document_title: J. Wellington Wimpy

question_text: who was the guy who ate hamburgers on popeye

text: J. Wellington Wimpy

text: Inspiration[edit]

text: The character seems to have been inspired by more than one person whom Segar had encountered. Wimpy's personality was based upon that of William Schuchert, the manager of the Chester Opera House where Segar was first employed. "Windy Bill," as he was known, was a pleasant, friendly man, fond of tall tales and hamburgers.[2]

text: Additional sources suggest that Segar composed the character's name from the names of two other acquaintances. According to fellow cartoonist Bill Mauldin, the name was suggested by that of Wellington J. Reynolds, one of Segar's instructors at the Chicago Art Institute.[3] In a brief 1935 interview in The Daily Oklahoman, H. Hillard Wimpee of Atlanta indicated that he was connected to the character, having worked with Segar at the Chicago Herald-Examiner in 1917. It became a custom in the office that whoever accepted an invitation for a hamburger would pay the bill. According to Wimpee, after seeing the character in the newspaper, he wrote Segar in 1922 about Wimpy, "afraid of being connected with what [Segar] was doing with [the character]." He said Segar replied, "'You haven't seen anything yet.'"[4]

text: Character[edit]

text: Wimpy is Popeye's friend. In the cartoons, he mainly plays the role of the "straight man" to Popeye's outbursts and wild antics. Wimpy is soft-spoken, very intelligent, and well educated, but also cowardly, very lazy, overly parsimonious and utterly gluttonous. He is also something of a scam artist and, especially in the newspaper strip, can be underhanded.

text: Hamburgers are Wimpy's all-time favorite food, and he is usually seen carrying or eating one or more at a time – e.g., in Popeye the Sailor Meets Sindbad the Sailor he is seen grinding meat or eating burgers almost the entire time – however, he is usually too cheap to pay for them himself. A recurring joke involves Wimpy's attempts to con other patrons of the diner into buying his meal for him. His best-known catchphrase started in 1931 as, "Cook me up a hamburger. I'll pay you Thursday." In 1932, this then became the famous, "I'll gladly pay you Tuesday for a hamburger today."[5] The phrase was also slightly altered in the episode "Spree Lunch" to "I'll have a hamburger, for which I will gladly pay you Tuesday." This phrase is now commonly used to illustrate financial irresponsibility[6][7][8] and still appears in modern comedies such as The Drew Carey Show and The Office. The initial part of the phrase was even the title of Episode 6 of the fourth season of Cheers "I'll Gladly Pay You Tuesday."

text: In Robert Altman's 1980 live-action musical film Popeye, where Wimpy was played by veteran character actor Paul Dooley, one of Harry Nilsson's original songs, "Everything Is Food," featured Dooley singing the catch-phrase, as he took a hamburger, as "I would gladly pay you Tuesday for a hamburger today." The response from the chorus, as they reclaimed the same hamburger from him, uneaten, was "He would gladly pay you Tuesday for a hamburger today." Later in the film, a sign in a restaurant reads "Positively NO CREDIT. This means YOU, Wimpy."[citation needed]

text: Wimpy had other frequently used lines in the original comic strip. On some occasions, Wimpy tries to placate someone by saying, "I'd like to invite you over to my house for a duck dinner." He then moves away quickly to a safe distance and yells, "You bring the ducks!" Another such line was, "Jones is my name...I'm one of the Jones boys" – an attempt to defuse a hostile situation with a mistaken identity. To deflect an enemy's wrath, he would sometimes indicate a third party and say, "Let's you and him fight", starting a brawl from which he quickly withdrew.

text: In popular culture[edit]

text:
During World War II, "Wimpy", in reference to the character, was the nickname given to the Vickers Wellington bomber.
Wimpy is also the namesake of the large chain of Wimpy hamburger restaurants which was founded in Chicago in the 1930s and opened in the UK in 1954; it has maintained operations overseas since 1967. Their UK website states, "The name Wimpy is believed to have come from Popeye's friend J Wellington Wimpy who loved hamburgers as much as Popeye loved spinach."[9]
Wimpy can also be found as the mascot for "Wimpy's Seafood Restaurant and Market" in Osterville, MA on Cape Cod. (Established 1938)[10]
Wimpy made a cameo appearance (as an in-gag to both his facial features; in the context of beef related heart disease and affinity for hamburgers) in the Family Guy episode "McStroke".
Wimpy has appeared in two episodes of the Adult Swim animated series Robot Chicken, often using his "I'll gladly pay you Tuesday" line to buy hamburgers. Often it fails. Voiced by Scott Adsit.
In the Good Eats second season episode "Daily Grind" (aka "A Grind is a Terrible Thing to Waste"), Alton Brown prepares the "perfect burger" (as well as meatloaf & meatballs) for a character named "J. Wellington Whimpy" (misspelled, but looking mostly like the version of Wimpy played by Paul Dooley in the Popeye film) played by then cast regular Steve Rooney.[11]
In the final Pooch the Pup cartoon called She Done Him Right, a dog character looking like Wimpy is seen playing a slot machine.[12]
Wimpy's famous catchphrase gives the name to the hamburger review website A Hamburger Today.[13]
Wimpy is also the focus of an animated Bank of America commercial in which he uses a new smartphone app to finally pay for the food he mooched from his friends.[14]
Season 4 Episode 6 of Cheers is named "I'll Gladly Pay You Tuesday".
In the hit video game World of Warcraft, an NPC can be heard repeating "I'll gladly pay you Tuesday for a hamburger today" in the city of Stormwind.


document_title: Cabbage patch dance

question_text: when did the cabbage patch dance come out

root

text: Cabbage patch dance

text: The cabbage patch dance is a dance involving putting the hands together in the form of fists and moving them in a horizontal, circular motion.[1][2]  The Gucci Crew II had a song describing the dance,[3] as well as Dr. Dre and DJ Yella (of the rap group N.W.A.) in 1987.[4] The dance they made was featured in the song "The Cabbage Patch." It soon became very popular, showing up in many dance clubs in America. The dance's name is derived from the popular line of dolls "The Cabbage Patch Kids" or the use of "cabbage" as slang for paper money. There are many on-line videos showing how to do the dance.[5][6] The dance was originally celebratory and often associated with being super cool and rad.[7]

tag: p


document_title: Major League Baseball schedule

question_text: when did the baseball season go to 162 games

text: Major League Baseball schedule

text: Historical season schedules[edit]

text: This account gives the length of the major league "championship season" schedule by league and year. It does not cover the curtailment of play by war (1918) or by strikes and lockouts (1972, 1981, 1994). The schedules for 1995 were revised and shortened from 162 to 144 games, after late resolution of the strike that had begun in 1994 required a delay in the season to accommodate limited spring training.

text: The listed years are those in which the league revised its schedule. For example, the National League (NL) scheduled 84 games during 1879, 1880, 1881, and 1882 – that is, four seasons from 1879, ending before 1883, the next listing. 1876 is listed here for convenience although the NL did not schedule games (see 1871 to 1876, below).

text: National League[edit]

text:
Start year
Total Games
Schedule

1876
70
10 games × 7 opponents – matches scheduled by the two clubs (as previously, below)

1877
60
12 games × 5 opponents – the first league schedule

1879
84
12 games × 7 opponents

1883
98
14 games × 7 opponents

1884
112
16 games × 7 opponents

1886
126
18 games × 7 opponents

1888
140
20 games × 7 opponents

1892
154
14 games × 11 opponents

1893
132
12 games × 11 opponents

1898
154
14 games × 11 opponents

1900
140
20 games × 7 opponents

1904
154
22 games × 7 opponents

1919
140
20 games × 7 opponents

1920
154
22 games × 7 opponents

1962
162
18 games × 9 opponents

1969
162
18 games × 5 opponents in-division, 12 × 6 interdivision games
(yielding 90 intra- and 72 inter-division games)

1993
162
expansion – 13 games × 6 opponents in-division, 12 × 7 interdivision games
(78 intra- and 84 inter-division)

1994
162
leagues split into 3 divisions – schedules based on 1993 alignments

1997
162
inter-league play introduced – opponent schedules vary

1998
162
expansion – opponent schedules vary

2013
162
19 games × 4 opponents within same division (76 games), 6 or 7 games x 10 opponents interdivision within same league (66 games), 20 interleague games[2]

tag: table

text: American League[edit]

text:
Start year
Total Games
Schedule

1901
140
20 games × 7 opponents

1904
154
22 games × 7 opponents

1919
140
20 games × 7 opponents

1920
154
22 games × 7 opponents

1961
162
18 games × 9 opponents

1969
162
18 games × 5 opponents in-division, 12 × 6 interdivision games
(yielding 90 intra- and 72 inter-division games)

1977
162
expansion – 15 games × 6 opponents in-division, 10 or 11 × 7 interdivision games
(90 intra- and 72 inter-division, as previously)

