:: wikimiki.org ::

Aerial

Aerial

Aerial is an adjective meaning "from the air" or "in the air", and is synonymous with "antenna" when used as a noun [http://en.wiktionary.org/wiki/Aerial]. It may also refer to:
- A dance move.
- The eighth studio album by Kate Bush.
- A short-lived Canadian Band of the late 70's Related topics include:
- Aerial photography.
- Aerial warfare.
- Aerial archaeology.
- Aerial skiing, a form of freestyle skiing.
- Aerials, a single by the rock band System of a Down.

Antenna (radio)

] Most simply, an antenna (U.S.) or aerial (UK) is an electronic component designed to transmit or receive radio waves. The words "antenna" and "aerial" are used throughout this article with precisely the same meaning. More specifically, an antenna is an arrangement of conductors designed to radiate (transmit) an electromagnetic field in response to an applied alternating electromotive force (EMF) and the associated alternating electric current. Alternatively, if an antenna is placed into an electromagnetic field, that field will induce an alternating current upon the antenna, and EMF between its terminals. See radio frequency induction.

Overview

There are two fundamental types of antennas. The first type is omni and the second type is directional. Omni type of antennas function in all possible directions whereas directional type of antennas work only in a single direction,i.e, "Line of Sight(LOS)". The first type couples to the electric field of an electromagnetic wave, and usually consists of a length of wire in which an electric charge moves back and forth (electric dipole). The second type couples to the magnetic field of an electromagnetic wave, and is usually a coil or loop of wire (magnetic dipole). By adding additional conducting rods or coils (called elements) and varying their length, spacing, and orientation, an antenna with specific desired properties can be created, such as a Yagi-Uda Antenna (often abbreviated to "Yagi"). Typically, antennas are designed to operate in a relatively narrow frequency range. The design criteria for receiving and transmitting antennas differ slightly, but generally an antenna can receive and transmit equally as well. This property is called reciprocity. The vast majority of antennas are simple vertical rods a quarter of a wavelength long. Such antennas are simple in construction, usually inexpensive, and both radiate in and receive from all horizontal directions (omnidirectional). One limitation of this antenna is that it does not radiate or receive in the direction in which the rod points. This region is called the antenna blind cone or null. Antennas have practical use for the transmission and reception of radio frequency signals (radio, TV, etc.), which can travel over great distances at the speed of light, and pass through nonconducting walls (although often there is a variable signal reduction depending on the type of wall, and natural rock can be very defective to radio signals).

Antenna effectiveness

Antennas may be omni and directional. There are several critical parameters that affect an antenna's performance and can be adjusted during the design process. These are resonant frequency, impedance, gain, aperture or radiation pattern, polarization, efficiency and bandwidth. Transmit antennas may also have a maximum power rating, and receive antennas differ in their noise rejection properties.

Resonant frequency

The resonant frequency is related to the electrical length of the antenna. This is usually the physical length of the wire multiplied by the ratio of the speed of wave propagation in the wire. Typically an antenna is tuned for a specific frequency, and is effective for a range of frequencies usually centered on that resonant frequency. However, the other properties of the antenna (especially radiation pattern and impedance) change with frequency, so the antenna's resonant frequency may merely be close to the center frequency of these other more important properties. Antennas can be made resonant on harmonic frequencies and with lengths that are fractions of the target frequency. Some antenna designs have multiple resonant frequencies, and some are relatively effective over a very broad range of frequencies. The most commonly known type of wide band aerial is the logarithmic or log aerial but its gain is usually much lower than that of a specific or narrower band aerial.

Impedance

Impedance is similar to refractive index in optics. As the electric wave travels through the different parts of the antenna system (radio, feed line, antenna, free space) it may encounter differences in impedance. At each interface, some fraction of the wave's energy will reflect back to the source, forming a standing wave in the feed line. The ratio of maximum power to minimum power in the wave can be measured and is called the standing wave ratio (SWR). A SWR of 1:1 is ideal. A SWR of 1.5:1 is considered to be marginally acceptable in low power applications where power loss is more critical, although an SWR as high as 6:1 may still be usable with the right equipment. Minimizing impedance differences at each interface will reduce SWR and maximize power transfer through each part of the antenna system. Complex impedance of an antenna is related to the electrical length of the antenna at the wavelength in use. The impedance of an antenna can be matched to the feed line and radio by adjusting the impedance of the feed line, using the feed line as an impedance transformer. More commonly, the impedance is adjusted at the load (see below) with an antenna tuner, a balun, a matching transformer, matching networks composed of inductors and capacitors, or matching sections such as the gamma match.

Gain

capacitor An antenna has gain if it radiates more strongly in one direction than in another. Gain is measured by comparing an antenna to a model antenna, typically the isotropic antenna which radiates equally in all directions. Often a dipole is also used as a practical reference as the isotropic source cannot be realised in practice, but it has 2.1 dB gain over an isotropic source. Most practical antennas radiate more than the isotropic antenna in some directions and less in others. Gain is inherently directional; the gain of an antenna is usually measured in the direction which it radiates best. Gain is one-dimensional. Gain does not mean that the antenna radiates more power than is fed to it, merely that it distributes the power more strongly in some directions than in others. Aperture, and radiation pattern are closely related to gain. Aperture is the shape of the "beam" cross section in the direction of highest gain, and is two-dimensional. (Sometimes aperture is expressed as the radius of the circle that approximates this cross section or the angle of the cone.) Radiation pattern is the three-dimensional plot of the gain, but usually only the two-dimensional horizontal and vertical cross sections of the radiation pattern are considered. Antennas with high gain typically show side lobes in the radiation pattern. Side lobes are peaks in gain other than the main lobe (the "beam"). Side lobes detract from the antenna quality whenever the system is being used to determine the direction of a signal, as in radar systems.

Efficiency

Efficiency is the ratio of power actually radiated to the power put into the antenna terminals. A dummy load may have a SWR of 1:1 but an efficiency of 0, as it absorbs all power and radiates none, showing that SWR alone is not an effective measure of an antenna's efficiency. Radiation in an antenna is caused by radiation resistance which can only be measured as part of total resistance including loss resistance.

Bandwidth

The bandwidth of an antenna is the range of frequencies over which it is effective, usually centered around the resonant frequency. The bandwidth of an antenna may be increased by several techniques, including using thicker wires, replacing wires with cages to simulate a thicker wire, tapering antenna components (like in a feed horn), and combining multiple antennas into a single assembly and allowing the natural impedance to select the correct antenna. Small antennas are usually preferred for convenience, but there is a fundamental limit relating bandwidth, size and efficiency. Of the parameters above, SWR is most easily measured. Impedance can be measured with specialized equipment, as it relates to the complex SWR. Measuring radiation pattern requires a sophisticated setup including significant clear space (enough to get into the antenna's far field) or an anechoic chamber designed for antenna measurements, careful study of experiment geometry, and specialised measurement equipment such as robots that rotate the antenna during the measurements. Bandwidth depends on the overall effectiveness of the antenna, so all of these parameters must be understood to understand bandwidth. However, typically bandwidth is measured by only looking at SWR, i.e., by finding the frequency range over which the SWR is less than a given value. Bandwidth over which an antenna exhibits a particular radiation pattern might also be considered.

Polarization

The polarization of an antenna or orientation of the radio wave is determined by the electric field or E-plane. The ionosphere changes the polarization of signals unpredictably, so for signals which will be reflected by the ionosphere, polarization is not crucial. However, for line-of-sight communications, it can make a tremendous difference in signal quality to have the transmitter and receiver using the same polarization. Polarizations commonly considered are linear, such as vertical and horizontal, and circular, which is divided into right-hand and left-hand circular.

Transmission and receiving

All of these parameters are expressed in terms of a transmission antenna, but are identically applicable to a receiving antenna, due to reciprocity. Impedance, however, is not applied in an obvious way; for impedance, the impedance at the load (where the power is consumed) is most critical. For a transmitting antenna, this is the antenna itself. For a receiving antenna, this is at the (radio) receiver rather than at the antenna. Antennas used for transmission have a maximum power rating, beyond which heating, arcing or sparking may occur in the components, which may cause them to be damaged or destroyed. Raising this maximum power rating usually requires larger and heavier components, which may require larger and heavier supporting structures. Of course, this is only a concern for transmitting antennas; the power received by an antenna rarely exceeds the microwatt range. If an antenna is to be used for reception at very low frequencies (below about ten megahertz), its noise rejection capabilities become important. At such frequencies, signals are reflected very effectively by the ionosphere; however, at these frequencies there are many forms of natural radio noise, including the noise produced by lightning. Successfully rejecting these forms of noise is an important antenna feature. For example, a small coil of wire with many turns is more able to reject such noise than a vertical antenna. However, the vertical will radiate much more effectively on transmit, where extraneous signals are not a concern.

