document_title: Apollo 13 (film)

question_text: how did they do the zero gravity scenes in apollo 13

text: Apollo 13 (film)

text: Plot[edit]

text: In July 1969, astronaut Jim Lovell hosts a house party where guests watch Neil Armstrong's televised first human steps on the Moon. Afterwards Lovell, who had orbited the Moon on Apollo 8, tells his wife Marilyn that he intends to return to the Moon to walk on its surface.

text: Three months later, as Lovell conducts a VIP tour of NASA's Vertical Assembly Building, his boss Deke Slayton informs him that because of problems with Alan Shepard's crew, his crew will fly Apollo 13 instead of 14. Lovell, Ken Mattingly, and Fred Haise train for their new mission. A few days before launch, Mattingly is exposed to the measles, and the flight surgeon demands his replacement with Mattingly's backup, Jack Swigert. Lovell resists breaking up his team, but relents when Slayton threatens to bump his crew to a later mission. As the launch date approaches, Marilyn has a nightmare about her husband getting killed in space, but goes to the Kennedy Space Center the night before launch to see him off.

text: On April 11, 1970, Flight Director Gene Kranz gives the go-ahead from Houston's Mission Control Center for the Apollo 13 launch. As the Saturn V rocket climbs through the atmosphere, a second stage engine cuts off prematurely, but the craft reaches its Earth parking orbit. After the third stage fires to send Apollo 13 to the Moon, Swigert performs the maneuver to connect the Command/Service Module Odyssey to the Lunar Module Aquarius and pull it away from the spent rocket.

text: Three days into the mission, the crew makes a television transmission, which the networks decline to broadcast live. After Swigert turns on the liquid oxygen tank stirring fans as requested, one of the tanks explodes, emptying its contents into space and sending the craft tumbling. The other tank is soon found to be leaking. They attempt to stop the leak by shutting off fuel cells #1 and #3, but to no avail. With the fuel cells closed, the Moon landing must be aborted, and Lovell and Haise must hurriedly power up Aquarius to use as a "lifeboat" for the return home, as Swigert shuts down Odyssey before its battery power runs out. In Houston, Kranz rallies his team to come up with a plan to bring the astronauts home safely, declaring "failure is not an option". Controller John Aaron recruits Mattingly to help him invent a procedure to restart Odyssey for the landing on Earth.

text: As Swigert and Haise watch the Moon pass beneath them, Lovell laments his lost chance of walking on its surface, then turns their attention to the business of getting home. With Aquarius running on minimal electrical power, the crew suffers freezing conditions, and Haise contracts a urinary infection and a fever. Swigert suspects Mission Control is withholding their inability to get them home; Haise angrily blames Swigert's inexperience for the accident; and Lovell quickly squelches the argument. When carbon dioxide approaches dangerous levels, ground control must quickly invent a way to make the Command Module's square filters work in the Lunar Module's round receptacles. With the guidance systems on Aquarius shut down, the crew must make a difficult but vital course correction by manually igniting the Lunar Module's engine.

text: Mattingly and Aaron struggle to find a way to turn on the Command Module systems without drawing too much power, and finally transmit the procedure to Swigert, who restarts Odyssey by transferring extra power from Aquarius. When the crew jettisons the Service Module, they are surprised to see the extent of the damage. As they release Aquarius and re-enter the Earth's atmosphere, no one is sure that Odyssey's heat shield is intact. The tense period of radio silence due to ionization blackout is longer than normal, but the astronauts report all is well and splash down in the Pacific Ocean.

text: As helicopters bring the three men aboard the recovery ship USS Iwo Jima for a hero's welcome, Lovell's voice-over describes the subsequent investigation into the explosion, and the careers of Haise, Swigert, Mattingly, and Kranz. He wonders if and when mankind will return to the Moon.

text: Cast[edit]

text:
Tom Hanks as Apollo 13 Commander Jim Lovell: Jim Lovell stated that before his book Lost Moon was even written, the movie rights were being shopped to potential buyers[5] and that his first reaction was that Kevin Costner would be a good choice to play him.[5][6] However, by the time Howard acquired the director's position, Costner's name never came up in serious discussion, and Hanks had already been interested in doing a film based on Apollo 13. When Hanks' representative informed him that a script was being passed around, he had the script sent to him.[5] John Travolta was initially offered the role of Lovell, but declined.[7]
Kevin Bacon as Apollo 13 backup Command Module Pilot Jack Swigert
Bill Paxton as Apollo 13 Lunar Module Pilot Fred Haise
Gary Sinise as Apollo 13 prime Command Module Pilot Ken Mattingly: Sinise was invited by Howard to read for any of the characters, and chose Mattingly.[5]
Ed Harris as White Team Flight Director Gene Kranz: Harris described the film as "cramming for a final exam." Harris described Gene Kranz as "corny and like a dinosaur", but respected by the crew.[5] Apollo 13 would be Harris' second space travel-themed movie; he had starred as pioneering astronaut John Glenn in 1983's The Right Stuff.
Kathleen Quinlan as Marilyn Gerlach Lovell, Jim's wife
Chris Ellis as Director of Flight Crew Operations Deke Slayton
Joe Spano as "NASA Director", a composite character loosely based on Chris Kraft
Marc McClure as Black Team Flight Director Glynn Lunney
Clint Howard as White Team Electrical, Environmental and Consumables Manager (EECOM) Sy Liebergot
Ray McKinnon as White Team Flight Dynamics Officer Jerry Bostick
Todd Louiso as White Team Flight Activities Officer
Loren Dean as EECOM John Aaron
Xander Berkeley as "Henry Hurt", a fictional NASA Office of Public Affairs staff member[8]
David Andrews as Apollo 12 Commander Pete Conrad
Christian Clemenson as Flight Surgeon Dr. Charles Berry
Ben Marley as Apollo 13 backup Commander John Young
Brett Cullen as Capsule Communicator (CAPCOM) 1
Ned Vaughn as CAPCOM 2
Tracy Reiner as Haise's wife Mary
Mark Wheeler  as Neil Armstrong Apollo 11 Commander
Larry Williams as Buzz Aldrin Apollo 11  Lunar Module Pilot
Mary Kate Schellhardt as Lovell's older daughter Barbara
Max Elliott Slade as Lovell's older son James (Jay), who attended military school at the time of the flight
Emily Ann Lloyd as Lovell's younger daughter Susan
Miko Hughes as Lovell's younger son Jeffrey

text: The real Jim Lovell appears as captain of the recovery ship USS Iwo Jima; Howard had intended to make him an admiral, but Lovell himself, having retired as a captain, chose to appear in his actual rank. Horror film director Roger Corman, a mentor of Howard, appears as a congressman being given a VIP tour by Lovell of the Vehicle Assembly Building, as it had become something of a tradition for Corman to make a cameo appearance in his protégés' films.[9][10] The real Marilyn Lovell appeared among the spectators during the launch sequence.[6] CBS News anchor Walter Cronkite appears in archive news footage and can be heard in newly recorded announcements, some of which he edited himself to sound more authentic.[6]

text: In addition to his brother, Clint Howard, several other members of Ron Howard's family appear in the movie:

text:
Rance Howard (his father) appears as the Lovell family minister.
Jean Speegle Howard (his mother) appears as Lovell's mother Blanch.
Cheryl Howard (his wife) and Bryce Dallas Howard (his daughter) appear as uncredited background performers in the scene where the astronauts wave goodbye to their families.[10]

text: Brad Pitt was offered a role in the film, but turned it down to star in Se7en.[11]  Reportedly, the real Pete Conrad expressed interest in appearing in the film.[6]

text: Jeffrey Kluger appears as a television reporter.[10]

text: Production[edit]

text: Preproduction and props[edit]

text: The screenplay by William Broyles, Jr. and Al Reinert was rewritten by John Sayles after Hanks had been cast and construction of the spacecraft sets had begun.[12]

text: While planning the film, director Ron Howard decided that every shot of the film would be original and that no mission footage would be used.[13] The spacecraft interiors were constructed by the Kansas Cosmosphere and Space Center's Space Works, which also restored the Apollo 13 Command Module. Two individual Lunar Modules and two Command Modules were constructed for filming. While each was a replica, composed of some of the original Apollo materials, they were built so that different sections were removable, which enabled filming to take place inside the capsules. Space Works also built modified Command and Lunar Modules for filming inside a Boeing KC-135 reduced-gravity aircraft, and the pressure suits worn by the actors, which are exact reproductions of those worn by the Apollo astronauts, right down to the detail of being airtight. When the actors put the suits on with their helmets locked in place, air was pumped into the suits to cool them down and allow them to breathe, exactly as in launch preparations for the real Apollo missions.[14]

text: The real Mission Control Center consisted of two control rooms located on the second and third floors of Building 30 at the Johnson Space Center in Houston, Texas. NASA offered the use of the control room for filming, but Howard declined, opting instead to make his own replica from scratch.[6][13] Production designer Michael Corenblith and set decorator Merideth Boswell were in charge of the construction of the Mission Control set at Universal Studios. The set was equipped with giant rear-screen projection capabilities and a complex set of computers with individual video feeds to all the flight controller stations. The actors playing the flight controllers were able to communicate with each other on a private audio loop.[14] The Mission Control room built for the film was on the ground floor.[13] One NASA employee, who was a consultant for the film, said that the set was so realistic that he would leave at the end of the day and look for the elevator before remembering he was not in Mission Control.[6] By the time the film was made, the USS Iwo Jima had been scrapped, so her sister ship, the USS New Orleans, was used as the recovery ship instead.[13]