1979
162
13 games × 6 opponents in-division, 12 × 7 interdivision games
(78 intra- and 84 inter-division)

1994
162
leagues split into 3 divisions – schedules based on 1993 alignments

1997
162
inter-league play introduced – opponent schedules vary

1998
162
expansion – opponent schedules vary

2013
162
19 games × 4 opponents within same division (76 games), 6 or 7 games x 10 opponents interdivision within same league (66 games), 20 interleague games[2]

text: American Association[edit]

text: 1882 – 1891

text: Thus the AA expanded its schedule to 140 games two years before the National League did so. After 1891 four AA clubs joined the NL and four were bought out, nominally creating one big league, the "National League and American Association" of 12 clubs.

text: Union Association[edit]

text: Players' League[edit]

text: Federal League[edit]

text: 1914: 1915

text: National Association of Professional Base Ball Players[edit]

text: The National Association of Professional Base Ball Players (1871–1875) did not schedule games, nor did it control the number of teams, a major reason for its demise after the 1875 season. Clubs paid a $10 entry fee, later $20, to enter the Association for one season, and thereby declare for that year's national championship. Without continuing membership or heavy investment, there was little to deter a team from breaking a commitment, and though it happened, it was mainly due to clubs going out of business.

text: The National League organized for 1876 on a different basis, granting exclusive memberships to eight clubs that would continue from year to year — it was generally expected, if only because membership would be profitable. But the new league followed its predecessor in merely agreeing that each club would play a certain number of matches to a decision (excluding ties) by a certain date. Boston played 70 games with its quota of ten decisions against every rival. The others achieved 56 to 68 decisions, 64 to 66 for the four western teams as the teams from New York and Philadelphia (eastern) abandoned their schedule-concluding road trips.

text: For all six early seasons, prior to the first league schedule in 1877, member clubs scheduled their own matches by mutual arrangement, including championship games necessarily with member clubs, other games with members, and games with non-member clubs. Some may have practically dictated their arrangements with some others, but there was no central control or coordination.

text: This listing gives the greatest number of games played by any club for each season. Naturally, the leader by games played was always a strong club fielding one of the better gate attractions.

text: The leading numbers of games played to a decision were 33, 54, 59, 71, 82, and 70 decisions; by the listed teams except the Mutuals in 1872.

text: Recent season schedules[edit]

text: 1998 to 2012[edit]

text: Since 1998, there have been 30 major league teams with a single advance schedule for every season that comprises 2430 games. Each team plays 162 games, 81 as the "home" team, 81 as the "visitor". (This is true even on the rare occasion when a game is played at a ballpark not home to either team.) Occasionally, the advance schedule is subsequently altered due to a game postponement or a one-game tie-breaker to determine which team will play in the postseason.

text: Before 2013 the schedule included 252 "interleague games" that matched one team from the American League and one from the National League; the other 2178 games matched a pair from within one league. About half of the latter matched teams from within one division and about half matched teams from different divisions in one league. In the Central Division of the National League, which alone had six teams, every pair of division rivals played 15 or 16 games. Within the other, smaller divisions every pair of teams played 18 or 19 games.

text: Division games (1091). There are 61 pairs of teams from within one division.

text:
25 pairings will play 19 games each (475 games)
21 pairings will play 18 games each (378 games)
13 pairings will play 16 games each (208 games) – most NL Central pairings
2 pairings will play 15 games each (30 games) – two NL Central pairings
Total: 1091 games.

tag: ul

text: Other intraleague games (1087). There are 150 pairs of teams from two different divisions within one league.

text:
23 pairings will play 10 games each (230 games)
15 pairings will play 9 games each (135 games)
8 pairings will play 8 games each (64 games)
34 pairings will play 7 games each (238 games)
70 pairings will play 6 games each (420 games)
Total: 1087 games.

text: Interleague play[edit]

text: The schedule for interleague play comprised 84 three-game series in each season from 1998 to 2012, divided as six series (18 games) for each of fourteen AL teams and as many as six for each of sixteen NL teams.

text: Among the 224 interleague pairs of teams, 11 played six games every year, which were scheduled in two three-game series "home and home", or one at each home ballpark. Five of these 11 special arrangements matched two teams in the same city or in neighboring cities, where they wholly or partly share territorial rights. Six were regional matches at greater distance, four of which were in the same state.

text:
Baltimore vs. Washington
Chicago Cubs (North Side) vs. Chicago White Sox (South Side)
Cincinnati vs. Cleveland
Miami vs. Tampa Bay (Tampa/St. Petersburg)
Houston vs. Texas (Arlington)
Kansas City vs. St. Louis
Los Angeles Angels vs. Los Angeles Dodgers
Milwaukee vs. Minnesota (Minneapolis/St. Paul)
New York Mets (Queens) vs. New York Yankees (Bronx)
Oakland vs. San Francisco
San Diego and Seattle

text: These special local and regional series accounted for 66 interleague games annually from 1998-2012, and the other 186 games were determined by rotation.

text: 9/11 rescheduling[edit]

text: The 2001 season was suspended for one week due to the September 11 terrorist attacks and resulting disruptions in travel, resulting in games scheduled for September 11–16 being rescheduled to the first week of October and the playoffs and World Series being rescheduled one week later than their originally planned dates, which resulted in the World Series continuing into early November.

text: Schedule changes for 2013, precipitated by realignment that created two equal-sized leagues of 15 teams each, gave every team 20 interleague games.[2] Sixteen of which were determined by a match of divisions, one from each league; all teams in a given division play all teams in a given division from the other league. (Each plays a three-game series against four teams from the designated division and two two-game series against the remaining team.)

text: The matched divisions rotate annually:

text:
AL East vs. NL West (2013), vs. NL Central (2014)
AL Central vs. NL East (2013), vs. NL West (2014)
AL West vs. NL Central (2013), vs. NL East (2014)

text: Each team played its four other interleague games against a designated "natural rival", with two games in each club's city. Thus all 30 teams, rather than 22 of 30 as previously, were deemed to have a natural rival in the other league. In 2013 the natural rivalry games were all scheduled for May 27 to May 30 (Memorial Day weekend) but in 2014 their scheduled dates range from May to August.

text: Ten of the natural rivalries from 2012 and earlier continued, while the Houston–Texas "Lone Star" rivalry had been transformed into an intra-division one with 19 games played. Five of the special arrangements were new in 2013 , including one each for Houston and Texas.

text:
Baltimore vs. Washington
Boston vs. Philadelphia
New York Mets (Queens) vs. New York Yankees (Bronx)
Miami vs. Tampa Bay (Tampa/St. Petersburg)
Toronto vs. Atlanta
Chicago Cubs (North Side) vs. Chicago White Sox (South Side)
Cincinnati vs. Cleveland
Detroit vs. Pittsburgh
Kansas City vs. St. Louis
Milwaukee vs. Minnesota (Minneapolis/St. Paul)
Houston vs. Colorado
Los Angeles Angels of Anaheim vs. Los Angeles Dodgers
Oakland vs. San Francisco
San Diego vs. Seattle
Texas vs. Arizona

text: For 2014, four (4) of the five (5) new rivalries have been revised (‡), all except Detroit and Pittsburgh.

text:
Baltimore and Washington
Boston vs. Atlanta (until 1952, both teams were based in Fenway–Kenmore)
New York Mets (Queens) vs. New York Yankees (Bronx)
Miami vs. Tampa Bay (Tampa/St. Petersburg)
Toronto vs. Philadelphia
Chicago Cubs (North Side) vs. Chicago White Sox (South Side)
Cincinnati vs. Cleveland
Detroit vs. Pittsburgh
Kansas City vs. St. Louis
Milwaukee vs. Minnesota (Minneapolis/St. Paul)
Houston vs. Arizona
Los Angeles Angels of Anaheim vs. Los Angeles Dodgers
Oakland vs. San Francisco
San Diego vs. Seattle
Texas vs. Colorado

text: Every team now plays 19 games against each of 4 opponents within its division (76 games), and 6 or 7 games against each of 10 opponents from other divisions within its own league (66 games).

text: When corresponding divisions (i.e. NL East vs. AL East) play each other, a slight adjustment was made to the interleague games. Teams now play 6 games against their rival and 4 games (home and home) against two opponents plus one home and one away 3 game series (14 total) against the other four teams in the opposing division. This was done in 2015, and will next occur in 2018.