Theoretical antenna types

- A dielectric resonator is a variation on the conventional antenna in which an insulator with a large dielectric constant is used to modify the electromagnetic field. It is claimed that the dielectric contains the antenna's near field and therefore prevents it from interfering with other nearby antennas or circuits, making it suitable for miniature equipment such as mobile phones.
- A feedhorn is an antenna system that handles the incoming waveform from the dish to the focal point. It usually comprises of a series of rings with decreasing radius in order to drive the signal to the polarizer.
- An isotropic radiator is an antenna that radiates equally in all directions. It is considered to be a point in space with no dimensions and no mass. Most antennas' gains are measured with reference to an isotropic radiator, and are rated in dBi (decibels with respect to an isotropic radiator). This antenna type is purely theoretical and is not achievable in real life.

Practical antenna models

There are many variations of antennas, but here are a few common models. More can be found in :Category:Radio frequency antenna types.
- The dipole antenna is simply two wires pointed in opposite directions arranged either horizontally or vertically, with one end of each wire connected to the radio and the other end hanging free in space. Variations of the dipole include the folded dipole and the whip antenna which is really just half of a dipole using a ground plane as the image of the second half. The dipole antenna is usually a multiple of a half wavelength long. For this reason, the dipole antenna is sometimes referred to as the half-wave antennna. Generally, the dipole is considered to be omnidirectional in the plane perpendicular to the axis of the antenna, but it has deep nulls in the directions of the axis. The popular J-pole antenna is a variation of the half dipole with a built in quarter wave transmission line impedance matching section.
- The yagi-Uda antenna is a directional variation of the dipole with parasitic elements added with functionality similar to adding a reflector and lenses (directors) to focus a filament lightbulb.
- The groundplane antenna takes the form of a driven vertical element 1/4 wave long in the center of a grounded plane 1/2 wave in diameter. The end of the vertical element nearest the ground plane is connected to the radio, and the far end is in hanging in free space. The ground plane can take the form of the natural Earth surface, or a network of wires and ground rods, or a solid metal sheet, or four wires arranged as two crossed dipoles and centrally connected to ground.
- The (large) loop antenna is similar to a dipole, except that the ends of the dipole are connected to form a circle, triangle (delta loop antenna) or square. Typically a loop is a multiple of a half or full wavelength in circumference. A circular loop gets higher gain (about 10%) than the other forms of large loop antenna, as gain of this antenna is directly proportional to the area enclosed by the loop, but circles can be hard to support in a flexible wire, making squares and triangles much more popular. Large loop antennas are more immune to localized noise partly due to lack of a need for a groundplane. The large loop has its strongest signal in the plane of the loop, and nulls in the axis perpendicular to the plane of the loop.
- The small loop antenna, also called the magnetic loop antenna is a loop of wire (in other words, both ends of the wire connect to the radio) less than a wavelength in circumference. Typically, the circumference is less than 1/10 for a receiving loop, and less than 1/4 for a transmitting loop. Unlike nearly all other antennas in this list, this antenna detects the magnetic component of the electromagnetic wave. As such, it is less sensitive to near field electric noise when properly shielded. The receiving aperture can be greatly increased by bringing the loop into resonance with a tuning capacitor. Due to the small size of the loop, the radiation pattern is 90 degrees from that of the large loop. The radiation pattern is perpendicular to the plane of the loop, with sharp nulls in the plane of the loop.
- The electrically short antenna is an open-end wire far less than 1/4 wavelength in length - in other words only one end of the antenna is connected to the radio, and the other end is hanging free in space. Unlike nearly all other antennas in this list, this antenna detects only the electric field of the wave instead of the electromagnetic field - think of the free end of the wire as measuring the voltage of that point in space, as opposed to measuring both the voltage and the magnetic field. Its receiving aperture can be greatly increased by increasing the voltage; by adding an inductor or resonator tuned to resonance with the signals of interest. Electrically short antennas are typically used where operating wavelength is large and space is limited, e.g. for mobile transceivers operating at long wavelengths.
- The microstrip antenna consists of a patch of metalization on a ground plane. These are low profile, light weight antennas, most suitable for aerospace and mobile applications. Because of their low power handling capability, these antennas can be used in low-power transmitting and receiving applications. Microstrip antennas are the most commonly used antennas in mobile communications, satellite links, W-LAN and so on because circuit functions can be directly integrated to the microstrip antenna to form compact tranceivers and spatial power combiners.
- The quad antenna is an array of square loops that vary in size. The quad is related to the loop in exactly the same way the yagi is related to the dipole. Typically, the quad needs fewer elements to get the same gain as a yagi. Variations of the quad include the delta loop antenna which uses a triangle instead of a square, requiring fewer supports for large wavelength antennas.
- The random wire antenna is simply a very long (greater than one wavelength) wire with one end connected to the radio and the other in free space, arranged in any way most convenient for the space available. Folding will reduce effectiveness and make theoretical analysis extremely difficult. (The added length helps more than the folding typically hurts.) Typically, a random wire antenna will also require an antenna tuner, as it might have a random impedance that varies nonlinearly with frequency.
- The Beverage antenna is a form of directional long-wire antenna which uses a resistive termination at one end and feed from the other.
- The helical antenna is a directional antenna suited for receiving signals that are either circular polarized or randomly polarized. These are usually used with satellites, and are frequently used for the driven element on a dish.
- The Phased array antenna is a group of independently fed active elements in which the relative phases of the respective signals feeding the elements are varied in such a way that the effective radiation pattern of the array is reinforced in a desired direction and suppressed in undesired directions. In plain language, this is a directional antenna that can be aimed without moving any parts.
- Synthetic aperture radar uses a series of observations separated in time and space to simulate a very large antenna. More generally, interferometry allows the combining of signals from several radio receivers or a single moving receiver.
- A trailing wire antenna is used by submarines when submerged. These antennas are designed to pick up transmissions in the low frequency (LF) and very low frequency (VLF) ranges.
- An evolved antenna refers to an antenna fully or substantially designed using a computer algorithm based on Darwinian evolution.

External links

- [http://hamradio.co.in/tcvr/antena.php Antenna] Antena for Ham / Amateur Radio
- [http://www.maxstream.net/helpdesk/article-27 dBi vs. dBd] How to measure antenna gain
- [http://www.radio-electronics.com/info/antennas/index.php Radio-Electronics.Com] Further information regarding antennas
- [http://www.dxzone.com/catalog/Antennas/ Antenna Plans] Over 400 amateur radio antenna plans and documents from [http://www.dxzone.com dxzone.com]
- [http://www.vias.org/simulations/simusoft_twoaerials.html Learning by Simulations] Interactive simulation of two coupled antennas
- [http://www.n0hr.com/total NØHR.com Best Ham Radio Links] Ham radio antenna sites sorted by band, design, and homebrew vs. commercial antenna products.
- Category:Amateur radio Category:Electrical components Category:Radio electronics ms:Antena ja:空中線

Aerial (dance move)

An aerial (or air step) is a dance move where someone's feet leave the floor. The term has come to mean a wide range of special and unusual dance moves, including dips, slides, and tricks. Here we attempt to describe the diversity of aerials. The aerials listed in this article are grouped somewhat arbitrarily into classic aerials; jumps and cannonballs; charleston jumps; lifts; something; flips; base aerials; dips; slides and spins; drags and slop; theatrics and gymnastics; and miscellaneous. The guy is called the base, because he usually does deep knee bends and lifts. The girl is called the flyer, because she usually flies through the air. This article is not for teaching how to do aerials, because many details are missing. We recommend coaching to learn to perform aerials. Aerials that seem easy can be hard, while aerials that seem very hard to perform can be easy. It is important to know the tricks to each aerial. It is important to work out the timing with one's partner for each aerial, which takes practice.