text:
For actors, being able to actually shoot in zero gravity as opposed to being in incredibly painful and uncomfortable harnesses for special effects shots was all the difference between what would have been a horrible moviemaking experience as opposed to the completely glorious one that it actually was.
—Tom Hanks[14]

tag: div

text: Howard anticipated difficulty in portraying weightlessness in a realistic manner. He discussed this with Steven Spielberg, who suggested using a KC-135 airplane, which can be flown in such a way as to create about 23 seconds of weightlessness, a method NASA has always used to train its astronauts for space flight. Howard obtained NASA's permission and assistance in filming in the realistic conditions aboard multiple KC-135 flights.[15]

text: Cast training and filming[edit]

text: In Los Angeles, Ed Harris and all the actors portraying flight controllers enrolled in a Flight Controller School led by Gerry Griffin, an Apollo 13 flight director, and flight controller Jerry Bostick. The actors studied audiotapes from the mission, reviewed hundreds of pages of NASA transcripts, and attended a crash course in physics.[13][14]  Astronaut Dave Scott was impressed with their efforts, stating that each actor was determined to make every scene technically correct, word for word.[5]

text: Soundtrack[edit]

text:
Apollo 13: Music From The Motion PictureSoundtrack album by James HornerReleased
June 27, 1995Genre
SoundtrackLength
77:41Label
MCA

text: Professional ratingsReview scoresSourceRatingAllMusic[16]Filmtracks.com[17]SoundtrackNet[18]Tracksounds[19]

text: The score to Apollo 13 was composed and conducted by James Horner. The soundtrack was released in 1995 by MCA Records and has seven tracks of score, eight period songs used in the film, and seven tracks of dialogue by the actors at a running time of nearly seventy-eight minutes. The music also features solos by vocalist Annie Lennox and Tim Morrison on the trumpet. The score was a critical success and garnered Horner an Academy Award nomination for Best Original Score.[20]

text: All music composed by James Horner, except where noted.

text: Apollo 13: Original Motion Picture SoundtrackNo.TitleLength1."Main Title"1:322."One Small Step"0:423."Night Train" (performed by James Brown)3:274."Groovin'" (performed by The Young Rascals)2:265."Somebody to Love" (performed by Jefferson Airplane)2:556."I Can See for Miles" (performed by The Who)4:097."Purple Haze" (performed by The Jimi Hendrix Experience)2:488."Launch Control"3:289."All Systems Go/The Launch"6:3910."Welcome to Apollo 13"0:3811."Spirit in the Sky" (performed by Norman Greenbaum)3:5012."House Cleaning/Houston, We Have a Problem"1:3413."Master Alarm"2:5414."What's Going On?"0:3415."Into the L.E.M."3:4316."Out of Time/Shut Her Down"2:2017."The Darkside of the Moon" (performed by Annie Lennox)5:0918."Failure is Not an Option"1:1819."Honky Tonkin'" (performed by Hank Williams)2:4220."Blue Moon" (performed by The Mavericks)4:0921."Waiting for Disaster/A Privilege"0:4322."Re-Entry & Splashdown"9:0523."End Titles" (performed by Annie Lennox)5:34

text: Release[edit]

text: The film was released on June 30, 1995 in North America and on September 22, 1995 in the UK.

text: In September 2002 the film was re-released in IMAX. It was the first film to be digitally remastered using IMAX DMR technology.[21]

text: Box-office performance[edit]

text:
The film was a box-office success, bringing in $355,237,933 worldwide.[2] The film's widest release was 2,347 theaters.[2]
The film's opening weekend and the following two weeks placed it at #1 with a US gross of $25,353,380, which made up 14.7% of the total US gross.[2]

text:
Apollo 13 box office revenue

Source
Gross (US$)
% Total
All-time rank (unadjusted)

North America

$173,837,933[2]

48.9%

229[2]

Foreign

$181,400,000[2]

51.1%

N/A

Worldwide

 $355,237,933[2]

100.0%

282[2]

text: Reception[edit]

text: Review aggregator Rotten Tomatoes reports that the film has an overall approval rating of 95%, based on 85 reviews, with a weighted average rating of 8.2/10. The site's critical consensus reads, "In recreating the troubled space mission, Apollo 13 pulls no punches: it's a masterfully told drama from director Ron Howard, bolstered by an ensemble of solid performances."[22] Metacritic, which assigns a normalized rating to reviews from mainstream critics, gave the film an average score of 77 out of 100, based on 22 critics, indicating "generally favorable reviews".[23]

text: Roger Ebert of the Chicago Sun-Times praised the film in his review saying: "A powerful story, one of the year's best films, told with great clarity and remarkable technical detail, and acted without pumped-up histrionics."[24] Richard Corliss from Time highly praised the film, saying: "From lift-off to splashdown, Apollo 13 gives one hell of a ride."[25] Edward Guthmann of San Francisco Chronicle gave a mixed review and wrote: "I just wish that Apollo 13 worked better as a movie, and that Howard's threshold for corn, mush and twinkly sentiment weren't so darn wide."[26] Peter Travers from Rolling Stone praised the film and wrote: "Howard lays off the manipulation to tell the true story of the near-fatal 1970 Apollo 13 mission in painstaking and lively detail. It's easily Howard's best film."[27]

text: Janet Maslin made the film an NYT Critics' Pick, calling it an "absolutely thrilling" film that "unfolds with perfect immediacy, drawing viewers into the nail-biting suspense of a spellbinding true story." According to Maslin, "like Quiz Show, Apollo 13 beautifully evokes recent history in ways that resonate strongly today. Cleverly nostalgic in its visual style (Rita Ryack's costumes are especially right), it harks back to movie making without phony heroics and to the strong spirit of community that enveloped the astronauts and their families. Amazingly, this film manages to seem refreshingly honest while still conforming to the three-act dramatic format of a standard Hollywood hit. It is far and away the best thing Mr. Howard has done (and Far and Away was one of the other kind)."[28] The academic critic Raymond Malewitz focuses on the DIY aspects of the "mailbox" filtration system to illustrate the emergence of an unlikely hero in late 20th-century American culture—"the creative, improvisational, but restrained thinker—who replaces the older prodigal cowboy heroes of American mythology and provides the country a better, more frugal example of an appropriate 'husband'."[29]

text: Ron Howard stated that, after the first test preview of the film, one of the comment cards indicated "total disdain"; the audience member had written that it was a "typical Hollywood" ending and that the crew would never have survived.[30] Marilyn Lovell praised Quinlan's portrayal of her, stating she felt she could feel what Quinlan's character was going through, and remembered how she felt in her mind.[5]

text: Home media[edit]

text: A 10th-anniversary DVD of the film was released in 2005; it included both the theatrical version and the IMAX version, along with several extras.[31]  The IMAX version has a 1.66:1 aspect ratio.[32]

text: In 2006, Apollo 13 was released on HD DVD and on April 13, 2010 it was released on Blu-ray disc as the 15th-anniversary edition on the 40th anniversary of the Apollo 13 accident.[31] The Film was released on 4K UHD Blu-Ray on October 17, 2017.[33]

text: Accolades[edit]

text:
Year
Award
Category
Recipient
Result
Ref.

1996

Academy Awards (1996)

Best Film Editing

Mike Hill and Daniel Hanley

Won

[4]

Best Sound

Rick Dior, Steve Pederson, Scott Millan, and David MacMillan

Won

Best Actor in a Supporting Role

Ed Harris (lost to Kevin Spacey in The Usual Suspects)

Nominated

Best Actress in a Supporting Role

Kathleen Quinlan (lost to Mira Sorvino in Mighty Aphrodite)

Nominated

Best Art Direction

Art Direction: Michael Corenblith; Set Decoration: Merideth Boswell (lost to Restoration)

Nominated

Best Original Dramatic Score

James Horner (lost to Il Postino)

Nominated

Best Picture

Brian Grazer (lost to Braveheart)

Nominated

Best Visual Effects

Robert Legato, Michael Kanfer, Leslie Ekker, and Matt Sweeney (lost to Babe)

Nominated

Best Adapted Screenplay

William Broyles Jr. and Al Reinert (lost to Sense and Sensibility)

Nominated

American Cinema Editors (Eddies)

Best Edited Feature Film

Mike Hill, Daniel P. Hanley

Nominated

American Society of Cinematographers

Outstanding Achievement in Cinematography in Theatrical Releases

Dean Cundey

Nominated

BAFTA Film Awards

Best Production Design

Michael Corenblith

Won

Outstanding Achievement in Special Visual Effects

Robert Legato, Michael Kanfer, Matt Sweeney, Leslie Ekker

Won

Best Cinematography

Dean Cundey

Nominated

Best Editing

Mike Hill, Daniel Hanley

Nominated

Best Sound

David MacMillan, Rick Dior, Scott Millan, Steve Pederson

Nominated

Casting Society of America (Artios)

Best Casting for Feature Film, Drama

Jane Jenkins, Janet Hirshenson

Nominated

Chicago Film Critics Association Awards

Best Picture

Apollo 13

Won

Directors Guild of America

Outstanding Directorial Achievement in Motion Pictures

Ron Howard, Carl Clifford, Aldric La'Auli Porter, Jane Paul

Won

Golden Globe Awards

Best Supporting Actor – Motion Picture

Ed Harris as Gene Kranz

Nominated

Best Supporting Actress – Motion Picture

Kathleen Quinlan as Marilyn Lovell

Nominated

Best Director – Motion Picture

Ron Howard

Nominated

Best Motion Picture – Drama

Apollo 13

Nominated

Heartland Film Festival

Studio Crystal Heart Award

Jeffrey Kluger

Won

Hugo Awards

Best Dramatic Presentation

Apollo 13

Nominated

MTV Movie Awards

Best Male Performance

Tom Hanks as Jim Lovell

Nominated

Best Movie

Apollo 13

Nominated

PGA Awards

Motion Picture Producer of the Year Award

Brian Grazer, Todd Hallowell

Won

Saturn Awards

Best Action / Adventure / Thriller Film

Apollo 13

Nominated

Screen Actors Guild Awards

Outstanding Performance by a Male Actor in a Supporting Role

Ed Harris as Gene Kranz

Won

Outstanding Performance by a Cast

Kevin Bacon, Tom Hanks, Ed Harris, Bill Paxton, Kathleen Quinlan, and Gary Sinise