text: Under the new collective bargaining agreement reached in December 2016, several changes were done to the scheduling pattern for the 2018 season. The overall length of the season has been extended to 187 days with the addition of four off-days for all teams. All teams will play on Opening Day, which for 2018 will be held on March 29. Sunday Night Baseball will no longer be played on the final Sunday before the All-Star Game, in order to ease travel time for those who are participating in the Home Run Derby. A single, nationally televised afternoon game will be played the following Thursday, with all other teams returning to play on Friday.[3][4]

text: Time of first pitch[edit]

text: Start of Major League Baseball games depends on days of the week, game number in series, holidays, and other factors. Most games start at 7pm in the local time zone, so there are more night games than day games even though baseball is traditionally played during the day. The reason why there are more night baseball games is to attract more fans to ballparks as well as viewers from home because most fans would be at work or school during the day. On Mondays (excluding Opening Day and holidays), Tuesdays, and Fridays, games are almost exclusively played at night except for Cubs home games. Getaway days, days on which teams play their last game of the series before departing for another series in another city the next day, are usually day games, mainly Sundays, Wednesdays, and Thursdays. On Sundays, usually all but one are day games, with the final game reserved for ESPN's Sunday Night Baseball.

text: About half of Saturday games are day games (1, 2 or 4pm ET). In some markets, Saturday night start an hour earlier than usual night start times, but other cities start Saturday night games at the same time as weeknight games. In conclusion, weekday games are only played at night except for getaway days while many weekend games are played during the day.

text: The initial pitch typically occurs 5 or 10 minutes after the hour, in order to allow time for pre-game ceremonies.


document_title: Health care in Australia

question_text: when did private health insurance start in australia

text: Health care in Australia

text: Statistics[edit]

text: In 2005/2006 Australia had (on average) 1 doctor per 322 people and 1 hospital bed per 244 people.[2] At the 2011 Australian Census 70,200 medical practitioners (including doctors and specialist medical practitioners) and 257,200 nurses were recorded as currently working.[3]

text: In a sample of 13 developed countries Australia was eighth in its population weighted usage of medication in 14 classes in 2009 and also in 2013. The drugs studied were selected on the basis that the conditions treated had high incidence, prevalence and/or mortality, caused significant long-term morbidity and incurred high levels of expenditure and significant developments in prevention or treatment had been made in the last 10 years. The study noted considerable difficulties in cross border comparison of medication use.[4]

text: Australia's health expenditure to GDP ratio (~9.5%) in 2011-2012, was slightly above average compared with other OCED countries.[5]

text: Medicare[edit]

text:
Financial
year
 % of GDP
Current price
($ billions)

1981–82
6.3
10.8

1991–92
7.2
30.5

2001–02
8.4
63.1

2008–09
9.0
114.4

2009–10
9.4
121.7

2010–11
9.3
131.6

2011–12
9.5
142.0

2012–13
9.7
147.0

2013–14
9.8
154.6

2014–15
10.0
161.6

Source: Australian Institute of Health and Welfare [6]

text: Australia's universal health care system is primarily funded by Medicare, which funds a large part of the cost of health services, including those in public hospitals. Medicare is funded partly by a 2% Medicare levy[7] (with exceptions for low-income earners), with any shortfall being met by the government from general revenue.

text: The amount paid by Medicare includes:

text:
patient health costs based on the Medicare benefits schedule. Typically, Medicare covers 75% of general practitioner, 85% of specialist and 100% of public in-hospital costs.
patients may be entitled to other concessions or benefits[8]
patients may be entitled to further benefits once they have crossed a so-called safety net threshold, based on total health expenditure for the year.[8]

tag: ol

text: Government expenditure on health care is about 67% of the total, below the OECD average of 72%.[9]

text: The remainder of health costs (called out of pocket costs or the copayment) are paid by the patient, unless the provider of the service chooses to use bulk billing, charging only the scheduled fee, leaving the patient with no out of pocket costs. Where a particular service is not covered, such as dentistry, optometry, and ambulance transport,[10] patients must pay the full amount, unless they hold a Health Care card, which may entitle them to subsidised access. Services not covered by Medicare may be covered, in whole or in part, by health insurance.

text: Health insurance[edit]

text: An additional levy of 1% is imposed on high-income earners without health insurance. Individuals can take out health insurance to cover out-of-pocket costs, with either a plan that covers just selected services, to a full coverage plan. In practice, a person with health insurance may still be left with out-of-pocket payments, as services in private hospitals often cost more than the insurance payment.

text: The government encourages individuals with income above a set level to privately insure. This is done by charging these (higher income) individuals a surcharge of 1% to 1.5% of income if they do not take out health insurance, and a means-tested rebate. This is to encourage individuals who are perceived as able to afford private insurance not to resort to the public health system,[11] even though people with valid private health insurance may still elect to use the public system if they wish.

text: Funding of the health system in Australia is a combination of government funding and private health insurance. Government funding is through the Medicare scheme, which subsidises out-of-hospital medical treatment and funds free universal access to hospital treatment. Medicare is funded by a 2% tax levy on taxpayers with incomes above a threshold amount, with an extra 1% levy on high income earners without private health insurance, and the balance being provided by the government from general revenue.[12]. Healthcare is only 9% of Australia's GDP. [13]

text: Health insurance funds private health and is provided by a number of health insurance organisations, called health funds. The largest health fund with a 30% market share is Medibank. Medibank was set up to provide competition to private "for-profit" health funds. Although government owned, the fund has operated as a government business enterprise since 2009, operating as a fully commercialised business paying tax and dividends under the same regulatory regime as do all other registered private health funds. Highly regulated regarding the premiums it can set, the fund was designed to put pressure on other health funds to keep premiums at a reasonable level.[14][15] The Coalition Howard Government had announced that Medibank would be sold in a public float if it won the 2007 election,[16] however they were defeated by the Australian Labor Party under Kevin Rudd which had already pledged that it would remain in government ownership. The Coalition under Tony Abbott made the same pledge to privatise Medibank if it won the 2010 election but was again defeated by Labor. Privatisation was again a Coalition policy for the 2013 election, which the Coalition won. However, public perception that privatisation would lead to reduced services and increased costs makes privatising Medibank a "political hard sell."[15]

text: Some health insurers are "for profit" enterprises, and some are non-profit organisations such as HCF Health Insurance and CBHS Health Fund. Some have membership restricted to particular groups, some focus on specific regions – like HBF which centres on Western Australia, but the majority have open membership as set out in the PHIAC annual report.[17] Membership to most of these funds is also accessible using a comparison websites or the decision assistance sites. These sites operate on a commission-basis by agreement with their participating health funds and allow consumers to compare policies before joining online.

text: Most aspects of health insurance in Australia are regulated by the Private Health Insurance Act 2007. Complaints and reporting of the health industry is carried out by an independent government agency, the Private Health Insurance Ombudsman.[18] The ombudsman publishes an annual report that outlines the number and nature of complaints per health fund compared to their market share.[19]

text: The private health system in Australia operates on a "community rating" basis, whereby premiums do not vary solely because of a person's previous medical history, current state of health, or (generally speaking) their age (but see Lifetime Health Cover below).[20] Balancing this are waiting periods, in particular for pre-existing conditions (usually referred to within the industry as PEA, which stands for "pre-existing ailment"). Funds are entitled to impose a waiting period of up to 12 months on benefits for any medical condition the signs and symptoms of which existed during the six months ending on the day the person first took out insurance. They are also entitled to impose a 12-month waiting period for benefits for treatment relating to an obstetric condition, and a 2-month waiting period for all other benefits when a person first takes out private insurance.[20] Funds have the discretion to reduce or remove such waiting periods in individual cases. They are also free not to impose them to begin with, but this would place such a fund at risk of "adverse selection", attracting a disproportionate number of members from other funds, or from the pool of intending members who might otherwise have joined other funds. It would also attract people with existing medical conditions, who might not otherwise have taken out insurance at all because of the denial of benefits for 12 months due to the PEA Rule. The benefits paid out for these conditions would create pressure on premiums for all the fund's members, causing some to drop their membership, which would lead to further rises, and a vicious cycle would ensue.

text: There are a number of other matters about which funds are not permitted to discriminate between members in terms of premiums, benefits or membership – these include racial origin, religion, sex, sexual orientation, nature of employment, and leisure activities. Premiums for a fund's product that is sold in more than one state can vary from state to state, but not within the same state.

text: The Australian government has introduced a number of incentives to encourage adults to take out private hospital insurance. These include:

text:
Lifetime Health Cover: If a person has not taken out private hospital cover by 1 July after their 31st birthday, then when (and if) they do so after this time, their premiums must include a loading of 2% per annum. Thus, a person taking out private cover for the first time at age 40 will pay a 20% loading. The loading continues for 10 years. The loading applies only to premiums for hospital cover, not to ancillary (extras) cover.
Medicare Levy Surcharge: People whose taxable income is greater than a specified amount (in the 2011/12 financial year $80,000 for singles and $168,000 for couples[21]) and who do not have an adequate level of private hospital cover must pay a 1% surcharge on top of the standard 1.5% Medicare Levy. The rationale is that if the people in this income group are forced to pay more money one way or another, most would choose to purchase hospital insurance with it, with the possibility of a benefit in the event that they need private hospital treatment – rather than pay it in the form of extra tax as well as having to meet their own private hospital costs.