History

The first Lindy Hop aerial was performed by Frankie Manning in 1935. Frankie Manning and George Snowden competed in weekly dance contests at the Savoy Ballroom. Shorty George and Big Bea had a move, where they stood back-to-back; they locked arms; Big Bea bent over, picking Shorty George up on her back; and then she carried him off the floor, while he slowly kicked his feet. Frankie Manning wanted to outdo Shorty George, so he convinced Freda Washington, his partner, to flip over his back. This flip is considered the first Lindy aerial. Aerials quickly caught on in Lindy Hop. In 1935, the troupe Whitey's Lindy Hoppers (Congeroos) formed and performed at private parties in New York. From 1936 to 1941, they toured the world and performed in movies and some after 1945, showing Lindy Hop and aerials to the world. Aerials had been performed in other dances before 1935. For example, the Nicolas Brothers used leaps and flips in their tap dance routines in the early 1930s at the Cotton Club. But, Lindy was the popular break through for aerials.

Classic Aerials

These aerials stand the test of time. They were performed in the 1930s and are still performed in the 2000s. Lindy Flip: This is the classic Lindy Hop aerial, somewhat like a swing out in the air. The flyer jumps at the base's right side, she pushes off the base's shoulder with her right hand, she swings around his head, and she lands where she started. When the flyer moves slowly, her motion is lower and more horizontal and the move may be called a helicopter. When the flyer moves quickly, her motion is higher and more vertical and the move is a true Lindy flip. Technically, this is not a flip. Back to Back Flip: The base and flyer stand back to back, they lock arms. When the base bends over, the flyer rolls over his back and lands on her feet in front of him. This was the very first Lindy aerial. Waterfall: From boxcars, a candlestick, a handstand flip, or leg up layout throw, the flyer goes up over the base's head, slides down the base's back head first, tucks up through the base's legs, and stands up in front of him, in one fluid motion. The base pulls the flyer up through his legs the final way. In the traditional version, the flyer's feet simply fall to the floor. In the modern version, the flyer's knees are caught mid back and she swings through and stands up in one fluid motion. Frankie Snatch: The flyer jumps over the base's shoulder and down his back. He stops her by grabbing her bent knee with his right hand, at his shoulder. He then throws her back out with his whole body. The flyer lands where she started. Named for Frankie Manning. Around the World: The flyer jumps into the base's arms, horizontally. The base lets go with his left hand, her feet (she) swings around his body and grabs her knees with his left hand. She now lies across his back. Then he lets go with his right hand and swing her torso around and catches her in front, where she started. This can be low (her belly at his waist) or high (his nose in her belly button). The couple can do one, or do several in a row. Also called pendulum.

Jumps and Cannonballs

These simple jumps start from closed position. Straight: In closed position, the flyer jumps straight up. The base pushes straight up with his right hand on her back and his left hand on her right hand, to give her more height. The flyer pushes with her left hand on his shoulder and her right hand on his left hand. Rock on count 1, step on count 2, down on count 3, jump on count 4, land and sync on counts 5 and 6. Also known as a Jersey Bounce. Frog: Like straight, but flyer pulls her legs up giving the illusion of more height. Base may kick between her legs while she is in the air. The flyer may arc over the base's shoulder or go straight up. Hyper Frog: Like a frog, but flyer kicks her legs while in the air. Cannonball: This can go either left (throw out) or right (swing out from closed). The flyer jumps straight up. The base adds height and directs her motion. When the flyer pulls her legs up in a frog position, the move looks higher. Rock on count 1, step on count 2, down on count 3, jump on count 4, land and sync on counts 5 and 6. This is like a straight or frog, but the follow moves into open position. Shin Buster: Like a cannonball. Rock on count 1, step on count 2, down on count 3, jump up on count 4, down (land on thigh) on count 5, jump up on count 6, land and sync on counts 7 and 8. The extra thigh move adds height to the move. When the flyer pulls her legs up in a frog position on counts 6 and 7, the move looks higher. Double Bounce: This is a cannon ball with an extra bounce for both the base and the flyer. Start in closed position. The lead jumps out on count 3, the follow makes a small cannonball jump on count 4, she lands on count 5, the lead makes a small cannonball jump on count 6 and lands on count 7, the follow makes a big cannonball jump on count 8, and lands and recovers on counts 9 and 10. So, the base turns 2 times and the flyer turns 1+1/2 times. When the flyer pulls her legs up in a frog position on counts 8 and 9, the move looks higher.

Charleston Jumps

These jumps start from tandem Charleston. Russian: In tandem Charleston, rock on count 1, step on count 2, down on count 3, up on count 4, and land and sync on count 5 and 6. The flyer often does the splits, but they should not kick back to avoid kicking the base. The lead may kick between the flyers's legs. The lead may grip the flyer's hip bones, while she grabs his wrists, which is a ballet Russian. Or the lead may use the charleston grip, while the flyer simply keeps her arms straight, which is the charleston Russian. Shoulder Sit: Like a Russian, but keep lifting and sits the flyer on his shoulder. Dismount by giving base's left hand to follow's right hand, and she slides down his chest. Oh Floor: This begins like a Russian, but while the flyer is in the air, the lead moves forward and places his chest under the flyer, and he grabs around her waist. She wraps her legs around his torso. As the flyer falls, the base carefully lowers her body (like a lever) to slap the ground then pulls her body back up and lets go, she flies up and lands. Then she does a Butt drop and spin exit.

Lifts (Retitle)

Lift Up: The base puts his right hand under her butt, she leans back onto his shoulder, and he lifts her up in a fetal position over his shoulder. Then set back down. The lead can also hold both sides of her hips. Lift Flip: The base puts his right hand under her butt, she lean back onto his shoulder, and he lifts her up, throws her over shoulder. She lands behind the base. The lead can also hold both sides of her hips.

Flips

In these aerials, the flyer starts right-side up, flips upside-down, and lands right side up. Supported Back Flip: The lead places his right forearm across the flyer's upper back, she jumps up, the base lifts the flyer's lower back with his left forearm, which sends her over. Depending on the height and tightness of the tuck, this can go fast or slow. Staying in a pike position slows the move. Unsupported Back Flip: The lead holds the follows right hand with his left hand. She does her own rock step, down up. As she goes up, the lead uses his right forearm to lift her lower back and help her over. This is also called the crepe. Basket Flip: The lead reaches across the flyer's body on the down, with his right arm to her right hip, and helps her flip from the side. The advantage is that this is very secure, because the base has a good grip on her body. The difficulty is that the base's arm is diagonal across the flyer, so her body tends to twist during the flip. Handstand Flip: The flyer runs in and places her hands on the ground next to the base's feet. She pushes up, so her butt runs into the leads stomache. He grabs around her legs and lifts and then lets go. She remains tucked until the top, when she opens up and grabs his neck to go down. Handstand Shoulder Throw: This starts like a handstand flip, but the flyer is thrown over the base's shoulder to stand next to him. (ALHC 2001, K+C) Rainbow Flip: As the flyer moves toward the base, both turn to the side to face the same way. The base bends side ways and picks her side up on his shoulders. He straightens up and pushes her up and over. She lands like a roundoff. Front Flip: The flyer stands in front of the lead, in tandem. She bends over, puts her arms between her legs. The base grabs her hands, pulls up, she flips and lands on her feet. (ALHC 2001 Open American) Tomahawk: They start facing each other, but touching right sides. The lead's right arm goes across her chest, below her neck, which is the rotation point. The base steps behind her with his right foot, placing it between her feet. He then does a body roll, lifting her up and over. Viva Las Vegas: Like a tomahawk, except that the flyer then throws the lead. This can keep going, many turns. Also this can be done with many (2, 3, 4, or more) people side-by-side. Head Flip: Like a Lindy flip, but the follow pushes off the base's head with her right hand. This adds about 1 foot more height over the Lindy flip. Technically, this is not quite a flip. Kip to the Side: Like a Lindy flip, the follow spins around the base's right arm, and is caught by his side. They may end by standing. The flyer may do a 1+1/2 spin, and end with a show cherry drop. Technically, this is not quite a flip. This can be extended so the flyer spins multiple times.