Won

Space Foundation's Douglas S. Morrow Public Outreach Award

Best Family Feature – Drama

Apollo 13

Won

[34]

Writers Guild of America Awards

Best Screenplay Adapted from Another Medium

William Broyles Jr., Al Reinert

Nominated

Young Artist Awards

Best Family Feature – Drama

Apollo 13

Nominated

2005

American Film Institute

AFI's 100 Years... 100 Movie Quotes

"Houston, we have a problem." (#50)

Won

[35]

2006

American Film Institute

AFI's 100 Years... 100 Cheers

Apollo 13 (#12)

Won

[35]

text: Technical and historical accuracy[edit]

text: The film depicts the crew hearing a bang quickly after Swigert followed directions from mission control to stir the oxygen and hydrogen tanks. In reality, the crew heard the bang 93 seconds later.[36]

text: The film portrays the Saturn V launch vehicle being rolled out to the launch pad two days before launch. In reality, the launch vehicle was rolled out on the mobile launch platform using the crawler-transporter weeks before the launch date.

text: The movie depicts Swigert and Haise arguing about who was at fault.  The show The Real Story: Apollo 13 broadcast on the Smithsonian Channel includes Haise stating that no such argument took place and that there was no way anyone could have foreseen that stirring the tank would cause problems.[37]

text: The dialogue between ground control and the astronauts was taken nearly verbatim from transcripts and recordings, with the exception of one of the taglines of the film, "Houston, we have a problem." (This quote was voted #50 on the list "AFI's 100 Years... 100 Movie Quotes".) According to the mission transcript, the actual words uttered by Jack Swigert were "Hey, we've got a problem here" (talking over Haise, who had started "Okay, Houston"). Ground control responded by saying "This is Houston, say again please." Jim Lovell then repeated, "Houston, we've had a problem."[38]

text: One other incorrect dialogue is after the re-entry blackout. In the movie, Tom Hanks (as Lovell) says "Hello Houston... this is Odyssey... it's good to see you again." In the actual re-entry, the Command Module's transmission was finally acquired by a Sikorsky SH-3D Sea King recovery aircraft which then relayed communications to Mission Control. CAPCOM and fellow astronaut Joe Kerwin (not Mattingly, who serves as CAPCOM in this scene in the movie) then made a call to the spacecraft "Odyssey, Houston standing by. Over." Jack Swigert, not Lovell, replied "Okay, Joe," and unlike in the movie, this was well before the parachutes deployed; the celebrations depicted at Mission Control were triggered by visual confirmation of their deployment.[39]

text: The tagline "Failure is not an option", stated in the film by Gene Kranz, also became very popular, but was not taken from the historical transcripts. The following story relates the origin of the phrase, from an e-mail by Apollo 13 Flight Dynamics Officer Jerry Bostick:

text: As far as the expression "Failure is not an option," you are correct that Kranz never used that term. In preparation for the movie, the script writers, Al Reinart and Bill Broyles, came down to Clear Lake to interview me on "What are the people in Mission Control really like?" One of their questions was "Weren't there times when everybody, or at least a few people, just panicked?" My answer was "No, when bad things happened, we just calmly laid out all the options, and failure was not one of them. We never panicked, and we never gave up on finding a solution." I immediately sensed that Bill Broyles wanted to leave and assumed that he was bored with the interview. Only months later did I learn that when they got in their car to leave, he started screaming, "That's it! That's the tag line for the whole movie, Failure is not an option. Now we just have to figure out who to have say it." Of course, they gave it to the Kranz character, and the rest is history.[40]

text: In the film, Flight Director Gene Kranz and his White Team are portrayed as managing all of the essential parts of the flight, from liftoff to landing.  Consequently, the actual role of the other flight directors and teams, especially Glynn Lunney and his Black Team, were neglected.  In fact, it was Flight Director Lunney and his Black Team who got Apollo 13 through its most critical period in the hours immediately after the explosion, including the mid-course correction that sent Apollo 13 on a "free return" trajectory around the Moon and back to the Earth.  Astronaut Ken Mattingly, who was replaced as Apollo 13 Command Module Pilot at the last minute by Jack Swigert, later said:

text: If there was a hero, Glynn Lunney was, by himself, a hero, because when he walked in the room, I guarantee you, nobody knew what the hell was going on.  Glynn walked in, took over this mess, and he just brought calm to the situation.  I've never seen such an extraordinary example of leadership in my entire career.  Absolutely magnificent.  No general or admiral in wartime could ever be more magnificent than Glynn was that night.  He and he alone brought all of the scared people together.  And you've got to remember that the flight controllers in those days were—they were kids in their thirties.  They were good, but very few of them had ever run into these kinds of choices in life, and they weren't used to that.  All of a sudden, their confidence had been shaken.  They were faced with things that they didn't understand, and Glynn walked in there, and he just kind of took charge.[41]

text: A DVD commentary track, recorded by Jim and Marilyn Lovell and included with both DVD versions,[31] mentions several inaccuracies included in the film, all done for reasons of artistic license:

text:
We were working and watching the controls during that time. Because we came in shallow, it took us longer coming through the atmosphere where we had ionization. And the other thing was that we were just slow in answering.
—Jim Lovell, on the real reason for the delay in replying after Apollo 13's four-minute re-entry into Earth's atmosphere[42]

text:
In the film, Mattingly plays a key role in solving a power consumption problem that Apollo 13 was faced with as it approached re-entry. Lovell points out in his commentary that Mattingly was a composite of several astronauts and engineers—including Charles Duke (whose rubella led to Mattingly's grounding)—all of whom played a role in solving that problem.[6]
When Jack Swigert is getting ready to dock with the LM, a concerned NASA technician says: "If Swigert can't dock this thing, we don't have a mission." Lovell and Haise also seem worried. In his DVD commentary, the real Jim Lovell says that if Swigert had been unable to dock with the LM, he or Haise could have done it. He also says that Swigert was a well-trained Command Module Pilot and that no one was really worried about whether he was up to the job,[42] but he admitted that it made a nice subplot for the film. What the astronauts were really worried about, Lovell says, was the expected rendezvous between the Lunar Module and the Command Module after Lovell and Haise left the surface of the Moon.[6]
A scene set the night before the launch, showing the astronauts' family members saying their goodbyes while separated by a road, to reduce the possibility of any last-minute transmission of disease, depicted a tradition not begun until the Space Shuttle program.[6]
The film depicts Marilyn Lovell dropping her wedding ring down a shower drain. According to Jim Lovell, this did occur,[42] but the drain trap caught the ring and his wife was able to retrieve it.[6]  Lovell has also confirmed that the scene in which his wife had a nightmare about him being "sucked through an open door of a spacecraft into outer space" also occurred, though he believes the nightmare was prompted by her seeing a scene in Marooned, a 1969 film they saw three months before Apollo 13 launched.[42]


document_title: Revolutions of 1848 in the Austrian Empire

question_text: who resisted nationalism in the austrian empire in the 1800s

root

text: The early rumblings[edit]

text: The events of 1848 were the product of mounting social and political tensions after the Congress of Vienna of 1815. During the "pre-March" period, the already conservative Austrian Empire moved further away from ideas of the Age of Enlightenment, restricted freedom of the press, limited many university activities, and banned fraternities.

tag: p

text: Social and political conflict[edit]

text: Conflicts between debtors and creditors in agricultural production as well as over land use rights in parts of Hungary (as in France) led to conflicts that occasionally erupted into violence. Conflict over organized religion was pervasive in pre-1848 Europe.[citation needed] Tension came both from within Catholicism and between members of different confessions. These conflicts were often mixed with conflict with the state. Important for the revolutionaries were state conflicts including the armed forces and collection of taxes. As 1848 approached, the revolutions the Empire crushed to maintain longstanding conservative minister Klemens Wenzel von Metternich's Concert of Europe left the empire nearly bankrupt and in continual need of soldiers.[citation needed] Draft commissions led to brawls between soldiers and civilians. All of this further agitated the peasantry, who resented their remaining feudal obligations.

text: Despite lack of freedom of the press and association, there was a flourishing liberal German culture among students and those educated either in Josephine schools[citation needed] or German universities. They published pamphlets and newspapers discussing education and language; a need for basic liberal reforms was assumed. These middle class liberals largely understood and accepted that forced labor is not efficient, and that the Empire should adopt a wage labor system. The question was of how to institute such reforms.

text: Notable liberal clubs of the time in Vienna included the Legal-Political Reading Club (established 1842) and Concordia Society (1840). They, like the Lower Austrian Manufacturers' Association (1840) were part of a culture that criticized Metternich's government from the city's coffeehouses, salons, and even stages, but prior to 1848 their demands had not even extended to constitutionalism or freedom of assembly, let alone republicanism. They had merely advocated relaxed censorship, freedom of religion, economic freedoms, and, above all, a more competent administration. They were outright opposed to popular sovereignty and the universal franchise.[1]

text: To their left was a radicalized, impoverished intelligentsia. Educational opportunities in 1840s Austria had far outstripped employment opportunities for the educated.[2]

text: Direct cause of the outbreak of violence[edit]

text: In 1846 there had been an uprising of Polish nobility in Austrian Galicia, which was only countered when peasants, in turn, rose up against the nobles.[3] The economic crisis of 1845-47 was marked by recession and food shortages throughout the continent. At the end of February 1848, demonstrations broke out in Paris. Louis-Philippe of France abdicated the throne, prompting similar revolts throughout the continent.