The Australian government announced in May 2008 that it proposes to increase the thresholds to $100,000 for singles and $150,000 for families. These changes require legislative approval. A bill to change the law was introduced but was not passed by the Senate. A changed version was passed on 16 October 2008. There have been criticisms that the changes will cause many people to drop their private health insurance, causing a further burden on the public hospital system, and a rise in premiums for those who stay with the private system. Other commentators believe the effect will be minimal.[22]

Private Health Insurance Rebate: The government subsidises the premiums for all health insurance cover, including hospital and ancillary (extras), by 10%, 20% or 30%. In May 2009, The Rudd Labor government announced that as of June 2010, the rebate would become means-tested and offered on a sliding scale.

text: Programs and bodies[edit]

text: Federal initiatives[edit]

text: Medicare Australia is responsible for administering Medicare, which provides subsidies for health services. It is primarily concerned with the payment of doctors and nursing staff, and the financing of state-run hospitals.

text: The Pharmaceutical Benefits Scheme provides subsidised medications to patients. The level of subsidy depends on the above noted tests. Low income earners may receive a card that entitles the holder to cheaper medicines under the PBS. A National Immunisation Program Schedule that provides many immunisations free of charge by the federal government, the Australian Organ Donor Register, a national register which registers those who elect to be organ donors. Registration is voluntary in Australia and is commonly recorded on a driver's licence or proof of age card are also managed by the federal government.

text: The Therapeutic Goods Administration is the regulatory body for medicines and medical devices in Australia. At the borders the Australian Quarantine and Inspection Service is responsible for maintaining a favourable health status by minimising risk from goods and people entering the country.

text: The Australian Institute of Health and Welfare (AIHW) is Australia's national agency for health and welfare statistics and information. Its biennial publication Australia's Health is a key national information resource in the area of health care. The Institute publishes over 140 reports each year on various aspects of Australia's health and welfare. The Food Standards Australia New Zealand and Australian Radiation Protection and Nuclear Safety Agency also play a role in protecting and improving the health of Australians.[23]

text: State programmes[edit]

text: Public Hospitals Each state is responsible for the operation of public hospitals.

text: Healthcare Initiatives State based projects are regularly set up to target specific problems such as breast cancer screening programs, indigenous youth health programs or school dental health

text: Non-government organisations[edit]

text: The Australian Red Cross Blood Service collects blood donations and provides them to Australian Healthcare Providers. Other health services such as Medical imaging (MRI and so on) are often provided by private corporations, but patients can still claim from the government if they are covered by the Medicare Benefits Schedule. The National Health and Medical Research Council (NHMRC) funds competitive health and medical research, and develops statements on policy issues.[23]

text: Issues[edit]

text: Workforce[edit]

text: In a report published by HealthWorkforce Australia in March 2012, a shortage of nearly 3,000 doctors, over 100,000 nurses and more than 80,000 registered nurses was predicted in the year 2025. In the conclusion of the report, the HWA explains: "For nurses, given the size of the projected workforce shortages presented in this report, HWA will conduct an economic analysis to quantify the cost to allow an assessment of the relative affordability of the modelled scenarios to close the projected gap." Governments, Higher Education and Training, Professions and Employers are also identified as key players in the process of addressing future challenges.[24]

text: Quality of care[edit]

text: In an international comparative study of the health care systems in six countries (Australia, Canada, Germany, New Zealand, the United Kingdom and the United States), found that "Australia ranks highest on healthy lives, scoring first or second on all of the indicators", although its overall ranking in the study was below the UK and Germany systems, tied with New Zealand's and above those of Canada and far above the U.S.[25][26]

text: A global study of end of life care, conducted by the Economist Intelligence Unit, part of the group which publishes The Economist magazine, published the compared end of life care, gave the highest ratings to Australia and the UK out of the 40 countries studied, the two country's systems receiving a rating of 7.9 out of 10 in an analysis of access to services, quality of care and public awareness.[27]

text: Rural and Remote Health Care[edit]

text: Health care services, their availability and the health outcomes of those who live in rural and remote parts of Australia can differ greatly from metropolitan areas. In recent reports, the Australian Institute of Health and Welfare noted that "compared with those in Major Cities, people in regional and remote areas were less likely to report very good or excellent health"[6], with life expectancy decreasing with increasing remoteness: "[c]ompared with Major Cities, the life expectancy in regional areas is 1–2 years lower and in remote areas is up to 7 years lower."[7] It was also noted that Aboriginal and Torres Strait Islander peoples experienced worse health than non-Indigenous Australians.[8]

text: Initiatives[edit]

text:
DisabilityCare Australia
Healthdirect – Healthdirect provides easy access to trusted, quality health information. Healthdirect is funded by the Australian Governments.[28]
DoctorConnect – To encourage overseas doctors to work in Australia.[29]
HealthcareLink – Australia's first healthcare and medical job board was created to eliminate the challenges faced by many Australian healthcare employers and employees in both sourcing quality candidates and finding suitable job opportunity.[30]

text: Peak bodies[edit]

text:
Australian Medical Association
Royal Australian College of General Practitioners


document_title: Gibson Les Paul

question_text: when was the first gibson les paul made

question_tokens: when was the first gibson les paul made

text: Gibson Les Paul

text: History[edit]

text:
External images

Prototypes on Rock and Roll Hall of Fame and Les Paul House of Sound (2009)

 "The Log" prototype

 "The Log" (c.1940)[4][note 1]

 Les Paul's electric guitar "Clunker"
based on 1942 Epiphone Broadway[5][6]

 1951 Les Paul prototype (refinished)[7][note 2] with Les Paulverizer (a triggering device for sound-on-sound performance)[8]

 1951 Les Paul prototype (white)[note 3]

text: Origins (1950–1952)[edit]

text: In 1950, the ancestors of Fender Telecaster (Fender Esquire and Fender Broadcaster) were introduced to the musical market and solid-body electric guitars became a public craze. In reaction to market demand, Gibson Guitar president Ted McCarty brought guitarist Les Paul into the company as a consultant. Les Paul was a respected innovator who had been experimenting with guitar design for years. He hand-built a solid-body prototype called "The Log", often suggested as the first solid-body Spanish guitar ever built. "The Log" was given its name from the pine block running through the middle of the guitar whose width and depth are a little more than the width of the fretboard; conventional hollow guitar sides or "wings" were added for shape. Although numerous other prototypes and limited-production solid-body models by other makers have since surfaced, it is known that in 1945–1946, Les Paul had approached Gibson with "The Log" prototype, but his solid body design was rejected.[9][10]

text: In 1951, Paul, McCarty, and his team at the Gibson Guitar Corporation began work on what would eventually become the Les Paul Model. Early prototypes are very similar to the final version.[11] The new Les Paul guitar was to be an expensive, well-made instrument in accordance with Gibson's reputation at the time.[9] Although recollections differ regarding who contributed what to the Les Paul design, it was far from a replica of rival guitar manufacturer Fender's models.

text: Additionally, Gibson's president Ted McCarty stated that the Gibson Guitar Corporation approached Les Paul for the right to imprint the musician's name on the headstock with the intention of increasing sales; in 1951, Gibson presented Paul a nearly finished instrument for approval. Subsequently, McCarty claimed that design discussions with Les Paul were limited to the tailpiece and the fitting of a maple cap over the mahogany body for increased density and sustain, which Les Paul had requested reversed. However, this reversal would have caused the guitar to become too heavy, and Paul's request was refused.[12] Paul states that the original Custom should have had the maple cap and the Goldtop was to be all mahogany. The Custom did not appear on the market for another two years following the introduction of the Goldtop; it is possible that Gibson had planned a full model range of guitars (with a roll-out over the course of several years) at the time when initial specifications were being set. Les Paul's contributions to the guitar line bearing his name were more than cosmetic, but certainly included them. For example, Paul specified that the guitar be offered in a gold finish, not only for flashiness, but to emphasize the high quality of the Gibson Les Paul instrument.[12] The later-issue Les Paul models included flame maple (tiger stripe) and "quilted" maple tops, again in contrast to the competing Fender line's range of car-like custom color finishes.

text: The 1952 Les Pauls featured two P-90 single coil pickups, and a one-piece, 'trapeze'-style bridge/tailpiece with strings fitted under (instead of over) a steel stop-bar.[note 4]

text: The guitar made its public debut when Paul used it onstage in June, 1952, at the Paramount theatre in New York. On July 24, 1952, at a special musicians clinic at the Waldorf-Astoria hotel, it was previewed by prominent guitarists such as Tiger Haynes, George Barnes, Mundell Lowe, Tony Mottola, and Billy Mure.[13] The clinic preceded the annual NAMM Show held at the New Yorker hotel starting July 27, where the guitar was first received by the general public at Gibson's exhibit in rooms 611 through 615.[13]

text: Mid-1950s (1953–1957)[edit]

text: This section needs expansion. You can help by adding to it. (January 2015)

text: A second Les Paul model was introduced in 1953. Called the Les Paul Custom, this black guitar with gold-plated hardware was dubbed the "Black Beauty". Various bridge and tailpiece designs were added in 1953 and 1954, including the popular Tune-o-matic bridge. The Goldtop and Custom models continued without significant changes until 1957. In 1957, P-90 pickups were no longer offered on Les Pauls. New humbucker pickups designed by Seth Lover in 1955 (U.S. Patent 2,896,491) debuted on Les Pauls in 1957. This innovation in pickups became the flagship pickup design most associated with Gibson. Many other guitar companies followed suit, outfitting their electrics with versions of the humbucking pickup.