Base Aerials

In these aerials, the base flies and the flyer supports him. Capoeira: The base kicks forward so his body is horizontal and a few feet above the ground. Then the base spins horizontally 360 degrees and lands with feet down, his torso supported by the flyer. Guy Upside-Down: The base holds onto the flyer's shoulder and kicks to be upside down. The flyer stands up straight and holds him in balance. Guy Back Bend: Base bend back. He may go to ground. He is actually holding himself up with her hand. Play up drama. She may mime pushing or throwing him down, then he slowly rises. Jump Over Shoulder: The base stands behind the flyer, he leans over her shoulder, she puts her arm behind his neck and gives a small pull, he jumps and goes over her body and lands like a guy back bend. Back Flip: The base does a back flip, with flyer assisting.

Miscellaneous

Boxcars: The flyer hangs from the base's neck and treats her body like a pendulum. She may put one hand behind the other, or interlock her fingers behind his neck. The base holds the flyer's hips. She jumps and the base pushes her back, she swings forward and sits on his right thigh, he pushes her back, she swings forward and sits on his left thigh, he pushes her back, she swings forward and does a split toward the lead and sits on (straddles) both thighs. They may repeat these three moves in any order, any number of times. The flyer should extend her legs straight when she sits on the base's body. The flyer may kick back, which shows well, but is hard to control, or she may tuck which is easy to control. Candle Stick: The flyer is pushed directly over the lead's head, feet up. Usually approached from Boxcars. Sergei's Baby: The flyer tucks into a fetal position on the ground and the base pulls her up into a standing position. This is an old circus trick. Circus grip. Leg Lift: The flyer lays on her back, with her legs straight up in the air. The base grabs her ankles, pushes straight up, lets go, and she flips up and stands straight. This is an old circus trick. Around the World: Discuss fancy version. (ALHC 2001, K+C) Airplane: Start side-by-side. The base bends down, picks up the flyer and stands up straight. The flyer tucks and then lays out like an airplane on his shoulder. The center of her mass (near the hip bones) should be on the top of his shoulder (the seem of his shirt). If she is in balance on the base's shoulder, they can let go of hands. Otherwise, the base should keep his hand on her back for control. To dismount, either reverse the move, or the flyer can slide down the base's back. Belly Cherry: This is like an airplane, except that the flyer's hips lay across the base's leg. This can be set up by pulling her and laying her down on the leg. Elevator: The lead pushes the follow up, over his head and she lands behind him. Flyer may begin face-to-face the base, or in tandem away from him. Butt Drop: The girl sits in front of the lead with arms straight out to her sides. She goes down on 1 leg, with the other out straight. Exits are stand up, spin, and reverse rag doll. This can be approached from standing in front or tandem, to pull in from open position. Foot Glide: Move on heel-ball. The other foot may circle near the floor to distract attention. On Back: The flyer jumps on the base's back. He can push her feet back, so she pops up. Slide Push: The follow leans into the base. The follow slides, while the base pushes her. Sassy Kicks: The flyer bends back and kicks twice, then she spins in place and kicks twice again. Step Over Hands: The flyer squats, the base steps over their hands, and then pulls her through and up. Roll Over Back Flip: The base squats down and presents his back as a table. The flyer does a somersault across his back. Back-to-Back Bump: Get back to back with a spin or barrel roll. The base bumps the flyer so she goes flying.

Theatrics, Gymnastics, and Kids

These moves are theatrical or gymnastic. Horse: One person walks carrying 2 others. Worm (2 person): The lead sits on the floor, with hands back on the floor holding him up. The follow lays face down with her torso on the base's legs, with her legs around his torso. The base then scoots forward. When his knees go up, the flyer raises her head and hands. When his knees go down, the flyer lowers her head and hands. Also called The Ship, in which the flyer should pretend to be a ship rocking to and fro on the high seas. Her arms mimic the water splashing from off her "prow". Worm (1 person): Lay on stomache and wriggle forward. Swimming and Paddling: The base lays stomache down on floor, and pantomimes doing the breast stroke. The flyers sits on his back and pantomimes paddling a canoe. 2-Person Somersault: Each grabs the ankles of the other and they go. Walk Through Legs: Flyer scrunches down and walks through base's legs or the base scrunches down and walks through flyer's legs. (Forwards or backwards) (Base of flyer) Assisted Cartwheel: The flyer does a cartwheel, while the base assists her. Neck Rolls: (Y+N) Side Airplane: The lead grabs on arm and one leg and spins the flyer out. (P+M) Wheelbarrow: This is the classic kids move. Leap Frog: The base bends down and flyer jumps over him. Reverse Double Somersault: Jump Rope: (3 person) Two people hold hands, and use their arms like a jump rope. The third person jumps rope. Ring Around the Rosie: Juggling Bodies: (3 person)

Slides and Spins

Split Slide (Open Position): The base walks backward (4 counts) helping the flyer down into a split. Then the base walks backward (4 counts) helping the flyer stand up. The base needs to keep his legs apart. Split Slide (Closed Position): The base walks forward beside the flyer (4 counts) as she goes down into a split. Then he continues walking beside her (4 counts) as he pulls her up. Slide through the Legs: The base pulls the follow toward him, while his legs are wide apart. The flyer does a split slide. The change hands as she passes. To finish, she may point away, or turn. The flyer can also walk through the legs. Slide and Back: The flyer may slide through legs and come back. Kyle and Sara: Flyer hooks onto the base's arm and kicks out with her feet. She slides half way around the base as he turns. Arm Pit Swing Out: (find better name) One-Legged Spin and Reverse: Do an underarm side pass, but rather than straightening out on counts 5 and 6, the lead should do a free spin, sticking his leg out horizontally. When the lead comes around after the 360 degree spin, the follow should grab the leg and push it back where he came from. (K+C) Swing Out with Slide: This is a swing out, but flyer jumps out on 3 and 4, base lifts her on 5, and they keep going on 6. Spin and Lift: This is a lindy circle, while the flyer slides. She can simply slide, or pick her feet up. (K+C) Spin and Sneak Away: While the base spins, the flyer sneaks away. (K+C)

Drags and Slop

Drags are stylizations, not aerials. Rag Doll: Follow faces lead, leaning on his body. As he walks backwards, she walks forwards with extreme body movement. It can be done high or low (expand). Drag: The follow is dragged off, in a sitting position. The lead twists her left and right as he steps back. She swivels her knees as she is dragged. Or she can cross her feet (expand). Slop: The base suddenly falls and catches himself on flyer's shoulder and then slowly stands using his arm for support. Or the flyer suddenly falls and catches herself on base's shoulder and then slowly stands, using her arm for support.

Dips

Cherry Drop: The lead bends his knees, so that his thigh is fairly horizontal. The flyer's back rests on his thigh while her feet are up in the air. If the flyer is in balance, both can let go with their hands. Show Cherry Drop: This is like a cherry drop, but the flyer's legs hook on the base's back. Flying Cherry Drop: The flyer stands behind the base. He picks her up with a butt lift, and grabs her around the back and waist. He then leans forward just enough to tip her off balance, so she swings around to his other side, naturally. They finish with a cherry drop on the base's left. Trip Out: Start like a flying cherry, have flyer land with her butt between base's knees. The base then stands up, and the flyer lands on her feet in front. The base needs to turn during the flying part to catch the flyer. (Move)

Moves to Sort

Reverse Waterfall: Flyer slides down the base's front, through his legs, and stands up behind him. (ALHC 2001) Mop the Floor: Flyer lays down on floor, and the lead spins her, she puts her foot down and pops up. This works because she converts her spin motion into vertical motion. Spin with Flyer Kicking: The flyer holds on around the base's neck, torso, stomach, or waist. He spins, counterbalancing her and her feet fly out. (From Hellzapoppin) Flying Overhead Throw: They start just like a flying cherry drop, except that the flyer is thrown back over the base's head and she lands on her feet, behind the base. Window Blinds: The lead rolls flyer horizontally down his front and catches her. Foot Sweep Catch: From Charleston to holding the flyer in a cradle. Two-Leg Pendulum: The base holds the torso of the flyer and moves her feet in a circle. When her body needs to go under one of his legs, he lifts his foot. Flyer Swing: The base holds the flyers torso and swings her feet. As needed, he steps over her body so she can swing around. (D+S) One-Leg Pendulum: Like a two leg pendulum, but with one leg, and solo. Neck Straddle: Start like Lindy flip, but flyer ends straddling the bases neck, backwards. He can set her down, or she can slide into a waterfall. Body Clamp: The base can clamp the flyer's torso to his torso, so she can flail her legs and arms. She can also be upside down. Upside Down: The base can hold the flyer upside down. Egyptian pose. Airplane Bench Press: The base can lay on his back, and hold the flyer's hips in his hands and bench press her. Stealing Partners: (3 person) Lift: The lead holds his arms out straight. The follow straddles his arms. This is a Charleston jump variation. The reverse waterfall can exit, or tuck under arm and down. Roll Over Flip: The base bends over. The flyer bends over his back and tucks underneath his chest. The base pulls her around and then stands up. Step Over Body: The flyer holds her body rigid and leans over. The base swings her down below his body and back up on the other side. As she passes under, he steps over. Back Roll Side Pass: The lead starts a left side pass. As the follow walks past, he does a backwards somersault and then turns to face the flyer.