text: Revolution in the Austrian lands[edit]

text: An early victory leads to tension[edit]

text: After news broke of the February victories in Paris, uprisings occurred throughout Europe, including in Vienna, where the Diet (parliament) of Lower Austria in March demanded the resignation of Prince Metternich, the conservative State Chancellor and Foreign Minister. With no forces rallying to Metternich's defense, nor word from Ferdinand I of Austria to the contrary, he resigned on 13 March.[4] Metternich fled to London,[5] and Ferdinand appointed new, nominally liberal, ministers. By November, the Austrian Empire saw several short-lived liberal governments under five successive Ministers-President of Austria: Count Kolowrat (17 March–4 April), Count Ficquelmont (4 April–3 May), Baron Pillersdorf (3 May–8 July), Baron Doblhoff-Dier (8 July–18 July) and Baron Wessenberg (19 July–20 November).[6]

text: The established order collapsed rapidly because of the weakness of the Austrian armies. Field Marshal Joseph Radetzky was unable to keep his soldiers fighting Venetian and Milanese insurgents in Lombardy-Venetia, and had to, instead, order the remaining troops to evacuate.

text: Social and political conflict as well as inter and intra confessional hostility momentarily subsided as much of the continent rejoiced in the liberal victories. Mass political organizations and public participation in government became widespread.

text: However, liberal ministers were unable to establish central authority. Provisional governments in Venice and Milan quickly expressed desire to be part of an Italian confederacy of states; but for Venetian government this lasted five days only, after the 1848 armistice between Austria and Piedmont. A new Hungarian government in Pest announced its intentions to break away from the Empire and elect Ferdinand its King, and a Polish National Committee announced the same for the province of Kingdom of Galicia and Lodomeria.

text: Social and political tensions after the "Springtime of Peoples"[edit]

text: The victory of the party of movement was looked at as an opportunity for lower classes to renew old conflicts with greater anger and energy. Several tax boycotts and attempted murders of tax collectors occurred in Vienna. Assaults against soldiers were common, including against Radetzky's troops retreating from Milan. The archbishop of Vienna was forced to flee, and in Graz, the convent of the Jesuits was destroyed.

text: The demands of nationalism and its contradictions became apparent as new national governments began declaring power and unity. Charles Albert of Sardinia, King of Piedmont-Savoy, initiated a nationalist war on March 23 in the Austrian held northern Italian provinces that would consume the attention of the entire peninsula. The German nationalist movement faced the question of whether or not Austria should be included in the united German state, a quandary that divided the Frankfurt National Assembly. The liberal ministers in Vienna were willing to allow elections for the German National Assembly in some of the Habsburg lands, but it was undetermined which Habsburg territories would participate. Hungary and Galicia were clearly not German; German nationalists (who dominated the Bohemian Diet[7]) felt the old crown lands rightfully belonged to a united German state, despite the fact that the majority of the people of Bohemia and Moravia spoke Czech — a Slavic language. Czech nationalists viewed the language as far more significant, calling for a boycott of the Frankfurt Parliament elections in Bohemia, Moravia, and neighboring Austrian Silesia (also partly Czech-speaking). Tensions in Prague between German and Czech nationalists grew quickly between April and May. After the abolition of serfdom on April 17, Supreme Ruthenian Council was established in Galicia to promote the unification of ethnic Ukrainian lands of Eastern Galicia, Transcarpathia and Bukovyna in one province. Ukrainian language department was opened in Lviv University, and the first Ukrainian newspaper Zoria Halytska started publishing in Lviv on May 15, 1848. On July 1, serfdom was also abolished in Bukovyna.

text: By early summer, conservative regimes had been overthrown, new freedoms (including freedom of the press and freedom of association) had been introduced, and multiple nationalist claims had been exerted. New parliaments quickly held elections with broad franchise to create constituent assemblies, which would write new constitutions. The elections that were held produced unexpected results. The new voters, naïve and confused by their new political power, typically elected conservative or moderately liberal representatives. The radicals, the ones who supported the broadest franchise, lost under the system they advocated because they were not the locally influential and affluent men. The mixed results led to confrontations similar to the "June Days" uprising in Paris. Additionally, these constituent assemblies were charged with the impossible task of managing both the needs of the people of the state and determining what that state physically is at the same time. The Austrian Constituent Assembly was divided into a Czech faction, a German faction, and a Polish faction, and within each faction was the political left-right spectrum. Outside the Assembly, petitions, newspapers, mass demonstrations, and political clubs put pressure on their new governments and often expressed violently many of the debates that were occurring within the assembly itself.

text: The Czechs held a Pan-Slavic congress in Prague, primarily composed of Austroslavs who wanted greater freedom within the Empire, but their status as peasants and proletarians surrounded by a German middle class doomed their autonomy[citation needed]. They also disliked the prospect of annexation of Bohemia to a German Empire.

text: Counterrevolution[edit]

text: Insurgents quickly lost in street fighting to King Ferdinand's troops led by General Radetzky, prompting several liberal government ministers to resign in protest. Ferdinand, now restored to power in Vienna, appointed conservatives in their places. These actions were a considerable blow to the revolutionaries, and by August most of northern Italy was under Radetzky's control.

text: In Bohemia, the leaders of both the German and Czech nationalist movements were both constitutional monarchists, loyal to the Habsburg Emperor. Only a few days after the Emperor reconquered northern Italy, Alfred I, Prince of Windisch-Grätz took provocative measures in Prague to prompt street fighting. Once the barricades went up, he led Habsburg troops to crush the insurgents. After having taken back the city, he imposed martial law, ordered the Prague National Committee dissolved, and sent delegates to the "Pan-Slavic" Congress home. These events were applauded by German nationalists, who failed to understand that the Habsburg military would crush their own national movement as well.

text: Attention then turned to Hungary. War in Hungary again threatened imperial rule and prompted Emperor Ferdinand and his court to once more flee Vienna. Viennese radicals welcomed the arrival of Hungarian troops as the only force able to stand up against the court and ministry. The radicals took control of the city for only a short period of time. Windisch-Grätz led soldiers from Prussia to quickly defeat the insurgents. Windisch-Grätz restored imperial authority to the city. The reconquering of Vienna was seen as a defeat over German nationalism. At this point, Ferdinand I named the noble Prince Felix zu Schwarzenberg head of government. Schwarzenberg, a consummate statesman, persuaded the feeble-minded Ferdinand to abdicate the throne to his 18-year-old nephew, Franz Joseph. Parliamentarians continued to debate, but had no authority on state policy.

text: Both the Czech and Italian revolutions were defeated by the Habsburgs. Prague was the first victory of counter-revolution in the Austrian Empire.

text: Lombardy-Venetia was quickly brought back under Austrian rule in the mainland, even because popular support for the revolution vanished: revolutionary ideals were often limited to part of middle and upper classes, which failed both to gain "hearts and minds" of lower classes and to convince the population about Italian nationalism. Most part of lower classes indeed were quite indifferent, and actually most part of Lombard and Venetian troops remained loyal.[8] The only widespread support to the revolution was in the cities of Milan and Venice, with the Republic of San Marco lasting under siege until 28th of August, 1849.

text: Revolution in the Kingdom of Hungary[edit]

text: The Hungarian Diet was reconvened in 1825 to handle financial needs. A liberal party emerged in the Diet. The party focused on providing for the peasantry in mostly symbolic ways because of their inability to understand the needs of the laborers. Lajos Kossuth emerged as the leader of the lower gentry in the Diet.

text: In 1848, news of the outbreak of revolution in Paris arrived as a new national cabinet took power under Kossuth, and the Diet approved a sweeping reform package, referred to as the "April laws" (also "March laws"), that changed almost every aspect of Hungary's economic, social, and political life:

text:
they gave the Magyar nobility and lower gentry in the parliament control over its own military, its budget, and foreign policy
essentially created an autonomous national kingdom of Hungary with the Habsburg Emperor as its king
demanded that the Hungarian government receive and expend all taxes raised in Hungary and have authority over Hungarian regiments in the Habsburg army
ended the special status of Transylvania and Croatia-Slavonia.

tag: ul

text: These demands were not easy for the imperial court to accept, however, its weak position provided little choice. One of the first tasks of the Diet was abolishing serfdom, which was announced on March 18, 1848.

text: The Hungarian government set limits on the political activity of both the Croatian and Romanian national movements. Croats and Romanians had their own desires for self-rule and saw no benefit in replacing one central government for another. Armed clashes between the Hungarians and the Croats, Romanians, Serbs, along one border and Slovaks on the other ensued. In some cases, this was a continuation and an escalation of previous tensions, such as the 1845 July victims in Croatia.

text: The Habsburg Kingdom of Croatia and the Kingdom of Slavonia severed relations with the new Hungarian government in Pest and devoted itself to the imperial cause. Conservative Josip Jelačić, who was appointed the new ban of Croatia-Slavonia in March by the imperial court, was removed from his position by the constitutional monarchist Hungarian government. He refused to give up his authority in the name of the monarch. Thus, there were two governments in Hungary issuing contradictory orders in the name of Ferdinand von Habsburg.[9]

text: Aware that they were on the path to civil war in mid-1848, the Hungarian government ministers attempted to gain Habsburg support against Jelačić by offering to send troops to northern Italy. Additionally, they attempted to come to terms with Jelačić himself, but he insisted on the recentralization of Habsburg authority as a pre-condition to any talks. By the end of August, the imperial government in Vienna officially ordered the Hungarian government in Pest to end plans for a Hungarian army. Jelačić then took military action against the Hungarian government without any official order.