text: Sunburst failure and resurgence (1958–1968)[edit]

text: In 1958, the Les Paul saw its first major design change. A new model, called the Standard, retained most features of the 1957 Goldtop. However, Standards featured a cherry-red sunburst finish. These guitars were priced higher than the Goldtop models, but lower than the Customs. At this time, Gibson instruments were marketed toward an older, jazz-oriented audience rather than young burgeoning guitarists. As a result, over the three-year period of production, only c. 1,700 Standards were made.

text: These Les Pauls were considered to be too heavy and old-fashioned, and they initially did not find favor amongst guitarists. In 1961, Gibson stopped producing the traditional Les Paul in favor of a lighter redesign which was later called the SG. The mid-1960s, however, brought a resurgence of interest in the Les Paul Standard. In 1964, The Rolling Stones' Keith Richards began using a sunburst, 1959 Les Paul Standard – becoming the first "star-guitarist" to play a Les Paul on the British scene.[14][15] The guitar, outfitted with a Bigsby tailpiece, served as one of the guitarist's prominent instruments and provided the first impetus to the use of Les Pauls during the British blues boom.[16][17] In 1965, Eric Clapton began using Les Pauls because of the influence of Freddie King and Hubert Sumlin, and played a 1960 Standard on the groundbreaking album Blues Breakers with Eric Clapton.[18][19][20] In America, Mike Bloomfield began using a 1954 Les Paul goldtop while touring with the Paul Butterfield Blues Band, and recorded most of his work on the band's East-West album with that guitar. A year later, he traded it for a 1959 Standard with which he became most identified. By 1967, Jerry Garcia of the Grateful Dead was using mid-1950's, P-90 pickup-equipped goldtops or black custom models, which he used through 1968.[21] Concurrently, artists such as Peter Green, Jeff Beck, Paul Kossoff, and Jimmy Page began using sunburst Les Paul Standards in the late 1960s. Responding to this influence and increased pressure from the public, Gibson reintroduced the Les Paul single-cutaway guitar in July 1968, and the guitar remains in production today.

text: ECL and Norlin-era (1969–85)[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. (January 2015) (Learn how and when to remove this template message)

text: In 1969, Gibson's parent company (Chicago Musical Instruments) was taken over by the conglomerate ECL.[22][23] Gibson remained under the control of CMI until 1974 when it became a subsidiary of Norlin Musical Instruments.

text: These ownership changes, often called the "Norlin Era", caused Gibson products of the time to decline in quality. Les Paul designs were altered and a reinforced upper neck volute to decrease headstock breaks was added. Neck woods were changed from one-piece mahogany to a three-piece maple design. The body was also changed from one-piece mahogany with a maple top to multiple slabs of mahogany with multiple pieced maple tops. This is referred to as "multipiece" construction, and sometimes incorrectly referred to as a "pancake" body. The expression "pancake body" actually refers to a body made of a thin layer of maple sandwiched between two slabs of mahogany, with a maple cap. The grain of the maple was placed at 90 degrees to that of the mahogany. The "pancake"-like layers are clearly visible when looking at the edge of the guitar. This process is also known as "crossbanding", and was done to make use of less expensive and more readily available thinner mahogany. Crossbanding was phased out by 1977.

text: In this era, Gibson began experimenting with new models, such as the Les Paul Recording. This guitar was generally unpopular with guitarists because of its complex electronics. Less noticeable changes included, but were not limited to, optional maple fingerboards (added in 1976), pickup cavity shielding, and the crossover of the ABR1 Tune-o-matic bridge into the wide "Nashville" bridge. During the 1970s, the Les Paul body shape was incorporated into other Gibson models, including the S-1, the Sonex, the L6-S, and other models that did not follow the classic Les Paul layout.

text: In January 1986, Gibson again changed ownership and began manufacturing a range of varied Les Paul models. The 1980s also saw the end to several design characteristics, including the volute and maple neck. However, because of consumer demand, the Gibson Les Paul guitar is available today in a wide array of choices, ranging from guitars equipped with modern digital electronics to classic re-issue models built to match the look and specifications of the guitar's earliest production runs from 1952 to 1960.

text: As of 2017, Gibson offers several variations of the Les Paul guitar with differences in features, electronics and finishes. For example, the modern Standard offers split- coil pickups which offer a wider range of sounds. The 'Traditional' model offers more the more basic features of guitars available during the period 1950s to 1980s and the 'Classic' model offers yet other features. 'Special' and 'Studio' models have a more basic level of finish and Les Pauls are offered at different prices. These models are marketed as 'Gibson USA' guitars, capitalising on their American heritage.

text: In 1986, to respond to the high demand for vintage models, Gibson formed a Custom Shop division. Originally, the Custom Shop began producing accurate reproductions of early Les Pauls, as well as one-offs. Today, the Custom Shop produces numerous limited-run "historic-spec" models, as well as signature artist models. The first Custom Shop artist guitar was the 1996 Joe Perry Les Paul, and today, several artist models are offered "reliced" or "aged" models are made in the Custom Shop to replicate vintage models that have seen much use.

text: Models and variations[edit]

text: The post-1954 Les Paul guitar line included two models: the Standard (nicknamed the Goldtop), and the Custom (which offered gold hardware and a more formal black finish). However, advancements in pickup, body, and hardware designs allowed the Les Paul to become a long-term series of electric solid-body guitars that targeted multiple price-points and market levels.

text: Goldtop (1952–present)[edit]

text: Goldtops, the first Les Paul model, were produced from 1952–1957. Early 1952 Les Pauls were not issued serial numbers, did not have bound fingerboards, and are considered by some as "LP Model prototypes". However, later 1952 Les Pauls were issued serial numbers and also came with bound fingerboards. Interestingly, the design scheme of some of these early models varied. For instance, some early Les Pauls were fitted with black covered P-90 pickups instead of the cream-colored plastic covers that are associated with this guitar. The weight and the tonal characteristics of the Goldtop Les Paul were largely due to the mahogany and maple construction.

text: In 1953, the trapeze tailpiece was dropped, and a new stopbar design was added. This design combined a pre-intonated bridge and tailpiece with two studs just behind the bridge pickup. This increased the sustain of the Goldtop noticeably; however, the intonation and string height adjustability were limited. A new design, the Tune-o-matic, replaced the stopbar in 1955. It consisted of a separate bridge and tailpiece attached directly to the top of the guitar, combining an easily adjustable bridge with a sustain-carrying tailpiece. This design has been used on most Les Pauls ever since. The tuners were produced by Kluson.

text: Custom (1954–60, 1968–present)[edit]

text: The Les Paul Custom features gold hardware, multilayer binding including the headstock, ebony fingerboard, real mother-of-pearl inlays and two or three-pickup layout. 1950s Customs were all-mahogany, rather than the mahogany-with-maple-cap of the Goldtop. The original Customs were fitted with a P-90 pickup in the bridge position and an Alnico V "staple" pickup in the neck. In 1957, the Custom was fitted with Gibson's new PAF humbucker pickups,[24] and later became available with three pickups instead of the usual two. The traditional Les Paul Custom was discontinued in 1961 and its name transferred to the custom version of the then-new Gibson SG.

text: In 1968, Gibson reintroduced the Les Paul Custom as a two-pickup-only model. The headstock angle was changed from 17 degrees to 14, and a wider headstock and a maple top (in lieu of the original 1953-1961 mahogany top construction) were added. White and two sunburst finish options were added to the color palette in 1974. Also new in 1974 was the optional TP-6 fine-tuner tailpiece, allowing for micro-adjustment of string tuning from the bridge. The mahogany neck was replaced with a three-piece maple neck in 1975 (though mahogany still saw limited use) with this change lasting till around 1982. Popular colors, such as wine red and "silverburst," were added in the 1970s and '80s. Gibson currently produces several Custom models with various finishes and pickups.