Jam Notes

Entrances and Exits. The goal is to enter or exit the jam circle with style.
- Run on, run off.
- Cannonball
- Double bounce
- Travelling Charlestons, facing each other. Double kicks onto the floor.
- Girl pulls guy onto floor, using his tie as a leash.
- Boogie forwards
- Shorty George chase. Gradual or slight delay for the person following so that it looks staggered. Or make it extreme.
- Rag doll exit, or butt drop
- Sassy kicks (usually used in Balboa)
- Walk through slide to pass the follow to another lead for another aerial, or just separate
- Airplane and walk off

Safety

Aerials are fun. Since flyers go upside down, aerials are potentially dangerous and should be practiced safely. As long as everyone remains safe, aerials will remain fun.
- Agree Out Loud: Mistakes occur when each dancer thinks they are doing a different move or a different part of the same move. Miscommunication is big source of mistakes.
- Use Spotters: Spotters should protect the flyer's head. The flyer's legs will find the floor by themselves.
- Wear Smooth Clothes: Clothes should be simple and smooth. When they rub against skin, they should not hurt. They should not be too loose to get caught.
- Remove Jewelry and Empty Pockets: Remove all jewelry, including watches, necklaces, and earrings. Empty pockets of keys and coins. Remove everything that could poke or scratch one's partner or get caught in hair.
- Use Mats: Mats help in normal landings. Mats really help in accidental landings.
- Warm Up: Aerials are physical work. Warm up to avoid physical injury.
- Flyer Landing: Flyers should always land toe, ball, heel, knees, to minimize chance of injury to feet and knees.
- Base Lifting: Bases should bend at the hips and lift with the legs. Avoid bending with the back, to minimize chance of back injury.
- Not Socially: Don't do aerials (except simple dips and slides) on the social dance floor. Other dancers (without realizing what is going on) can easily move into the space where the flyer needs to land and the flyer might get hurt. Jam circles and performances are great places for aerials.
- Use Common Sense: Take time. Don't hurry. Pay attention.

Connection

Connection in aerials is vital. Everything about aerials is proper use of momentum. Both partners use proper connection to create the momentum. Then the lead/base directs the follow/flyer through the air using proper connection. If the tricks on this page don't discuss the connection points, then be sure to work those out before attempting the trick. Being on count is irrelevant. This is very misleading. Timing is extremely important for each and every trick. In time with the music is a performative component only. Both partners must be in tune to what is happening such that both have the confidence to give the trick the controlled energy it requires. Since most tricks only work well with proper timing, it is a good, simple, easy way to know that something is going wrong with the trick. If it doesn't feel right or the timing is off, stop the trick. Better to be wrong today, than broken tomorrow. The base starts the move, but the flyer completes it. In practice it is best for the follow to count off the start of the trick. Generally the follow is the one flying, so let them set the practice pace. The base must be there for the flyer at all times. Spotters: Know where to connect with the flyer/follow if you are "hands on spotting" and stay alert and ready when "hands off spotting" knowing where, when, and how to intervene if needed.

Grips

Standard: This is the standard Lindy grip, fingers together. Base's hands horizontal, flyer's hands hooked over top. Palm: This is palm to palm, with fingers and thumb curled around the partner's hand. This grip is used for lifting. Circus: Each dancer grabs the forearm of the partner. This grip is very secure, but very rigid.

Choreography Notes

Flow: An aerial looks best when it flows from the previous move and into the next move naturally. Surprise: When a move is totally predictable, it is boring. Avoid long set ups for aerials. Often set ups are merged into the previous move. Dancers shouldn't stop the performance for a few counts while the base and flyer get in position. Contrast: Many aerials are fast. The airplane and cherry drop should be held for a few counts, to get the best effect. Getting out of some aerials is awkward. This makes them natural for finishing a routine, when there is only one pair of dancers. When there are other dancers, they can cover for the pair. Only A Few: Only do a few aerials in a dance. They are like spices in food: a little goes a long way. Moves like leg lifts need set up. The flyer needs to lay on her back with her feet in the air. So, she needs a good reason to get there. At the 2001 ALHC, Peter and Maggie performed a combination where Peter spun in a circle with one leg extended horizontally, while Maggie jumped up and down. When Peter's leg went over her, she crouched down. When Peter spun the other way, she bounced up. So, she was close to the floor and nearly in position for a leg lift. She moved into position for the leg lift while Peter finished his spin. The leg lift became a natural way to resume dancing. Finessing: In performance, moves may need to be tweaked to fit the music. Different performers do these moves in different ways. For example, many aerials (especially jumps and flips) can start with either a rock-step-down-up (1, 2, 3, 4) or rock-step-jump (1, 2, 3). The preference depends on the move, the musical context, and the preferences of the dancers. They may start on any count to hit the music.

To Do

- Add details for spotter placement for every trick
- Update to discuss the importance of timing, momentum, and understanding for each trick
- Add "prep" positions for each trick, including "set up" positions -- things which can be practiced without spotters
- Move "how to do aerials safely" stuff to the top of the page.
- Names: Dancers call moves by many different names, use most common, not merely descriptive.
- Big Bea's whole name.
- Frankie Manning's first partner.
- Bases lift with their whole body.
- Questions: Who did the second aerial? What was Frankie Manning's second aerial? Did aerials evolve in an arms race?
- Frankie's Chase:
- Neck Support: Girl leans back.
- Ubersteiger: This can be done from both directions. The flyer leans back, or squats down, and the lead steps over her body. This can also be done from a side-lean. Category:Dance moves Category:Lindy Hop dance moves

Kate Bush

Kate Bush (born Catherine Bush on 30 July, 1958 in Bexleyheath, Kent, now part of Greater London) is a British singer-songwriter known for her expressive three-octave voice, idiosyncratic and literary lyrics, and eclectic and meticulous musical and production style. She has acquired a large number of extremely devoted fans since her debut in 1978 with the surprise hit "Wuthering Heights", which was number one in the British music charts for four weeks. Wuthering Heights

Biography

Overview

While still attending St. Joseph's convent school in Welling, South East London where she studied the piano and violin, Kate Bush caught the attention of David Gilmour of Pink Floyd, who helped fund her first demo sessions. She signed a contract with EMI when she was 16. However, in the first two years of her contract, Bush did not release an album, but instead completed her time at school and had lessons in dancing, mime, and music. During this time, Bush wrote and made demos of close to 200 songs, which today can be found on bootleg recordings (often known as the Phoenix Recordings). She also performed at various small venues in and near London under the name KT Bush Band. Her first album, The Kick Inside, was released in 1978, and featured songs she had written during the previous two years, including the single "Wuthering Heights", which topped the UK and Australian charts and became an international hit. A period of intense work followed. A second album, Lionheart was quickly recorded; Bush has often expressed dissatisfaction with it, feeling she needed more time to get it right. Following its release, she was required to undertake heavy promotional work and an exhausting tour, the only one of her career. Bush disliked the exposure and the celebrity lifestyle, feeling it was taking her away from her main priority: making music. A slow and steady withdrawal from public life began as she moved into producing her own work with Never for Ever and developed a perfectionistic, painstaking approach to making music which would see her ensconced in the studio for long periods and only needing to face the glare of the press when the subsequent albums were released. Wild rumours would fly while she was engaged in her work - usually that she had ballooned in weight or had gone mad. Then she would re-emerge for a brief period, slim and seemingly sane, before retreating to the studio once more. A pattern began to form in the 1980s, in which Bush would disappear for up to four years while she honed her new material until it was ready for release. After the release of The Red Shoes in 1993 there was no reason to suppose that she would not reappear in three or four years with another set of songs. But the period of silence that followed her seventh studio album was much longer than anyone had anticipated. Bush dropped out of the public eye for many years, although her name occasionally cropped up in the media in connection with rumours of a new album release. The press continued to speculate wildly about what she was up to; they viewed her as an eccentric recluse, sometimes drawing a comparison with Miss Havisham, from Charles Dickens' Great Expectations. There were even unfounded reports that she had suffered a nervous breakdown. In fact she was trying to give her young son a normal childhood, away from the world of showbusiness. Bush gave birth to Albert, known as Bertie, fathered by her guitarist and current partner Danny MacIntosh, in 1999. She did not release the news of his birth to the press and it was over two years before the story broke. On the few occasions she has spoken to the press since, she has made it clear that motherhood has made her very happy. Bush's eighth studio album, Aerial, was released on double CD and vinyl on 7 November, 2005 internationally (8th November in the USA), following the release of the single "King of the Mountain" on 24 October.