text: The national assembly of the Serbs in Austrian Empire was held between 1 and 3 May 1848 in Sremski Karlovci, during which the Serbs proclaimed autonomous Habsburg crownland of Serbian Vojvodina. The war started, leading to clashes as such in Srbobran, where on July 14, 1848, the first siege of the town by Hungarian forces began under Baron Fülöp Berchtold. The army was forced to retreat due to a strong Serbian defense. With war raging on three fronts (against Romanians and Serbs in Banat and Bačka, and Romanians in Transylvania), Hungarian radicals in Pest saw this as an opportunity. Parliament made concessions to the radicals in September rather than let the events erupt into violent confrontations. Shortly thereafter, the final break between Vienna and Pest occurred when Field Marshal Count Franz Philipp von Lamberg was given control of all armies in Hungary (including Jelačić's). In response to Lamberg being attacked on arrival in Hungary a few days later, the imperial court ordered the Hungarian parliament and government dissolved. Jelačić was appointed to take Lamberg's place. War between Austria and Hungary had officially begun.

text: The war led to the October Crisis in Vienna, when insurgents attacked a garrison on its way to Hungary to support Croatian forces under Jelačić. After Vienna was recaptured by imperial forces, General Windischgrätz and 70,000 troops were sent to Hungary to crush the Hungarian revolution and as they advanced the Hungarian government evacuated Pest. However the Austrian army had to retreat after heavy defeats in the Spring Campaign of the Hungarian Army from March to May 1849. Instead of pursuing the Austrian army, the Hungarians stopped to retake the Fort of Buda and prepared defenses. In June 1849 Russian and Austrian troops entered Hungary heavily outnumbering the Hungarian army. Kossuth abdicated on August 11, 1849 in favour of Artúr Görgey, who he thought was the only general who was capable of saving the nation. However, in May 1849, Czar Nicholas I pledged to redouble his efforts against the Hungarian Government. He and Emperor Franz Joseph started to regather and rearm an army to be commanded by Anton Vogl, the Austrian lieutenant-field-marshal.[10] The Czar was also preparing to send 30,000 Russian soldiers back over the Eastern Carpathian Mountains from Poland. On August 13, after several bitter defeats in a hopeless situation Görgey, signed a surrender at Világos (now Şiria, Romania) to the Russians, who handed the army over to the Austrians.[11]

text: Western Slovak Uprising[edit]

text: Slovak Uprising was an uprising of Slovaks against Magyar (i.e. ethnic Hungarian) domination in the Western parts[12] of Upper Hungary (present-day Western Slovakia), within the 1848/49 revolution in the Habsburg Monarchy. It lasted from September 1848 to November 1849. During this period Slovak patriots established the Slovak National Council as their political representation and military units known as the Slovak Volunteer Corps. The political, social and national requirements of the Slovak movement were declared in the document entitled “Demands of the Slovak Nation” from April 1848.

text: The Second Wave of Revolutions[edit]

text: Revolutionary movements of 1849 faced an additional challenge: to work together to defeat a common enemy. Previously, national identity allowed Habsburg forces to conquer revolutionary governments by playing them off one another. New democratic initiatives in Italy in the spring of 1848[when?] led to a renewed conflict with Austrian forces in the provinces of Lombardy and Venetia. At the very first anniversary of the first barricades in Vienna, German and Czech democrats in Bohemia agreed to put mutual hostilities aside and work together on revolutionary planning. Hungarians faced the greatest challenge of overcoming the divisions of the previous year, as the fighting there had been the most bitter. Despite this, the Hungarian government hired a new commander and attempted to unite with Romanian democrat Avram Iancu, who was known as Crăişorul Munţilor ("The Prince of the Mountains"). However, division and mistrust were too severe.

text: Three days after the start of hostilities in Italy, Carlo Alberto abdicated the throne, essentially ending the Piedmontese return to war. Renewed military conflicts cost the Empire the little that remained of its finances. Another challenge to Habsburg authority came from Germany and the question of either "big Germany" (united Germany led by Austria) or "little Germany" (united Germany led by Prussia). The Frankfurt National Assembly proposed a constitution with Friedrich Wilhelm of Prussia as monarch of a united federal Germany composed of only 'German' lands. This would have led to the relationship between Austria and Hungary (as a 'non-German' area) being reduced to a personal union under the Habsburgs, rather than a united state, an unacceptable arrangement for both the Habsburgs and Austro-German liberals in Austria. In the end, Friedrich Wilhelm refused to accept the constitution written by the Assembly. Schwarzenberg dissolved the Hungarian Parliament in 1849, imposing his own constitution that conceded nothing to the liberal movement. Appointing Alexander Bach head of internal affairs, he oversaw the creation of the Bach system, which rooted out political dissent and contained liberals within Austria and quickly returned the status quo. After the deportation of Lajos Kossuth, a nationalist Hungarian leader, Schwarzenberg faced uprisings by Hungarians. Playing on the long-standing Russian tradition of conservativism, he convinced tsar Nicholas I to send Russian forces in. The Russian army quickly destroyed the rebellion, forcing the Hungarians back under Austrian control. In less than three years, Schwarzenberg had returned stability and control to Austria. However, Schwarzenberg had a stroke in 1852, and his successors failed to uphold the control Schwarzenberg had so successfully maintained.


document_title: Function key

question_text: in excel what does the f1 key on the keyboard do

text: Function key

text: History[edit]

text: The Singer/Friden 2201 Flexowriter Programatic, introduced in 1965, had a cluster of 13 function keys, labeled F1 to F13 to the right of the main keyboard. Although the Flexowriter could be used as a computer terminal, this electromechanical typewriter was primarily intended as a stand-alone word processing system. The interpretation of the function keys was determined by the programming of a plugboard inside the back of the machine.[2]

text: Soft keys date to avionics multi-function displays of military planes of the late 1960s/early 1970s, such as the Mark II avionics of the F-111D (first ordered 1967, delivered 1970–73).[citation needed] In computing use, they were found on the HP 9810A calculator (1971) and later models of the HP 9800 series, which featured 10 programmable keys in 5×2 block (2 rows of 5 keys) at the top left of the keyboard, with paper labels.[citation needed] The HP 9830A (1972) was an early desktop computer, and one of the earliest specifically computing uses.[citation needed] HP continued its use of function keys in the HP 2640 (1975), which used screen-labeled function keys, placing the keys close to the screen, where labels could be displayed for their function.

text: NEC's PC-8001, introduced in 1979, featured five function keys at the top of the keyboard, along with a numeric keypad on the right-hand side of the keyboard.[3][4]

text: Their modern use may have been popularized by IBM keyboards:[citation needed] first the IBM 3270 terminals, then the IBM PC. IBM use of function keys dates to the IBM 3270 line of terminals,[citation needed] specifically the IBM 3277 (1972) with 78-key typewriter keyboard or operator console keyboard version, which both featured 12 programmed function (PF) keys in a 3×4 matrix at the right of the keyboard. Later models replaced this with a numeric keypad, and moved the function keys to 24 keys at the top of the keyboard. The original IBM PC keyboard (PC/XT, 1981) had 10 function keys (F1–F10) in a 2×5 matrix at the left of the keyboard; this was replaced by 12 keys in 3 blocks of 4 at the top of the keyboard in the Model M ("Enhanced", 1984).[citation needed]

text: Schemes on various keyboards[edit]