text: Standard (1958–60, 1968–present)[edit]

text: In 1958, new Standard model retained most specifications of the 1957 Goldtop, including PAF humbucker pickups, a maple top, and a tune-o-matic bridge with a stop tailpiece or Bigsby vibrato tailpiece. The gold color used since 1952 was replaced by a cherry-red version of the Sunburst finish long used on Gibson's flat-top and archtop acoustic and hollow electric guitars. Since the maple cap was now visible, tops were made either with a solid "plaintop" piece of maple or two bookmatched pieces of figured (curly or quilted) maple. To differentiate from the earlier Goldtop model, the new Les Paul was referred to as The Les Paul Standard. Specifications during 1958–60 varied from year to year and also from guitar to guitar. Typical 1958 Les Paul Standard necks had a thicker neck, thinner frets and lower fret height, which changed during the course of 1959 to develop into typical 1960 necks with a thinner cross-section and wider, higher frets.[note 6][note 7] The cherry dye used on the 1958–59 models faded rapidly from ultraviolet light exposure, so in early 1960 Gibson switched to a new, fade-resistant formulation which was also less translucent and slightly more orange; this is sometimes called the "tomato soup burst." Original production of the Standards lasted from 1958 to early 1961. Only about 1,700 of these early models were made and have subsequently become highly valuable.[note 7]

text: Production ended when, in 1961, Gibson redesigned the Les Paul to feature a "double cutaway" body, which has subsequently become the Gibson SG. Because of high demand, Gibson resumed production of Les Paul Standards in 1968.

text: Junior (1954–60, 2015–present) and TV (1955–60)[edit]

text: In 1954, the Les Paul Junior debuted, targeted the beginning or student guitarist. The Junior is characterized by its flat-top "slab" mahogany body, finished in sunburst. It had a single P-90 pickup, simple volume and tone controls, an unbound rosewood fingerboard with plain dot-shape position markers, and a combination bridge/tailpiece unit similar to the Goldtop.

text: In 1955, Gibson launched the Les Paul TV model, which was identical to the Junior except for the name and a fashionable contemporary "limed oak" style finish, later more accurately named "limed mahogany". This natural wood finish with white grain filler often aged into a natural wood or dull yellow appearance, and eventually evolved into the opaque mustard yellow, popularly called "TV yellow". The model was not, as a popular myth says, to avoid glare from old TV cameras, but a modern look and a name to promote "The Les Paul & Mary Ford Show" then on television.

text: Gibson made a radical design change to their Junior and TV models in 1958: to accommodate player requests for more access to the top frets than the previous designs allowed, these electric guitar models were revamped with a new double-cutaway body shape. In addition, Juniors were now available with a cherry red finish, while the re-shaped TV adopted a more yellow-tinged finish.

text: Special (1955–60)[edit]

text: The Les Paul Special was released in 1955, featuring a slab body, two soapbar P-90 single coil pickups, and was finished in a color similar to TV Yellow (but not called a TV model).

text: In 1959, the Special was given the same new double-cutaway body shape as the Junior and the TV received in 1958. Around this time, Les Paul decided to discontinue his affiliation with Gibson; the model was renamed "SG Special" in late 1959.[25] However, when the new design was applied to the two-pickup Special, the cavity for the neck pickup overlapped the neck-to-body joint. This weakened the joint to the point that the neck could break after only moderate handling. The problem was soon resolved when Gibson designers moved the neck pickup farther down the body, producing a stronger joint and eliminating the breakage problem.

text: The Paul (1978–1982)[edit]

text: A single sharp cutaway Les Paul-style walnut body, set walnut neck, 22-fret ebony fingerboard with pearl dot inlays, walnut headstock overlay with gold Gibson logo (1978-1981) or Gibson logo branded into the headstock (Firebrand, 1981-1982), three-per-side tuners, tune-o-matic bridge, stop tailpiece, two exposed humbucker pickups, four knobs (two v, two tone), three-way pickup switch, chrome hardware, available in Natural Walnut finish, 24.75 in. scale, 1.6875 in. nut width, mfg. 1978-1982. It included such high end items as the Grover tuning keys and the Tune-O-Matic bridge. Affectionately called by some, "The Coffee Table Burst"  because of its natural finish.

text: Les Paul SG (1961–1963)[edit]

text: In 1960, Gibson experienced a decline in electric guitar sales due to strong competition from Fender's comparable but much lighter double-cutaway design, the Stratocaster. In response, Gibson modified the Les Paul line. For 1961, the Les Paul was thinner and much lighter than earlier models, with two sharply pointed cutaways and a vibrato system. However, the redesign was done without Les Paul's knowledge, and he hated the design, so he asked Gibson to remove his name.[26] The single cutaway design retained the "Les Paul" name until 1963 when Les Paul's endorsement deal with Gibson ended. Without a contract, Gibson could no longer call its guitars "Les Pauls', and it renamed them "SGs" (for "Solid Guitars").[27]

text: Deluxe (1968–84, 2005–present)[edit]

text: The Deluxe was among the "new" 1968 Les Pauls. This model featured "mini-humbuckers", also known as "New York" humbuckers, and did not initially prove popular. The mini-humbucker pickup fit into the pre-carved P-90 pickup cavity using an adaptor ring developed by Gibson in order to use a surplus supply of Epiphone mini-humbuckers. The Deluxe was introduced in late 1968 and helped to standardize production among Gibson's U.S.-built Les Pauls. The first incarnation of the Deluxe featured a one-piece body and slim three-piece neck. The multipiece body (a thin layer of maple on top of two layers of Honduran mahogany) arrived in 1969. In late 1969, a reinforcing neck volute was added. 1969 Deluxes feature the Gibson logo devoid of the dot over the "i" in Gibson. By late 1969/early 1970, the dot over the "i" had returned, plus a "Made In USA" stamp on the back of the headstock. The Deluxe could be specially-ordered with full-size humbucker pickups; such full size versions of the Deluxe were "Standard" spec. By 1975, the neck construction was changed from mahogany to maple, until the early 1980s, when the construction was returned to mahogany. The body changed back to solid mahogany from the pancake design in late 1976 or early 1977. Interest in this particular Les Paul model was so low that in 1985, Gibson canceled it. In 2005, the Deluxe was re-introduced.[citation needed]

text: In 1978, the Les Paul Pro Deluxe was introduced. This guitar featured P-90 pickups (like the original 1952-1956 LPs) instead of the "mini-humbuckers" of the Deluxe model, an ebony fingerboard, maple neck, mahogany body and chrome hardware. It came in ebony, cherry sunburst, tobacco sunburst or gold finish. It was discontinued in 1983.

text: Dark Fire[edit]

text:
Gibson Dark Fire

Manufacturer
Gibson

Period
2008–2010

Construction

Body type
Solid, Single Cut

Neck joint
Set-in

Scale
24.75"

Woods

Body
Mahogany, Maple Top

Neck
Mahogany

Fretboard
Ebony

Hardware

Bridge
Tune-o-matic

Pickup(s)
A Burstbucker 3 humbucker at the bridge, P-90H at the neck, and a piezoelectric built into the bridge.

Colors available

Exclusive nitrocellulose finish consisting of dark red on the Maple body top; glossy finish on body top and headstock face, satin finish everywhere else.

text: The Gibson Dark Fire, is a variant of the Les Paul. It was a second generation Robot Guitar, using an updated version of the Powertune self-tuning system produced by Tronical Gmbh. The Dark Fire also introduced Gibson's Chameleon Tone Technology, a system consisting of onboard electronics designed to simulate various guitar tones. Additionally, the guitar included an audio interface called the Robot Interface Pack or RIP.

text: Pickups[edit]

text: The Dark Fire had one Burstbucker 3 humbucker in the bridge position, a P-90H at the neck, and a special Tronical-designed piezoelectric tune-o-matic sat in the place of the bridge. The Burstbucker 3 and P-90H were selected via the three-way selector switch. The piezoelectric could be activated via the MCK, blending the magnetic and piezoelectric together under a standard 1/4" guitar cable. Gibson supplied a TRS stereo cable that allowed the piezo signal and the magnetic signal to be split between two different amps.

text: Studio (1983–present)[edit]

text: The Studio model was introduced in 1983, and is still in production. The guitar is intended for the studio musician; therefore, the design features of the "Les Paul Studio" are centered on optimal sound output and not on flashy appearance. This model retains only the elements of the Gibson Les Paul that contribute to tone and playability, including the carved maple top and standard mechanical and electronic hardware. However, the Studio design omits several stock Gibson ornamentations that do not affect sound quality, including body/neck binding. The first Studios from 1983 to 1986 were made with alder bodies rather than mahogany/maple. The current Studios come with a chambered mahogany body with either a maple or mahogany cap. The entry level Les Paul Studio "faded" has a weight relieved mahogany body and top and a satin finish.

text: Gibson also offered the Studio in a "standard" model. This variant was adorned with neck and body binding, ebony fretboard and sunburst paint job. All Studios at the time had dot fretboard markers and a thinner body.

text: Semi-acoustic model[edit]

text: Gibson released the ES-Les Paul in 2015. It is a semi-acoustic model with f-holes and two Alnico humbuckers. The neck is mahogany, but the sides and back are laminated maple and poplar. A mahogany block runs throughout the body to increase sustain.[28]

text: Les Paul's personal guitar[edit]

text: Until his death in August 2009, Les Paul himself played his personal Les Paul Guitar onstage weekly in New York City. Paul preferred his 1971 Gibson "Recording" model guitar, with different electronics and a one-piece mahogany body, and which, as an inveterate tinkerer and inventor, he had modified heavily to his liking over the years. A Bigsby-style vibrato was of late the most visible change although his guitars were formerly fitted with his "Les Paulverizer" effects.