The studio albums

The Kick Inside (1978)

24 October]] Kate Bush's debut album was released when she was 19 years old; she had written some of the songs when she was only 15. The album opens with whale song which leads into the first track, "Moving", inspired by her dance teacher, Lindsey Kemp. The album contains her biggest hit to date, "Wuthering Heights", which went to number one in the U.K., Australia, New Zealand, and elsewhere and a Top 10 hit in many other territories. Bush's work would mature and develop, but The Kick Inside remains a startlingly precocious debut and many of her trademark qualities were already firmly in place. Her cinematic and literary influences were most obvious in "Wuthering Heights". The song was not initially inspired by Emily Brontë's novel, but by a television adaptation, although she did read the novel later to, in her own words, "get the research right". She namechecks Gurdjieff in "Them Heavy People," while the title song is based on the ballad of Lizzie Wan, the story of a girl who kills herself after being impregnanated by her brother. The album is also very open about sexual matters, particularly on the erotic "Feel It" and "L'Amour Looks Something Like You" and the male musicians later admitted to being embarrassed by the honesty of some of the lyrics. As part of her preparation for entering the studio, Kate had toured pubs with the KT Bush Band, supported by her brother Paddy and close friends, but for the album she was persuaded to use established session musicians, some of whom she would retain even after she had brought her bandmates back on board. Paddy was the only member of the KT Bush Band to play on The Kick Inside. Unlike on later albums where he would play more exotic instruments such as Balalaika and Didgeridoo, here he played the more standard Harmonica and Mandolin. Stuart Elliot played some of the drums and would become her main percussionist on subsequent albums. Preston Heyman was credited with some subsequent studio work but mostly perfomed on the live tour of 1979. The album was produced by Bush's mentor David Gilmour and Andrew Powell. The Kick Inside is Bush's only album to have a different cover in the U.K., the U.S., Canada and Japan.

Lionheart (1978)

Japan]] Lionheart was rushed out of the studio (in Nice on the French Riviera, making this Bush's only album to be recorded outside the UK, the occasional session in Ireland excepted) after the initial success of The Kick Inside. While it has its share of hits, most notably "Wow", it did not receive the same reception as Kate's first album, reaching only number six in the U.K. album charts. The album takes its title from the track, "Oh, England, My Lionheart", in which a pilot who has been shot down contemplates his homeland as his plane hurtles towards the ground, and to his death. It is a song that Kate has disowned in later years despite it being a firm favourite with many listeners. Literary references include J. M. Barrie's classic play Peter Pan And Wendy in In Search of Peter Pan (a song which also quotes When You Wish Upon A Star from the classic Disney film, Pinocchio), as well as a nod towards Arsenic and Old Lace in the song "Coffee Homeground" (which pretty much has the same plot as the play, although Kate has said it was inspired by a particularly creepy taxi driver). Film references include "Hammer Horror", inspired by the Hammer Film studio, known for their gothic horror films. The British television show The Sweeney, a popular police drama, was mentioned in the lyrics of the song "Wow". Bush's brother Paddy plays many more instruments on this album, including pan flute and Mandocello. Making his first appearance is Del Palmer, who would subsequently become Bush's regular bass player. Lionheart was produced by Andrew Powell, assisted for the first time by Bush, who was keen to implement more of her own ideas.

Never For Ever (1980)

bass]] Never for Ever saw Kate's first foray into production, aided by the engineer of her first two albums, Jon Kelly. Andrew Powell's production of the first two albums had resulted in a definite sound which was evident in every track, with lush orchestral arrangements supporting the live band sound. The range of styles on Never for Ever is much more diverse, veering from the straightforward rocker, "The Wedding List", to the sad, wistful waltz of hit single, "Army Dreamers". Never for Ever was the first Kate Bush album to be composed on synthesizers and drum machines (in particular, the Fairlight CMI), her earlier albums being composed on the piano. With Never for Ever, Bush watched her album rise to number one on the British album charts for the first time in her career. At the same time, she became the first woman in history to have an album ranked so high in the UK. Bush's literary and cinematic influences were at work once more. "The Infant Kiss" was inspired by the 1961 film The Innocents, starring Deborah Kerr and Michael Redgrave, which in turn had been inspired by The Turn of the Screw by Henry James, while "The Wedding List" drew from François Truffaut's 1968 film La Mariée était En Noir. Never for Ever is, to date, the only album by Kate Bush not to share a title with one of its own tracks (Lionheart is a truncated version of "Oh, England, My Lionheart").

The Dreaming (1982)

La Mariée était En Noir]] The Dreaming was the first album Bush produced herself. With her newfound freedom, she experimented with production techniques creating an album that features a very diverse blend of musical styles. The Dreaming met with a mixed critical reception at first. Many were baffled by the dense soundscapes she had created. The album was not considered to be a financial success, although it still reached number three in the album charts, and with the exception of the first track to be released, "Sat In Your Lap", which predated the album by several months, the singles taken from it flopped. Over time, however, many music fans have come to regard it as a masterpiece. More than twenty years after it was made, it is still common to hear people remark that the album sounds fresh, intriguing and like nothing else. Bush was only in her early twenties when making the album and tended to look outside herself for sources of inspiration. She drew on old crime films ("There Goes A Tenner"), a documentary about the war in Vietnam ("Pull Out The Pin"), the plight of Indigenous Australians ("The Dreaming"), the life of Houdini ("Houdini") and Stanley Kubrick's film of Stephen King's novel The Shining ("Get Out Of My House"). There are a few more personal tracks, though: the lead single, "Sat In Your Lap", examines feelings of self-doubt versus burning self-confidence and the search for a balance between the two, while "Leave It Open" speaks of the need to acknowledge and express the darker sides of one's personality.

Hounds of Love (1985)

The Shining]] Hounds of Love is no less experimental from a production standpoint. Not only did she produce it herself, but for this album, stung by the huge costs she had run up hiring studio space for The Dreaming, she built a private 48 track studio near her home where she could work at her own pace, unhurried by thoughts of cost. Bush has admitted that this was a very happy period in her life and this is reflected by a newfound maturity and confidence to her lyrics, which were often more personal. She writes about the challenges of communication in "Running Up That Hill", a song that some consider to be one of her masterpieces. "Hounds of Love" concerns the fear of being overwhelmed by love, while "The Big Sky" deals with the frustration of an artist continually questioned by critics with no understanding of the creative process. There was yet another song with a clear literary source: the hit single "Cloudbusting" was based on A Book Of Dreams by Peter Reich, son of Freudian Marxist Wilhelm Reich. The album is split into two parts which, on its original vinyl release, formed the two sides of the record. The first side, 'Hounds of Love', features the four singles, "Running Up That Hill", "Hounds of Love", "The Big Sky" and "Cloudbusting" as well as "Mother Stands For Comfort", a darkly haunting track about a murderer who seeks refuge with their mother, knowing she will always protect them, come what may. The second side is entitled 'The Ninth Wave', whose title is taken from a poem by Tennyson although the suite of songs it describes has no real connection to his verse. They tell of a woman who is lost at sea, facing death by drowning, and the tortured night she spends in the water.