text:
Apple Macintosh: The classic Mac OS supported system extensions known generally as FKEYS which could be installed in the System file and could be accessed with a Command-Shift-(number) keystroke combination (Command-Shift-3 was the screen capture function included with the system, and was installed as an FKEY); however, early Macintosh keyboards did not support numbered function keys in the normal sense. Since the introduction of the Apple Extended Keyboard with the Macintosh II, however, keyboards with function keys have been available, though they did not become standard until the mid-1990s. They have not traditionally been a major part of the Mac user interface, however, and are generally only used on cross-platform programs. According to the Macintosh Human Interface Guidelines, they are reserved for customization by the user. Current Mac keyboards include specialized function keys for controlling sound volume. The most recent Mac keyboards include 19 function keys, but keys F1–F4 and F7–F12 by default control features such as volume, media control, and Exposé. Former keyboards and Apple Keyboard with numeric keypad has the F1–F19 keys.
Apple Macintosh notebooks: Function keys were not standard on Apple notebook hardware until the introduction of the PowerBook 5300 and the PowerBook 190. For the most part, Mac laptops have keys F1 through F12, with pre-defined actions for some, including controlling sound volume and screen brightness.
Apricot PC/Xi: six unlabelled keys, each with an LED beside it which illuminates when the key can be used; above the keys is a liquid crystal display—the 'microscreen'—that is used by programs to display the action performed by the key.
Atari 8-bit family (400/800/XL/XE): four dedicated keys (Reset, Option, Select, Start) at the right hand side or on the top of the keyboard; the XL models also had a Help key. Atari 1200XL had four additional keys labeled F1 through F4 with pre-defined actions, mainly related to cursor movement.
Atari ST: ten parallelogram-shaped keys in a horizontal row across the top of the keyboard, inset into the keyboard frame instead of popping up like normal keys.
BBC Micro: red/orange keys F0 to F9 in a horizontal row above the number keys on top of the computer/keyboard. The break, arrow, and copy keys could function as F10–F15. The case included a transparent plastic strip above them to hold a function key reference card.
Coleco Adam: six dark brown keys in a horizontal row above the number keys, labeled with Roman numerals I–VI.
Commodore VIC-20 and C64: F1/F2 to F7/F8 in a vertical row of four keys ascending downwards on the computer/keyboard's right hand side, odd-numbered functions accessed unshifted, even-numbered shifted; orange, beige/brown, or grey key color, depending on VIC/64 model/revision.
Commodore 128: essentially same as VIC-20/C64, but with (grey) function keys placed in a horizontal row above the numeric keypad right of the main QWERTY-keyboard; also had Help key.
Commodore Amiga: ten keys arranged in a row of two five-key groups across the top of the keyboard (flush with the ordinary keyboard top row); function keys are 1½ times the width of ordinary keys. Like the Commodore 128, this also had a Help key.
Graphing calculators, particularly those from Texas Instruments, Hewlett-Packard and Casio, usually include a row of function keys with various preassigned functions (on a standard hand-held calculator, these would be the top row of buttons under the screen). On low-end models such as the TI-83-series, these function mainly as an extension of the main keyboard, but on high-end calculators the functions change with the mode, sometimes acting as menu navigation keys as well.
HP 2640 series terminals (1975): first known instance—late 1970s—of screen-labeled function keys (where keys are placed in proximity or mapped to labels on CRT or LCD screen).
HP 9830: f1–f8 on two rows of four in upper left with paper template label. An early use of function keys (1972).
IBM 3270: probably the origin of function keys on keyboards, circa 1972.[citation needed] On this mainframe keyboard early models had 12 function keys in a 3×4 matrix at the right of the keyboard; later that changed to a numeric keypad, and the function keys moved to the top of the keyboard, and increased to 24 keys in two rows.
IBM 5250: early models frequently had a "cmd" modifier key, by which the numeric row keys emulate function keys; later models have either 12 function keys in groups of 4 (with shifted keys acting as F13–F24), or 24 in two rows. These keys, along with "Enter," "Help," and several others, generate "AID codes," informing the host computer that user-entered data is ready to be read.
IBM PC AT and PS/2 keyboard: F1 to F12 usually in three 4-key groups across the top of the keyboard. The original IBM PC and PC XT keyboards had function keys F1 through F10, in two adjacent vertical columns on the left hand side; F1|F2, F3|F4, ..., F9|F10, ascending downwards. Some IBM compatible keyboards, e.g., the Northgate OmniKey™/102, also featured function keys on the left, which on examples with swapped left Alt and Caps Lock keys, facilitate fingers of a single hand simultaneously striking modifier key(s) and function keys swiftly and comfortably by touch even by those with small hands. Many modern PC keyboards also include specialized keys for multimedia and operating system functions.
MCK-142 Pro: two sets of F1–F12 function keys, 1 above QWERTY and one to the left. Also, 24 additional user programmable PF keys located above QWERTY keys.
NEC PC-8000 Series (1979): five function keys at the top of the keyboard, along with a numeric keypad on the right-hand side of the keyboard.[3][4]
Sharp MZ-700: blue keys F1 to F5 in a horizontal row across the top left side of the keyboard, the keys are vertically half the size of ordinary keys and twice the width; there is also a dedicated "slot" for changeable key legend overlays (paper/plastic) above the function key row.
VT-100 terminals: four function keys (PF1, Alt key[dubious – discuss]; PF2, help; PF3, menu; PF4, escape to shell[5]) above the numeric keypad.

text: Action on various programs and operating systems[edit]

text: Mac OS[edit]

text: In the classic Mac OS, the function keys could be configured by the user, with the Function Keys control panel, to start a program or run an AppleScript. macOS assigns default functionality to F9, F10, and F11 (Exposé); F12 (Dashboard); and F14/F15 (decrease/increase contrast). On newer[when?] Apple laptops, all the function keys are assigned basic actions such as volume control, brightness control, NumLock (since the laptops lack a keypad), and ejection of disks. Software functions can be used by holding down the Fn key while pressing the appropriate function key, and this scheme can be reversed by changing the macOS system preferences.

text: MS-DOS/Windows[edit]

text: Under MS-DOS, individual programs could decide what each function key meant to them, and the command line had its own actions (e.g., F3 copied to the current command prompt words from the previous command). Following the IBM Common User Access guidelines, the F1 key gradually became universally associated with Help in most early Windows programs. To this day, Microsoft Office programs running in Windows list F1 as the key for Help in the Help menu. Internet Explorer in Windows does not list this keystroke in the help menu, but still responds with a help window. F3 is commonly used to activate a search function in applications, often cycling through results on successive presses of the key. ⇧ Shift+F3 is often used to search backwards. Some applications such as Visual Studio support Control+F3 as a means of searching for the currently highlighted text elsewhere in a document. F5 is also commonly used as a reload key in many web browsers and other applications, while F11 activates the full screen/kiosk mode on most browsers. Under the Windows environment, Alt+F4 is commonly used to quit an application; Ctrl+F4 will often close a portion of the application, such as a document or tab. F10 generally activates the menu bar, while ⇧ Shift+F10 activates a context menu. F2 is used in many Windows applications such as Windows Explorer, Excel, Visual Studio and other programs to access file or cell edit functions.

text: F4 is used in some applications to make the window "fullscreen", like in 3D Pinball: Space Cadet. In Microsoft IE, it is used to view the URL list of previously viewed websites.

text: Other function key assignments common to all Microsoft Office applications are: F7 to check spelling, Alt+F8 to call the macros dialog, Alt+F11 to call the Visual Basic Editor and ⇧ Shift+Alt+F11 to call the Script Editor. In Microsoft Word, ⇧ Shift+F1 reveals formatting. In Microsoft PowerPoint, F5 starts the slide show, and F6 moves to the next pane.

text: WordPerfect for DOS is an example of a program that made heavy use of function keys.

text: In Internet Explorer 6 and Internet Explorer 7, F12 opens Internet Explorer Developer Toolbar. F6 highlights the URL in the address bar.

text: BIOS/Booting[edit]

text: Function Keys are also heavily used in the BIOS interface. Generally during the power-on self-test, BIOS access can be gained by hitting either a function key or the delete key. In the BIOS keys can have different purposes depending on the BIOS. However, F10 is the de facto standard for save and exit which saves all changes and restarts the system.

text: During Microsoft Windows 10 startup, ⇧ Shift + F8 is used to enter safe mode, In legacy versions the F8 key was used alone.


document_title: Roo Stewart

question_text: who plays roo's mum in home & away

question_tokens: who plays roo 's mum in home & away

text: Roo Stewart

text: Casting[edit]

text: In 1987, Clarke auditioned for the roles of Carly Morris, Lynn Davenport and Bobby Simpson; but was unsuccessful each time. After the series had finished filming their pilot episode, producers changed their minds and invited Clarke to audition for the role of Roo, which she won. Clarke told a reporter from TV Life that she was "really pleased" because she thought Roo was a "great character".[1]

text: Character development[edit]

text: Characterisation[edit]

text:
“
Roo is the much-hated character who attempts to sabotage her father's marriage to Ailsa and who nearly fools Frank into marrying her by claiming that she is carrying his baby. There are two sides to her personality; to the adults she is charming and personable. To people her own age she is boy-crazy and scheming.
”

— Kesta Desmond on Roo (1990).[2]

tag: table

text: Roo's personality gained an unwelcome reception amongst viewers. Clarke said that "everyone" hated Roo and revealed that people would "boo" at her while attending promotional appearances.[3] On one occasion Clarke had to leave a shopping centre because females were shouting "slut" at her.[4] Clarke said that Roo is "a cow" but defended her because Roo ultimately ends up suffering.[5]

text: Teenage pregnancy[edit]

text: In the serial's first season, Alan Bateman wanted Home and Away to tackle serious social issues and a few months later Roo became the first character to have a teenage pregnancy.[6] The production team felt that Roo's pregnancy was "risque" because Home and Away was aired in an early evening time-slot. Clarke said she did not know what it was like to be pregnant and had to carry out research. While filming the storyline, Clarke was required to wear a bag filled with lentils beneath her clothing. This was to give the impression that Roo was pregnant, and as her pregnancy progressed more lentils were added to the bag to maintain continuity.[7] Clarke remained unaware of how to portray a convincing birth scene. The wife of the episode's director had previously given birth during a complicated labour. She helped Clarke with her research, which also included watching child birth videos. Clarke said that while she had learned most aspects of labour, not experiencing the actual pain of birth resulted in her feeling unprepared for the scenes. The birth scenes were filmed over the period of one day, consisting of more than fifteen shoots. Clarke said the dramatic breathing left her "dizzy" and even caused her to hyperventilate.[7]

text: Departure and return[edit]

text: Clarke played the role of Roo from 1988, until the character was written out a year later after Clarke quit the show.[8][9] Clarke has been asked to return to the show and reprise her role as Roo many times, but she has never agreed.[10]

text: In August 2010, it was announced that Roo would be returning to Home and Away.[8] Producers decided to recast the role after Clarke became busy with other television shows and her career as a children's singer.[10] Former All Saints actress, Georgie Parker was given the role and she began filming her first scenes in the same month.[8][11] Of her casting, Parker said "I'm thrilled to be back at Channel Seven and to be part of Home and Away. Working with Ray is a joy. We are having a fantastic time together. The whole cast and crew have been wonderful".[8] Of the decision to bring the character back, series producer Cameron Welsh said "We had such a positive reaction to Emily Symons's return as Marilyn; we trust the fans will love having an original character such as Roo back in the Bay. Securing Georgie Parker to bring her back to our screens is a real coup for the show".[8]