text: Epiphone Les Pauls[edit]

text: The Gibson-owned Epiphone Company makes around 20 models of the Les Paul, most are similar copies of Gibson-made models. Made in places outside the U.S., the Epiphone Les Pauls are made from more commonly available woods using less expensive foreign labor and have less hand detailing than the Gibson models, and, as a result, sell for a lower price. Epiphone Guitar Co. has been owned by Gibson Guitars since the 1950s.[29]

text: Epiphone also makes several less common models of the Les Paul such as the Les Paul Goth, Les Paul Ultra/Ultra II, Les Paul Prophecy, and Les Paul Tribute Plus.[30][31]

text: Signature models[edit]

text: Jimmy Page[edit]

text: Gibson has produced three Jimmy Page signature models. The first was issued in the mid-1990s. It is based on a stock sunburst Les Paul Standard. In 2005 the Gibson Custom Shop issued a limited run of Jimmy Page Signature guitars based on Jimmy Page's 1959 "No. 1". Several years later, Gibson issued its third Jimmy Page Signature guitar, this one based on Jimmy Page's #2, issued in a production run of 325 guitars.

text: Slash[edit]

text: Slash has collaborated with Gibson on seventeen signature Les Paul models.

text: The first of these guitars is the Slash "Snakepit" Les Paul Standard, which was introduced by the Gibson Custom Shop in 1996, based on the smoking snake graphic off the cover of Slash's Snakepit's debut album and a mother of pearl snake inlay covering the length of the ebony fretboard. An Epiphone version was released as well. Production was limited to 100.[32]

text: In 2004, the Gibson Custom Shop introduced the Slash Signature Les Paul Standard, a guitar that Gibson has used ever since as the "standard" non-limited edition Slash Les Paul.[33] In 2008, Gibson USA released the Slash Signature Les Paul Standard Plus Top, an authentic replica of one of two Les Pauls Slash received from Gibson in 1988. It has an Antique Vintage Sunburst finish over a solid mahogany body with a maple top. An Epiphone version was released as well.[34][35] Also in 2008, the Gibson Custom Shop introduced the Slash "Inspired By" Les Paul Standard. This guitar is a replica of his 1987 Les Paul Standard.[32][36]

text: In 2010, Gibson released the Slash "AFD/Appetite for Destruction" Les Paul Standard II as a tribute to Guns N' Roses' debut album, Appetite for Destruction, which resembles the Kris Derrig built 1959 Les Paul replica Slash used for the recording of the album.[37] Production was limited to 400, with 100 aged guitars signed by Slash, and another 300 finished with the Custom Shop's VOS process. An Epiphone version was simultaneously released as well.[38]

text: In 2013, Gibson and Epiphone both released the Slash "Rosso Corsa" Les Paul Standard,[39][40][41] and also the Gibson USA's Slash "Vermillion" Les Paul Standard. In the year of 2017, Gibson released Slash "Anaconda Burst" Les Paul, which consist of both a Plain Top, as well as a Flame Top. An Epiphone version of the guitar was released as well.[42] In 2017, Gibson Custom Shop released the Slash Firebird, a guitar which is a radical departure from the Les Paul style association he is well known for. The finish was produced in only two separate colors, which is Trans Black and Trans White. Only 50 copies of each color was produced.[43] Gibson Custom Shop's Slash 1958 Les Paul "First Standard" Replica (2017)

text: Joe Perry[edit]

text: Gibson has issued two signature Les Paul guitars for Joe Perry of Aerosmith. The first was developed in 1996 and was customized with an active mid-boost control, black chrome hardware, and a translucent black finish. It was replaced in 2004 by a second, more visually distinctive Les Paul, the "Boneyard" Les Paul. This guitar is characterized by Perry's custom "Boneyard" logo on the headstock and a figured maple top with a green tiger finish, and is available with either a stopbar tailpiece or a Bigsby tailpiece.

text: Gary Moore[edit]

text: Gary Moore created his own signature Les Paul in the early 2000s, characterised by a yellow flame top, no binding and signature truss rod cover. It featured two open-topped humbucker pickups, one with "zebra coils" (one white and one black bobbin). In 2009, Gibson released another Gary Moore signature guitar, the Gibson Gary Moore BFG Les Paul. The Gary Moore BFG is much like their previous Les Paul BFG series, with the added styling of Moore's various 1950s Les Paul Standards.

text: Peter Frampton[edit]

text: A replica of the three-pickup "Black Beauty" Les Paul Custom used by Peter Frampton as his main guitar from his days in Humble Pie through his early solo career was introduced through the Gibson Custom Shop in 2012. Frampton's original guitar was a 1954 Les Paul modified extensively. His famous guitar was presumed lost in a South American plane crash in 1980, but was returned to Frampton in 2011.

text: Michael Bloomfield[edit]

text: Gibson used hundreds of photographs of the late blues guitarist's instrument to produce the limited-edition Bloomfield signature. The company produced one hundred Bloomfield models with custom-aged finishes and two hundred more with the company's VOS finishing in 2009. They reproduced the tailpiece crack on the aged version, plus the mismatched volume and tone control knobs and the "Les Paul"-engraved truss rod cover on both versions, while including a toggle switch cover. The headstock was characterized by the kidney-shaped Grover tuning keys installed on the guitar before Bloomfield traded for it.

text: Pete Townshend[edit]

text: In 2005, Gibson issued three Pete Townshend signature edition Les Paul Deluxe guitars, based on Townshend's heavily customised "#1" Wine Red 1976 Les Paul Deluxe, "#3" Gold top 1976, and "#9" Cherry Sunburst 1976. These guitars were modified by Alan Rogan and used extensively on stage and in the studio with The Who. In addition to the two mini-humbuckers the guitar carried, Rogan modified Townshend's originals with a DiMarzio humbucker in the middle. Toggle switches located behind the guitar's tailpiece turned the pickup on and off and added volume boost. The control knobs were wired for volume, one for each pickup and a master volume. The reissues differed from Townshend's originals in that the reissues had an inlay at the first fret while the originals did not.

text: Ace Frehley[edit]

text: The Ace Frehley (KISS) signature model (released in 1997 and re-released in 2012) has three double-white DiMarzio pickups, a cherry sunburst finish (AAAA), a color image of Frehley's face in his Kiss make-up on the headstock, mother-of-pearl lightning bolt inlays, and Ace's simulated signature on the 12th fret. A Custom Shop run of only 300 guitars were built with DiMarzio PAF, Super Distortion, and Dual Sound pickups. The production run model was only built with DiMarzio Super Distortion pickups. This was one of Gibson's best selling artist runs. The more recent 2012 "Budokan" model, intended to pay tribute to the guitar used during the KISS' first trip to Japan in 1977, features mother-of-pearl block inlays (no signature at the 12th fret), Grover machine heads with pearloid banjo buttons, and a grade A maple top.[44]

text: Billy Gibbons[edit]

text: Billy Gibbons of ZZ Top has a signature model and pick-up based on his famous "Pearly Gates" 1959 Les Paul Standard.

text: Eric Clapton[edit]

text: Clapton played a 1960 (often presumed to be 1959 and according to Joe Bonamassa it may be true) Standard as a member of John Mayall and the Bluesbreakers as well as in the early days of Cream. The guitar was said to have been stolen while Clapton was preparing for the first Cream tour in 1966, following the recording of Fresh Cream, and was long considered an iconic instrument by Clapton's fans. Gibson announced production of the Clapton 1960 Standard, also nicknamed the "Beano Burst", in 2010. Gibson says the instrument "accurately represents what Eric Clapton personally feels his 1960 Les Paul should be", with Clapton consulting on the design of the guitar. Production is limited but all feature period-correct hardware, two Gibson reproduction PAF humbucking pickups, and subtly figured "antiquity burst" maple tops.

text: Mark Knopfler[edit]

text: Mark Knopfler has a signature model of his famous 1958 Les Paul Standard.

text: Paul Kossoff[edit]

text: Paul Kossoff, of Free and Back Street Crawler, favored a 1959 Les Paul Standard. In 2011–12, Gibson's Custom Shop made a reproduction of Kossoff's Standard, featuring a so-called "green-lemon" flametop, two-piece carved maple top, mahogany body and neck, Custom Bucker humbucking pickups and kidney-bean shaped Grover tuners similar to those Kossoff had installed on the instrument. 100 Kossoff models were made to resemble the guitar at the time of Kossoff's death in 1976, with another 250 in a VOS finish.