The Sensual World (1989)

Tennyson]] The increasingly personal tone of her writing continued on The Sensual World, with songs about unrequited love ("Love And Anger", "Never Be Mine"), the pressures on modern relationships ("Between A Man And A Woman"), and self-doubt ("The Fog"). "Deeper Understanding" showed a remarkable prescience in its portrait of a lonely person who finds solace in the company of a computer. "Rocket's Tail" (dedicated to her pet cat, Rocket) invoked the joys of indulging in another's fantasy. The quirkiest track on the album, touched by Bush's trademark black humour, was "Heads We're Dancing", about a woman who dances all night with a charming stranger only to find out that he is Adolf Hitler. The title track, featuring Pink Floyd's David Gilmour on lead guitar, drew its inspiration from Ulysses by James Joyce. Kate realised that the closing passage of the novel, a monologue by Molly Bloom, fitted the music she had created. When the Joyce estate refused to release the text, Bush wrote original lyrics that echo the original passage, as Molly steps from the pages of the book and revels in the real world. She also alluded to Jerusalem by William Blake in a cheeky reference to the song's gestation ("And my arrows of desire rewrite the speech"). The Sensual World went on to become her biggest-selling album in the US, receiving a Gold award for 500,000 copies sold, four years after its release.

The Red Shoes (1993)

William Blake]] The Red Shoes takes its title from the film by Michael Powell and Emeric Pressburger; the story of the film, and the fairy tale by Hans Christian Andersen which in turn inspired it, concerns a dancer possessed by her art who cannot shake off the eponymous shoes and find peace. The musical style was far more simple and direct than on any album since Never For Ever. The initial plan had been to take the songs out on the road and so Bush deliberately aimed for a live band feel, with less of the studio trickery that had typified her last three albums and which would be difficult to recreate on stage. The result alienated some of her fan base who enjoyed the intricacy of her later compositions, but others found a new complexity in the lyrics and the emotions they expressed. Gone were the stories and character pieces of her earlier work to be replaced by a set of songs that are almost like a diary. This was a troubled time for Bush. She had suffered a series of bereavements, including the loss of her favoured guitarist, Alan Murphy, and, most painfully, her mother, Hannah. Many of the people she lost are honoured on the ballad, "Moments Of Pleasure". Her long-term relationship with Del Palmer had also broken down, although the pair continued to work together and many of the songs on the album are about the break-up, most searingly "You're The One". Despite the fact that her pain and grief are obvious throughout the album, Bush's trademark sense of humour was still in place, notably on the quirky disco-shanty "Constellation Of The Heart" and the lead single "Rubberband Girl"; comedian Lenny Henry even provided guest vocals on "Why Should I Love You?", a track that featured significant contributions from Prince.

Aerial (2005)

Prince]] Kate Bush's eighth studio album, Aerial, is a two-disc set released in November 2005. The first single from the album was "King of the Mountain". The song makes references to Elvis Presley and the film Citizen Kane. The track was played for the first time on BBC Radio 2 on 21 September 2005, and was made available for download as of 27 September. Musically, the album is a dense and multi-layered work, incorporating elements of folk, medieval, classical, reggae, and samba into an adventurous pop style. As on 1985's Hounds of Love, the double album is split into two sections. The first disc, subtitled A Sea of Honey, features a set of thematically unrelated songs including the first single "King of the Mountain," "π" (Pi), where she sings several digits of the number as verses, a medieval-style ode to her son "Bertie," and the Latin-influenced "Joanni," based on the story of Joan of Arc. The second disc, subtitled A Sky of Honey, features thematically related songs linked by the presence of birdsong (the album's cover art, which seems to show a mountain range at sunset is in fact a waveform which represents birdsong). The second disc features Rolf Harris' vocals on two tracks. Other artists guesting on the album include Lol Creme and Procol Harum's Gary Brooker. On 17 October, 2005, "King of the Mountain" entered the UK Downloads Chart at number six and by 30 October, it became her third highest charting single ever in the UK, peaking at number four on the full chart. On 13 November, 2005, Aerial entered the UK Albums Chart at number three, selling more than 90,000 copies in its first week on release. On 27 November, 2005, the song "This Woman's Work," from Bush's 1989 release, The Sensual World was featured in the British television station, ITV's drama "Walk Away and I Stumble." Due to that broadcast, the song itself reached the #3 position on the UK iTunes.

Musical style

Even in her earliest works where the piano was a primary instrument, Bush wove together many diverse influences, melding classical music, rock, and a wide range of ethnic and folk sources, to produce a uniquely impressive amalgam, and this has continued throughout her career. More than one reviewer has used the term "surreal" to describe much of her music, for many of the songs have a melodramatic emotional and musical surrealism that defies easy categorization. It has been observed that even the more joyous of the pieces is often tinged with traces of melancholy, and even the most sorrowful have elements of a unique vitality struggling against all that would oppress it. The unapologetic use of her voice as an instrument to convey a broad range of emotional intensity and subtlety is one thing that characterizes nearly all that she does. Kate Bush has tackled sensitive and taboo subjects long before it has become fashionable to do so; "Kashka From Baghdad" is a song about a gay male couple; "Breathing" explores the results of nuclear fallout. Her lyrics are highly literate and reference a wide array of subject matter, often relatively obscure, such as Wilhelm Reich in "Cloudbusting", or G. I. Gurdjieff in "Them Heavy People". The lush arrangements, complex production and intelligent, thoughtful lyrics can sometimes mask the fact that Kate Bush is a peculiarly witty writer and that comedy is not only a big influence on her - she has cited Monty Python, Woody Allen, Fawlty Towers and The Young Ones as particular favourites - but also a significant component of her work.

Live Performances

Bush's only tour took place in early 1979 (3 April - 10 May see details below), after which she gave only the occasional live performance. A number of reasons have been suggested as to why she abandoned touring, among them her reputed need to be in total control of the final product, which is incompatible with live stage performance, a rumour of a crippling fear of flying, and the suggestion that the death of 21 year old Bill Duffield, severely affected her. Duffield, her lighting director, was killed in an accident during her 20 April concert at The London Palladium when he fell twenty feet through an open trap door on the stage. Bush held a benefit concert on 12 May, with Peter Gabriel and Steve Harley at London's Hammersmith Odeon for his family. Bill would be honoured in two later songs: "Blow Away" on Never for Ever and "Moments Of Pleasure" on The Red Shoes. Bush explained in a [http://www.bbc.co.uk/radio/aod/radio2_aod.shtml?radio2/r2_radcliffe_mon BBC Radio 2 interview with Mark Radcliffe] that she actually enjoyed the tour, but was consumed with producing her subsequent records (being more involved with the recording process than most artists). During the same period as her tour, she made numerous television appearances around the world. She appeared in Germany: Bio's Bahnhof on 9 February, 1978; in the United Kingdom: Top of the Pops on 16 February, 1978; in the United States: Saturday Night Live on 9th December, 1978. She also made appearances on Japanese Television. the song "Breathing" is about the damages that causes the nicotine on preignant women.

Video projects

Kate Bush appeared in many innovative music videos, designed to accompany her singles releases. Among the best known are those for "Cloudbusting", "Running Up That Hill", "Babooshka", "Breathing", and "Wuthering Heights". In 1993, Bush directed and starred in the short film, The Line, The Cross and The Curve, a musical co-starring Miranda Richardson featuring music from Bush's album The Red Shoes which was inspired by the classic movie of the same name. In 1994, Kate Bush provided the music used in series of psychedelic-themed television commercials for the soft drink Fruitopia that appeared in the United States. The same company aired the ads in the United Kingdom, but the British version featured Elizabeth Fraser of the Cocteau Twins instead of Bush.

Movie projects

Bush starred in a movie called Les Dogs, produced by Comic Strip for BBC television. She also wrote the original music score for another Comic Strip production, called GLC. Comic Strip was a series of comedy movies broadcast on BBC and Channel 4, featuring comedians including Rick Mayall, Dawn French, Jennifer Saunders, Adrian Edmondson, Nigel Planer, Robbie Coltrane, and others. The movies are usually written and produced by Peter Richardson, who also usually stars. In Les Dogs, Kate plays the bride Angela, at a wedding set in a post-apocalyptic version of 1990's Britain. Whilst Kate is a silent presence in a wedding dress throughout most of the film, she does have several lines of dialogue with Peter Richardson in two dream sequences. In GLC Kate produced a theme song which includes a vocal performance by Kate, as well as producing all the incidental music, which is synth based.