text: Parker called her "a colourful character who has a strong history with the origin of the show".[10] Parker has said the grown up Roo is very different from the teenager. She said "She was a colourful character when she left. She lost her mother when she was very young, and I think that when girls lose their mothers, they can go off the rails - and that's exactly what Roo did".[10] Parker added that she gets to play the adult who may have learned from past mistakes.[10] During an interview, Meagher said the adult Roo is "still full of energy, bluff and bravado. She's had a few financial problems and is possibly running away from a bloke."[12] He added that Alf has trouble getting her to tell him the truth, but he is "pleased to see her back in the Bay."[12]

text: Meningitis[edit]

text: In July 2014, the character was diagnosed with meningitis.[13] After returning from an extended trip to Las Vegas to look after her injured aunt Colleen Smart (Lyn Collingwood), Roo was very secretive about her times away. Within a day, Roo started showing symptoms of an illness.[13] Parker explained "This illness hits her fast and hard. She's lethargic, but thinks it's just jetlag. She also has a splitting headache that affects her eyes, and she's low on energy. It's all very out of character."[13] Roo's decision to keep quiet about her trip meant that nobody had any idea what was wrong with her. Roo fell unconscious at home and the situation became very serious.[13] Roo was eventually diagnosed with meningitis. Her condition later took a turn for the worse and she suffered a seizure.[14] In order to treat her, the doctors needed to know about her trip and her foster-daughter Maddy Osborne (Kassandra Clementi) found her passport, which revealed that she had been to Peru. With the information, the doctors were able to treat Roo and save her life.[14]

text: Storylines[edit]

text: Roo begins to resent her father's relationship with Ailsa Hogan (Judy Nunn) out of loyalty to her late mother, Martha (Alison Mulvaney). Roo begins dating Frank Morgan (Alex Papps) and they start a band with Lance Smart (Peter Vroom) and Martin Dibble (Craig Thompson). Roo's continued obsession with Ailsa drives a rift between her and Frank, despite nearly sleeping with him as an act of rebellion over Ailsa staying over. Roo contacts her aunt, Morag Bellingham (Cornelia Frances), who is a judge and asks her to do a background check on Ailsa. At Alf and Ailsa's engagement party, Roo reveals Ailsa went to prison for killing her abusive father. However, Ailsa's friends and Frank, side with her. Roo begins a feud with Bobby Simpson (Nicolle Dickson), Ailsa's friend. Tired of her behaviour, Alf sends Roo to boarding school in Sydney.

text: Roo begins dating Brett Macklin (Gerry Sont) and she gets pregnant. Brett's reaction to this to book an abortion for her. Roo returns to Summer Bay and tries convincing Frank that he is the baby's father. She pretends to accept Alf and Ailsa's relationship so she will be allowed to stay. Roo sleeps with Frank and arranges for Alf to catch them together. She tells her aunt, Celia Stewart (Fiona Spence), that she is pregnant with Frank's baby. Frank agrees to marry her and Roo tries to accept Alf and Ailsa's marriage. Brett turns up and tells Roo the mumps has left him infertile and that he now wants the baby. She refuses to let him back into her life, so Brett goes to Morag, who tries to talk Roo into changing her mind. In the middle of her wedding, she reveals that Frank is not the father of her baby. Frank drives off in anger and swerves off the road to avoid Bobby and the car falls into a ditch, almost killing him.

text: The incident leaves Roo an outcast within the town. Morag tries to persuade her to move to the city with her, but Celia talks her out of it. Brett applies for custody, but Roo suggests they sort it out between themselves. She begins helping Brett's family as they set up a business in the Bay. She is pleased when Alf and Ailsa's differences over the development causes them to split up. With Ailsa returning to town to be Christopher Fletcher's (Ashleigh Bell-Weir) godmother, Roo fakes stomach pains to stop Alf attending the christening. However, by hyperventilating she sends herself into premature labour and gives birth to a baby girl, who she names, Martha (Burcin Kapkin). She is pleased when Frank seems to take an interest, until she learns that he is dating Bobby. Brett tries to force Roo into giving him custody of Martha. He kidnaps the baby and Roo considered suicide, before she is informed that Brett had returned Martha. Roo refuses to press charges and the couple realise that they cannot raise Martha, so they give her up for adoption. Roo then begins to accept Ailsa, when she and Alf reconcile.

text: Roo decides to take a break from the Bay and when she returns, she reveals that she has a new boyfriend, David Lee (Anthony Wong). Alf and Celia are slightly shocked as David is Chinese and they are uncomfortable with Roo being in a mixed race relationship. Alf eventually gives the pair his blessing, but David later leaves town. Frank and Bobby marry and Roo is stunned to learn Bobby is Morag's daughter and thus her cousin. Roo takes a job at the Macklin Corporation. Her manager, Nicholas Walsh (Robert Taylor), sends nasty letters to Ailsa and frames Roo, with help from Morag. With Alf and Ailsa believing the letters are from her, Roo moves in with Celia and then with Morag. When Alf discovers the truth, he apologises and Roo moves back in. She then starts dating Simon Yates (Christopher Saunders).

text: Ailsa becomes pregnant, which pleases Roo. Alf and Tom Fletcher (Roger Oakley) go missing on a fishing trip and Ailsa goes into premature labour. Roo stays as her half-brother Duncan (Allana Ellis) is born, shortly before Alf is found. Roo finds herself working closely with Frank and when he is offered a promotion in the city, he celebrates by kissing Roo. She feels guilty about the kiss and when Frank goes to the city without Bobby, everyone assumes he and Roo had an affair. Roo is upset when Sally Fletcher (Katie Ritchie) blames her for the break-up. Bobby tells her that she and Frank would have broken up anyway and gives them her blessing. Roo then goes to the city to meet Frank and tells him she wants to give their relationship another go. Frank and Roo marry, but they split by the time Frank returns to town. Roo later moves to New York, where she is joined for a time by both Martha and Duncan. In 2005, Roo has a near fatal car-accident and Alf and Morag fly to New York to be with her while she recovers.

text: Five years later, Roo returns to Summer Bay. Alf is shocked to see her and Roo tells him that she has come for a visit as a job fell through and she had some frequent-flyer miles to use up. Roo starts receiving texts and calls from her boyfriend, Tim, and her bank manager. Colleen Smart is also shocked to see Roo and starts mentioning all the bad things she did in the past, until Alf tells her to stop. Robert Robertson (Socratis Otto) questions Roo about Martha and Hugo Austin (Bernard Curry) for the Federal Police and she states that she has not been in contact with them. Roo later tries to persuade Hugo's mother, Gina (Sonia Todd), to give them the money Hugo left behind, but Gina is reluctant. Gina runs a credit check on Roo and discovers that she is broke. Roo denies wanting the money for herself. Roo advises Alf to get a lawyer when rumours begin to circulate that he killed Penn Graham (Christian Clark). Gina gets Roo to take a job with John Palmer (Shane Withington), who pays her with Hugo's money. Roo attends Bianca Scott's (Lisa Gormley) bridal shower and wedding, before leaving for the States.

text: On her return, Roo finds Alf has gone travelling and her aunt Morag has been placed in charge of the caravan park. Roo goes to the relaunch of Angelo Rosetta's (Luke Jacobz) restaurant where she gets drunk and wakes up in bed with Miles Copeland (Josh Quong Tart). Angelo offers Roo a room at his place and tries to make a pass at her. John hires Roo to organise sponsorship for the upcoming surf carnival. Roo becomes close friends with Nicole Franklin (Tessa James) and Marilyn Chambers (Emily Symons). She also gets on well with Marilyn's partner, Sid Walker (Robert Mammone). Roo supports Nicole during her pregnancy and she asks her to be present at the birth. Roo also supports Romeo Smith's (Luke Mitchell) attempts to start a charter business. Laura Carmody (Roxanne Wilson) arrives in the Bay and reveals she and Roo are old friends. Roo invites Laura to stay with her and they work together on a hospital fundraiser. Roo invites Romeo to accompany her on a business trip to Hawaii and he brings Indigo Walker (Samara Weaving) with them. When they announce that they are getting married, Roo calls Sid and he flies over. Sid kisses Roo, but she rejects him because he is with Marilyn. However, she runs after his taxi, but fails to stop him leaving.

text: When she returns home, Roo is shocked to learn Marilyn and Sid have broken up. She and Sid kiss again and agree to be a couple. Roo and Laura organise a ball at Sid's farm and Roo tries to make peace with Marilyn. Bianca is raped at the ball and Roo criticises Laura for selling tickets to the River Boys. Alf disapproves of Roo's relationship with Sid, as he is worried about how he will treat her. Roo and Marilyn eventually become friends again and Roo breaks up with Sid when she realises his family will always be a priority over her. Roo takes over the running of the Diner due to staff shortages and she starts dating Harvey Ryan (Marcus Graham), despite being warned not to by Romeo, Indi and Sid. Roo and Harvey break up when she learns he sabotaged Alf's boat. Roo is disgusted when Harvey tries to blackmail John and she persuades Alf to stand against him during the council elections. Roo later takes a job alongside Harvey and becomes jealous of him and his girlfriend, Fleur Simpson (Alys Daroy). Roo and Harvey later get back together and she is surprised when his ex-wife, Mel (Allison Cratchley), and daughter, Lottie (Morgan Weaving), arrive in Summer Bay.