text: Les Paul players[edit]

text: Les Paul copies and "lawsuits"[edit]

text: Although early Les Paul imitations in the 1960s and 1970s, such as those made by Höfner, Hagström, Harmony Company, and Greco differed from Gibson's designs, with different electronics and even bolt-on necks, in the late 1970s some Japanese companies came very close to perfecting copies of the original 1958-1960 Standards.

text: A lawsuit was brought by the Norlin Corporation (the parent company of Gibson) in 1977, against Elger/Hoshino U.S.A. (manufacturer and distributor, respectively, of Ibanez) over use a headstock shape and logo, both considered similar to the Gibson designs. However, the suit was based on an Ibanez headstock design that had been discontinued by 1976. The case was officially closed on February 2, 1978. Those mid-1970s guitars later became known as "lawsuit era" guitars.

text: ESP Guitars makes several guitars based on the Les Paul design. The Edwards and Navigator lines are made in Japan in the vein of the late 1970s and 1980s guitars from Tokai, Burny, and Greco, complete with Gibson style headstocks.

text: Heritage Guitars, founded in 1985 by four long-time Gibson employees when Gibson relocated to Nashville, continues to build guitars at the original factory in Kalamazoo, Michigan. Many of their models are inspired by Gibson's late-1950s/early-1960s sunbursts and Customs.

text: In 2006, Gibson lost a lawsuit against PRS Guitars,[45] Gibson claiming PRS was infringing on the Les Paul shape and design. The court's decision allowed PRS to reintroduce single cutaway versions of its instruments.

text: In 2008, Gibson lost the trademark for the Les Paul in Finland. According to the court, "Les Paul" has become a common noun for guitars of a certain type. The lawsuit began when Gibson sued Musamaailma, which produces Tokai guitars, for trademark violation. However, several witnesses testified that the term "Les Paul" denotes character in a guitar rather than a particular guitar model. The court also found it aggravating that Gibson had used Les Paul in the plural form and that the importer of Gibson guitars had used Les Paul as a common noun. The court decision will become effective, as Gibson is not going to appeal.[46]


document_title: A Bushel and a Peck

question_text: when was i love you a bushel and a peck written

text: A Bushel and a Peck

text:
"A Bushel and a Peck"

Song

Published
1950

Songwriter(s)
Frank Loesser

text: "A Bushel and a Peck" is a popular song written by Frank Loesser and published in 1950. The song was introduced in the Broadway musical Guys and Dolls, which opened at the 46th Street Theater on November 24, 1950. It was performed on stage by Vivian Blaine, who later reprised her role as Miss Adelaide in the 1955 film version of the play. "A Bushel and a Peck," however, was not included in the film, and instead replaced by a new song, titled "Pet Me, Poppa."

text: A popular recording by Perry Como and Betty Hutton (made on September 12, 1950, and released by RCA Victor Records as catalog number 47-3930) first reached the Billboard magazine charts on October 27, 1950, and lasted 18 weeks on the chart, peaking at #6.[1]

text: Another contemporary recording that had some popularity was by Margaret Whiting and Jimmy Wakely (recorded on September 13, 1950, and released by Capitol Records as catalog number 1234). The record first reached the Billboard magazine charts on October 20, 1950, and lasted 13 weeks on the chart, peaking at #13.[1]

text: Doris Day's recording (made on September 13, 1950, and released by Columbia Records as 78rpm catalog number 39008 and 45rpm catalog number 6-838) made the chart on January 5, 1951, at #30 for one week.[1] Day's rendition of the song enjoyed a surge in popularity due to its usage in a 2017 State Farm Insurance TV commercial.[2]

text: Many other recording artists also did versions of the song.

text: On Cash Box magazine's Best-Selling Record charts, where all versions of the song are combined, the song reached #5 on December 2, 1950.

text: The song gained so much popularity before the musical actually opened that it was moved from its original spot at the start of the second act into the first act.[citation needed]

text: The number, in context of the show, can be performed either as "Miss Adelaide and her Chick Chick Chickedies," where the girls are dressed in yellow feathers, or as "Miss Adelaide and the Hot Box Farmerettes," where skimpy plantation outfits are worn (often jean cutoffs and checkered racing shirts or short gingham sundresses).[citation needed]

text: Recorded versions[edit]

text:
The Andrews Sisters (1953)
Vivian Blaine (1953)
Perry Como and Betty Hutton (1950)
Doris Day (1950)
Johnny Desmond (1953)
Connie Haines (1950)
Frankie Laine and Jo Stafford (1953)
Margaret Whiting and Jimmy Wakely (1950)
Sharon, Lois & Bram From In The Schoolyard(1981)T.V recording (1987)
VeggieTales Junior's Bedtime Songs (2002)
Dan Zanes & Friends Rocket Ship Beach (1990)
Faith Prince Guys and Dolls 1992 Broadway Revival Cast Recording


document_title: Sterile Cockpit Rule

question_text: when do far 135.100 and far 121.542 require a sterile cockpit

text: Sterile Cockpit Rule

text: Historical background[edit]

text: In the early days of aviation, pilots had little chance to contemplate non-essential activities. Flying demanded constant attention, and the wind and engine noise in a slipstream-blasted open cockpit all but drowned out normal conversations. In the early years of instrument flying, the effort involved in "flying the beam" (navigating a course determined by the intersection of ground based radio signals by straining to listen through a headset to a scratchy audio stream of "dits and dahs")[5] also forced pilots to concentrate on flying duties during instrument meteorological conditions. However, as aviation technology matured into the Jet Age in the 1960s, comfort and sound levels gradually became more office-like and hence more conducive to distractions. Multi-person flight and cabin crews, autopilots, in-flight meals, newspaper service and other comforts further increased the availability and convenience of non-flight related activities for flight crews during flight time.[1] The introduction of the Cockpit Voice Recorder as an objective onboard observer played an important role in the assessment of the problem during accident investigation by the NTSB,[3] and eventual implementation of the rules by the FAA.

text: The rules[edit]

text: The rule is legally applicable only to Part 121 (Scheduled Air Carriers) and Part 135 (Commercial Operators), and not to Part 91 (non-commercial general aviation). It is specified in U.S. FAR 121.542/135.100, "Flight Crewmember Duties":[6]

text:
No certificate holder shall require, nor may any flight crewmember perform, any duties during a critical phase of flight except those duties required for the safe operation of the aircraft. Duties such as company required calls made for such nonsafety related purposes as ordering galley supplies and confirming passenger connections, announcements made to passengers promoting the air carrier or pointing out sights of interest, and filling out company payroll and related records are not required for the safe operation of the aircraft.
No flight crewmember may engage in, nor may any pilot in command permit, any activity during a critical phase of flight which could distract any flight crewmember from the performance of his or her duties or which could interfere in any way with the proper conduct of those duties. Activities such as eating meals, engaging in nonessential conversations within the cockpit and nonessential communications between the cabin and cockpit crews, and reading publications not related to the proper conduct of the flight are not required for the safe operation of the aircraft.
For the purposes of this section, critical phases of flight includes all ground operations involving taxi, takeoff and landing, and all other flight operations conducted below 10,000 feet (3048 meters), except cruise flight.

text: Note: Taxi is defined as "movement of an airplane under its own power on the surface of an airport".

text: Flight attendant and pilot communication[edit]

text: Because the Sterile Cockpit Rule applies to flight attendants as well as pilots, the former may be reluctant to call the flight deck while the rule is in effect, even during emergencies. For example:

text: On July 9th, 1995 an ATR aft passenger door separated after take-off at an altitude of 600 feet (183 meters) (NTSB, 1995b). The flight attendant at the door stated that she did not think of calling the cockpit when she heard the sound of the door leak before it separated, because the aircraft was under sterile cockpit conditions (Code of Federal Regulations, 1994). When queried as to what conditions she would call the cockpit when sterile, she responded that she would call in case of fire or a problem passenger. Confusion over, and rigid interpretation of, the sterile cockpit rule is not unusual as our studies have shown (Chute & Wiener, in press).[7]

text: The Federal Aviation Administration also noted that:

text: Many flight attendants do not have a clear understanding of what "sterile cockpit" means. Flight attendants need to be given specific information about what type of information merits contacting flight crewmembers during the sterile period. Hesitancy or reluctance on the part of a flight attendant to contact the flight crewmembers with important safety information because of a misconception of the sterile cockpit rule is potentially even more serious than the unnecessary distraction caused by needless violations of the sterile cockpit.[8]

text: One airline, Japan Airlines (JAL), took this a step further, describing in a flight attendant training manual several situations that would warrant flight-attendant-to-pilot communication during takeoff and landing. Such situations included:

text:
Any outbreak of fire;
The presence of smoke in the cabin;
Any abnormality in the attitude of the aircraft during takeoff and landing;
The existence of any abnormal noise or vibration, and;
The observance of any fuel or other leakages.

text: JAL also included guidance on when to make the calls to the pilots ("upon discovery of any abnormality"), what to call ("even [when] not absolutely sure, make the call") and how to call ("use the pilot call for emergency communication").[2]