as "creepy" and "super awkward" by AOLTV's Crystal Bell, as either "super creepy" or "romantic" by BuddyTV's John Kubicek, and as "groan-inducing" in the "You're actually going to go there?" vein by Canning.[31][32][33] Critics were polarized by Puck and Shelby's sexual encounter in the "I Kissed a Girl" episode. Kubicek declared that "the dumbest storyline Glee has ever done gets even dumber,"[34] MTV contributor Kevin Sullivan called it "the most divisive plot line of the season",[35] and Bell asked, "Instead of these super creepy scenes between Puck and Shelby, can we please get more screen time for Shelby and Rachel?"[36]

text: Accolades[edit]

text: In 2010, Salling was nominated for the Teen Choice Award for Choice TV: Breakout Star Male for his performance as Puck. His Glee castmate, Kevin McHale (Artie), was also nominated in that category, but neither actor won the award.[37] In 2011, he was nominated for the Teen Choice Award for Choice TV: Scene Stealer Male along with Glee castmate Chris Colfer (Kurt); again, neither actor won.[38]


document_title: List of waterfalls by height

question_text: where is the world's highest waterfall located

question_tokens: where is the world 's highest waterfall located

text: List of waterfalls by height

text: The following is a list of waterfalls of the world by height. Underwater falls are not included. Each column (Waterfall, Height, Locality, Country) is sortable by using the up/down link in the column heading's at the top of each column.

text: Note: There is no standard way to measure the height of a waterfall. Since there is no standard, no ranking of a waterfall should be assumed because of its position in the list. Additionally, in many cases, numbers are merely estimates and measures may be imprecise.

text:
Waterfall
Height
Locality
Country
Image

Angel Falls
979 metres (3,212 ft)[1]
Canaima National Park, Bolívar
Venezuela

Tugela Falls
948 metres (3,110 ft)[2]
KwaZulu-Natal
South Africa

Tres Hermanas Falls
914 metres (2,999 ft)[3]
Otishi National Park, Junin
Peru

Olo'upena Falls
900 metres (2,953 ft)[4]
Molokai, Hawaii
United States

Yumbilla Falls
896 metres (2,940 ft)[5]
Amazonas
Peru

Vinnufossen
860 metres (2,822 ft)[6]
Møre og Romsdal
Norway

Balåifossen
850 metres (2,789 ft)[7]
Hordaland
Norway

Pu'uka'oku Falls
840 metres (2,756 ft)[8]
Hawaii
United States

James Bruce Falls
840 metres (2,756 ft)[9]
British Columbia
Canada

Browne Falls
836 metres (2,743 ft)[10][11]
Doubtful Sound, South Island
New Zealand

Strupenfossen
820 metres (2,690 ft)[12]
Sogn og Fjordane
Norway

Ramnefjellsfossen
818 metres (2,684 ft)[13]
Sogn og Fjordane
Norway

Waihilau Falls
792 metres (2,598 ft)[14]
Hawaii
United States

Colonial Creek Falls
788 metres (2,585 ft)[15]
Washington
United States

Mongefossen
773 metres (2,536 ft)[16]
Møre og Romsdal
Norway

Gocta Cataracts
771 metres (2,530 ft)[17]
Amazonas
Peru

Mutarazi Falls
762 metres (2,500 ft)[18]
Manicaland
Zimbabwe

Kjelfossen
755 metres (2,477 ft)[19]
Sogn og Fjordane
Norway

Johannesburg Falls
751 metres (2,464 ft)[20]
Washington
United States

Yosemite Falls
739 metres (2,425 ft)[21]
California
United States

Cascades de Trou de Fer
725 metres (2,379 ft)[22]
Réunion
France

Ølmåafossen
720 metres (2,362 ft)[23]
Møre og Romsdal
Norway

Manawainui Falls
719 metres (2,359 ft)[24]
Hawaii
United States

Kjeragfossen
715 metres (2,346 ft)[25]
Rogaland
Norway

Avalanche Basin Falls
707 metres (2,320 ft)[26]
Montana
United States

Harrison Basin Falls
707 metres (2,320 ft)[27]
Montana
United States

Haloku Falls
700 metres (2,297 ft)[28]
Hawaii
United States

Chamberlain Falls
700 metres (2,297 ft)[29]
South Island
New Zealand

Alfred Creek Falls
700 metres (2,297 ft)[30]
British Columbia
Canada

Døntefossen
700 metres (2,297 ft)[31]
Møre og Romsdal
Norway

Brufossen
698 metres (2,290 ft)[32]
Hordaland
Norway

Spirefossen
690 metres (2,264 ft)[33]
Sogn og Fjordane
Norway

Lake Unknown Falls
680 metres (2,231 ft)[34]
South Island
New Zealand

Kukenaam, Salto
674 metres (2,211 ft)[35]
Bolívar
Venezuela

Yutaj, Salto
671 metres (2,201 ft)[36]
Amazonas
Venezuela


document_title: Dave Gleeson

question_text: who is the lead singer of the screaming jets

text: Dave Gleeson

text:
Dave Gleeson
Dave Gleeson at Australian Commercial Radio Awards, in October 2012Background informationBirth name
David Sean GleesonBorn
1968 (age 49–50)Origin
Newcastle, New South Wales, AustraliaGenres
Hard rockOccupation(s)
Singer-songwriterInstruments
VocalsYears active
1985–presentAssociated acts
The Angels with Dave Gleeson, Aspect, The Screaming Jets,

text: David Sean "Gleeso" Gleeson (born June 3 1968) is the lead singer of Australian hard rock group The Screaming Jets, which formed in Newcastle.

text: Biography[edit]

text: David Sean Gleeson,[1] was born in 1968 and grew up in Newcastle. He made his stage debut in 1978, with his school choir at the Abermain Eisteddfod. At 11 years old he won $10 in a talent contest at Cardiff Worker's Club singing "Monster's Holiday" with a friend who was nude. Gleeson formed his first rock band, Aspect, in 1985, with school pal, Grant Walmsley.

text: In January 1989 Gleeson on lead vocals and Walmsley on guitar, were joined by Brad Heaney on drums, Richard Lara on guitar and Paul Woseen on bass guitar, to form The Screaming Jets as a hard rock band in Newcastle.[2][3][4] Within twelve months they had performed more than 280 live shows, they established a reputation for being one of the best young live bands in Australia, winning the praises and support slots of The Angels, The Choirboys and The Radiators.

text: By late 1989, The Screaming Jets had won youth radio station Triple J's National Band Competition. They signed a recording deal with the leading independent label rooArt. The Screaming Jets moved from their hometown Newcastle to Sydney's notorious Kings Cross district in early 1990, and recorded their debut album All For One in mostly midnight to dawn sessions at a local studio, after playing live shows seven nights a week.

text: In 2006, Gleeson appeared as the vocal coach for actress Kate Fischer in the televised celebrity singing competition It Takes Two. He returned to the show in 2007 and partnered with TV presenter, Julia Zemiro.

text: In early 2011 Gleeson was offered a radio show with the Triple M network. By mid-year he was hosting two shows, Access All Areas and Rock of Ages, interviewing artists including Jimmy Barnes and Don McLean, and giving an inside view of the music industry. Late that year Gleeson recorded an album, Take It to the Streets (31 August 2012), with his childhood idols, The Angels, as their new lead singer, and they completed a national tour.

text: In 2014, he recorded a second album with them, called Talk The Talk

text: On 19 June 2016 at the Governor Hindmarsh - Adelaide, Dave Gleeson was inducted into The South Australian Music Hall Of Fame, alongside The Angels.