text: Sid tells Roo that Harvey had a young son who drowned and she becomes upset that Harvey did not tell her. Harvey admits to Roo that he and the Mayor rigged the election, so he would win. Harvey is arrested and Roo stands by him. She later tells Harvey that she loves him. Roo bonds with Lottie and agrees that she can move in with her and Harvey, when Mel goes to the city. Lottie and Mel eventually leave the Bay and Harvey asks Roo to marry him. Roo's ex-boyfriend, Tim (Jonny Pasvolsky), comes to the Bay and tries to win Roo back. Harvey and Roo marry and they take in teen runaways Maddy Osborne and Spencer Harrington (Andrew Morley). Harvey sails around the world with his best friend, Winston Markman (John Batchelor). Winston returns a few months later to tell Roo that he lost Harvey. Roo holds a memorial service for Harvey and says goodbye. Roo is delighted when Harvey eventually returns. However, he cannot cope being back in the Bay, causing problems with his marriage. Roo decides the best thing for them to do is get divorced. Harvey agrees and leaves the Bay.

text: When Colleen has an accident, Roo flies to Las Vegas to care for her. On her return, she becomes ill and collapses. She is diagnosed with meningitis and has to have fluid removed from her brain, but she shows no improvement. Nate Cooper (Kyle Pryor) discovers growths on her brain and her family learn that Roo went to Peru, where she had suffered a reaction to her inoculations. Roo is given antiviral drugs and recovers. Roo plans Marilyn and John's wedding. At the reception, she is informed that Maddy has stolen her credit card to buy clothes. Maddy is later fired from the gym for stealing and Roo pays off her debt, preferring that Maddy owes her instead. When Maddy learns that she has ovarian cancer, Roo supports her through her treatment. Alf collapses during a school field trip to a war memorial and he is diagnosed with post traumatic stress disorder. He experiences mood swings and Roo encourages him to speak to a therapist. James Edmunds (Myles Pollard) returns to the Bay and offers Roo a job as a lecturer at the university. She and James get on well and begin dating. Roo and Maddy then move in with James. He later proposes to her and she accepts. James and Roo try to get married quickly, but their wedding is stopped by Alf who thinks James lied about where he used to work. James and Roo then decide to put the wedding on hold. Roo later discovers James is already married with children, and has been lying to her all along. She calls off their engagement, but continues her relationship with him. After James confesses to Roo that he also lied to her about his parents being alive, she finally breaks up with him.

text: When Roo visits her brother Duncan in Hawaii, she meets James Mayvers (Tim Ross) and they begin a relationship. Roo initially tries to keep the relationship a secret due to the age gap between them, but Morag soon catches them together. Roo faints and is convinced by Morag that she is going through the menopause. However, she soon learns she is pregnant. James tells Roo that he does not want children and asks her to have an abortion, but she refuses and decides to the raise the child as a single parent. James's father David Mayvers (Noel Hodda) offers Roo $250,000 with the condition that she or her child does not contact James. Roo turns the offer down. While driving back from the pharmacy, she collapses in pain. Nate and Tori Morgan (Penny McNamee) find her and diagnose a ruptured ectopic pregnancy. She undergoes surgery, but loses the baby. Roo leaves town to try and find Martha, but she is unsuccessful and returns home.

text: Reception[edit]

text: A writer for Ausculture named Roo fifth on their Top Ten Aussie Soap Villains list.[15] They called Roo "evil" for trying to break up Alf's relationship with Ailsa, lying to and trying to marry Frank, leaving him at the altar and later having an affair with him.[15] They added "If she hadn't already left town, I wouldn't have been surprised to hear that she was driving the speedboat that struck down Summer Bay's beloved butch Bobby and killed her. On the plus side, she does have the rather hilarious name of 'Roo'."[15] Andrew Mercado described Roo as Alf Stewart's (Ray Meagher) "Minxy teenage daughter" in his book, Super Aussie soaps: behind the scenes of Australia's best loved TV shows.[16] A TV Week columnist describe Roo as "Summer Bay's original spoilt brat" who was never very far from drama.[10]

text: A Holy Soap writer stated that Roo's most memorable moment was "Bowling over her dad Alf by unexpectedly arriving back in Summer Bay after more than two decades away."[17] The Herald Sun said Roo is "Manipulative, mysterious and returned from living what she claims was the high life in New York", they predicted that her motives for returning to the Bay would puzzle viewers.[18] When she slept with Miles, The Sun's television magazine Buzz said: "Will she ever give up her wild-child way?"[19] Jaci Stephen writing for the Daily Mail highlighted the fact that Roo and Sid were fighting an attraction for one another. She said she could guess they would give into their desires in a number of "days rather than weeks."[20] Laura Morgan writing for All About Soap hoped Roo would not steal Sid from Marilyn and said: "Keep your hands off that Sid, Roo!"[21] When Roo finds happiness with Harvey, Stephen predicted that it would take one week before Roo became unhappy again.[22]


document_title: Aloha

question_text: what is the meaning of aloha in english

question_tokens: what is the meaning of aloha in english

text: Aloha

text: Etymology[edit]

text: The origins of the Hawaiian word aloha are unclear. The word goes back to the very origins of Hawaii to Kahiki (the homeland) and even further. The word is found in all Polynesian languages and always with the same basic meaning of: love, compassion, sympathy and kindness. Its beginnings may be seen in the Maori definition as "love of kin". Mary Kawena Pukui wrote that the "first expression" of aloha was between a parent and child. [3] The word has become a part of the English vocabulary in an awkward misuse.[4][5][6] The Oxford English Dictionary defines the word as a "greeting" like "welcome" and "farewell" using a number of examples dating back as far as 1798.

text: Lorrin Andrews wrote the first Hawaiian Dictionary, called "A dictionary of the Hawaiian language".[7] In it he describes aloha as; "A word expressing different feelings; love, affection, gratitude, kindness, pity, compassion, grief, the modern common salutation at meeting; parting". Mary Kawena Pukui and Samuel H. Elbert's; "Hawaiian Dictionary: Hawaiian-English, English-Hawaiian" also write a similer definition. Anthropologist, Frances Newton states that; "Aloha is a complex and profound sentiment. Such emotions defy definition". Hawaiians believe the concept to be unique, with no English equivalent.[8]

text: Hawaiʻi Law of The Aloha Spirit[edit]

text: From Chapter 5 of Hawaiʻi Revised Statutes:


document_title: Paradise (John Prine song)

question_text: who wrote daddy won't you take me back to muhlenberg county

question_tokens: who wrote daddy wo n 't you take me back to muhlenberg county

text: Paradise (John Prine song)

text: This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (October 2016) (Learn how and when to remove this template message)

text:
"Paradise"

Song by John Prine

from the album John Prine

Released
1971

Recorded
A&R Studios, New York

Genre
Folk music

Length
3:10

Label
Atlantic

Songwriter(s)
John Prine

John Prine track listing

"Sam Stone"
(4)
"Paradise"
(5)
"Pretty Good"
(6)

text: "Paradise" is a song written by John Prine for his father, and recorded for his 1971 debut album, John Prine. Prine also re-recorded the song for his 1986 album, German Afternoons. The song is about the devastating impact of strip mining for coal, whereby the top layers of soil are blasted off with dynamite to reach the coal seam below. The song is also about what happened to the area around the Green River in Kentucky because of the strip mining. The song references the Peabody Coal Company, and a town called Paradise in Muhlenberg County, Kentucky where Tennessee Valley Authority now operates a coal-fired power plant. The area has suffered serious economic downturn because of the decline of coal mining.

text: Notable cover versions[edit]

text:
Jackie DeShannon recorded her version of "Paradise" for her 1972 album, Jackie, on Atlantic Records.
John Denver released a cover of "Paradise" on his 1972 album, Rocky Mountain High.
Tom T. Hall recorded his version of "Paradise" for his album, The Magnificent Music Machine.
Jim and Jesse recorded and performed the song in the early 1970s.
The Everly Brothers recorded a version for their 1973 album Pass the Chicken & Listen.
The Country Gentlemen recorded a version for their 1973 album The Country Gentlemen.
The Seldom Scene recorded versions for their 1973 album Act II and for their 2014 album Long Time... Seldom Scene.
Lynn Anderson recorded her version of "Paradise" for her 1976 album, All the King's Horses. The song was also released as a single and peaked at No. 26 on the US Country chart.
Roy Acuff recorded "Paradise" in 1980.
A cover recorded by Johnny Cash was used in the soundtrack of the 1981 TV movie The Pride of Jesse Hallam, which starred Cash in the title role.[1] This version was later released on the compilation album Personal File.
"Paradise" was the end credit song for the film Fire Down Below.
Tim Flannery, former baseball player, recorded a version of "Paradise" on his 1999 album Pieces of the Past.
Jimmy Buffett has played "Paradise" twice in concert, in 2002 at Riverbend Music Center in Cincinnati and again in 2008 at Riverbend. The 2008 Riverbend recording appears on Buffett's 2010 CD Encores.
Pat Green & Cory Morrow covered "Paradise" on their album Songs We Wish We'd Written, which was released in 2001.
Dwight Yoakam recorded the song on his 2004 compilation album, Dwight's Used Records. This rendition is divided into two tracks. The first track has a slower tempo, while the second track has a faster tempo.
Hayseed Dixie often include the song in their live setlist and vocalist John Wheeler (aka Barley Scotch) has referred to it on several occasions as his favorite song ever recorded.
John Fogerty recorded a version as the lead off track for his 2009 album The Blue Ridge Rangers Rides Again.
John Kadlecik performed this live in an acoustic performance 2011-06-22 at the New Deal Cafe.
Jamestown Revival recorded the song as the second song on their 2013 EP California