Collaborations

She has worked with Peter Gabriel on two of his albums, most notably on the hits "Games Without Frontiers" and "Don't Give Up" (the latter a duet); and his appearance on her 1979 television special. Their duet of Roy Harper's "Another Day" was discussed for release as a single, but this never came to pass. Harper is another frequent collaborator, appearing on her song "Breathing" and she on his albums HQ, Once (both also featuring Gilmour) and The Unknown Soldier. She has appeared in duets with Midge Ure, Big Country and others on their albums. A wide diversity of respected artists have worked with her on some of her more recent albums ranging from the legendary rock guitarists Eric Clapton, Jeff Beck, David Gilmour and Ian Bairnson, bassists Mick Karn and John Giblin, jazz/rock drummer Stuart Elliot, violinist Nigel Kennedy, the classical guitarist John Williams, folk artists The Trio Bulgarka, and Prince.

Influence on other musicians

Bush has been noted as an influence and inspiration by artists as diverse as Kele Okereke, Placebo, Liv Kristine, Jewel, Coldplay, Stevie Nicks, Madonna, Tori Amos (who has covered "Running up that Hill" in live performances), Björk, Sarah McLachlan, Suede, Paula Cole, Sinéad O'Connor, Pat Benatar, Happy Rhodes, Maxwell (who covered "This Woman's Work"), The Utah Saints, Big Boi of OutKast, The Futureheads (who have covered "Hounds of Love"), Goldfrapp, The Decemberists, Antony and the Johnsons and others. In fact, in the 1980s and 1990s it became almost standard for individualistic female singer-songwriters to be compared to Bush by the media. The trip hop artist Tricky has stated her work has been a significant influence on him and that she should be treasured more than the Beatles. Though many outside of Europe remain unfamiliar with her work and its profound intensity, others in her profession are willing to declare her works as those of great genius. Even the iconoclastic punk rocker John Lydon (Johnny Rotten of the Sex Pistols) has declared her work to be "fucking brilliant" and has labelled her "a true original." Suede front-man Brett Anderson has stated that "Wuthering Heights" was the first single he ever bought. Brazilian Power metal group Angra covered "Wuthering Heights" on their first album, Angels Cry. Daniel Johns of Silverchair was turned onto Bush while recording the band's "Neon Ballroom". In 1998, a tribute album was released called I Wanna Be Kate, featuring Chicago-area musicians.

Discography

Albums

Singles

Videos

- 1981 Live at the Hammersmith Odeon
- 1983 The Single File
- 1986 Hair of the Hound
- 1986 The Whole Story
- 1989 The Sensual World: The Videos
- 1994 The Line, the Cross and the Curve

The Tour of Life 1979

- Empire, Liverpool, UK (3 April)
- Hippodrome, Birmingham, UK (4 April)
- Hippodrome, Birmingham, UK (5 April)
- New Theatre, Oxford, UK (6 April)
- Gaumont, Southampton, UK (7 April)
- Hippodrome, Bristol, UK (9 April)
- Apollo Theatre, Manchester, UK (10 April)
- Apollo Theatre, Manchester, UK (11 April)
- Empire Theatre, Sunderland, UK (12 April)
- Usher Hall, Edinburgh, UK (13 April)
- The Palladium, London, UK (16 April - 20 April)
- Konserthuset, Stockholm, Sweden (24 April)
- Falkoneer Theatre, Copenhagen, Denmark (26 April)
- Congress Centrum, Hamburg, Germany (28 April)
- Carré Theatre, Amsterdam, The Netherlands (29 April)
- Liederhalle, Stuttgart, Germany (2 May)
- Circus Krone, Munich, Germany (3 May)
- Gürzenich, Cologne, Germany (4 May)
- Théâtre des Champs-Élysées, Paris, France (6 May)
- Rosengarten, Mannheim, Germany (8 May)
- Jahrhunderthalle, Frankfurt, Germany (10 May)
- Hammersmith Odeon, London, UK (May 12) Benefit concert. Recorded as Live at the Hammersmith Odeon

External links

May 12
- [http://www.katebush.com Official Site]
- [http://www.katebushnews.com Kate Bush News and Information]
- [http://gaffa.org/ Gaffaweb] - extensive fan site
- [http://www.katebush.proboards6.com/ The Sensual World of Kate Bush] - forum
- [http://www.thewarmroom.proboards49.com/ The Warm Room] - forum
- [http://home.att.net/~james51453/ "Cathy"] - Online version of the book by Kate's brother, John Carder Bush
- [http://www.dongrays.com/kate-bush/mp3/ Kate Bush in MP3] - early studio demos by Kate Bush, plus other rare recordings.
- [http://www.katebush.info/ Kate Bush Information and Resources]
- [http://www.ukkatebushfangatherings.co.uk/ UK Kate Bush Fan Gatherings]
- [http://ninthwave.free.fr/ The Ninth Wave] - French Language Fan Page
- [http://neverforever.free.fr/ Never For Ever] - Information on the instruments and musicians featured in Kate's songs
- [http://fly.hiwaay.net/~cbullard/ Kate Worlds] - VRML site
- [http://www.antenna.nl/~dinyar/ Bart Dinyar's Discography]
- [http://www.wessex.clara.net/kate/ The Laser File]
- [http://www.norbry.net/kate-bush/findex.html Kate Bush Lyrics]
- [http://www.talisman.org/~erlkonig/KT/ Talisman Archive]
- [http://www.kate-bush.org/ Kate Bush - Musical Genius]
- [http://members.tripod.com/~BrendanMartin/ The Lost Kate Bush Interview]
- [http://www.booksmusicfilmstv.com/HoundsOfLove.htm Kate Bush - Hounds of Love] Reviews of Aerial:
- [http://news.bbc.co.uk/1/hi/entertainment/music/4386346.stm Review: Kate Bush's Aerial (BBC)]
- [http://observer.guardian.co.uk/review/story/0,6903,1604281,00.html "Admit it, guys, she's a genius" - The Observer (30 October 2005)]
- [http://www.npr.org/templates/story/story.php?storyId=5032773 Kate Bush Returns with 'Aerial'] (NPR audio review)

References

- Kate Bush: A Visual Documentary by Kevin Cann, Sean Mayes
- Kate Bush (Rock n' roll comics) by Jay Allen Sanford
- The Illustrated Collector's Guide to Kate Bush: Fully Comprehensive Discography by Robert Godwin
- Bush, Kate Bush, Kate Bush, Kate Bush, Kate Bush, Kate Bush, Kate Bush, Kate Bush, Kate Bush, Kate Bush, Kate ja:ケイト・ブッシュ

Aerial warfare

Aerial warfare is the use of aircraft and other flying machines for the purposes of warfare. Having developed from using unpowered observation balloons in the 18th century, aerial warfare has become a high-technology affair that has led to many advances in propulsion, radar, carbon fibers, and more.

Balloon warfare

Some minor use was made of balloons in the 18th and 19th Century. The first instance was by the French Aerostatic Corps in 1794, who used a tethered balloon to gain a vantage point. Later, balloons were allowed to drift over enemy defences for observation purposes. However, balloons could often be driven off by smoke and so military aviation did not play a significant part in warfare until World War I.

Before World War I

The armies of many countries evaluated the use of aircraft for observation purposes. Naval aviation was pursued as well; several tests were made in which floatplanes were launched by catapult from ships at sea, and recovered later by crane. The U.S. Navy had been interested in naval aviation since the turn of the 20th century. In 1910-1911, the Navy conducted experiments which proved the practicality of carrier-based aviation. On November 14, 1910, near Hampton Roads, Virginia, civilian pilot Eugene Ely took off from a wooden platform installed on the scout cruiser USS Birmingham (CL-2). He landed safely on shore a few minutes later. Ely proved several months later that it was also possible to land on a ship. On January 18, 1911, he landed on a platform attached to the American cruiser USS Pennsylvania (ACR-4) in San Francisco harbour. The first use of aeroplanes in an actual war was in the Italo-Turkish War of 1911-12, when the Italians carried out a few reconnaissance and bombing missions.

World War I

Initially during that war both sides made use of tethered balloons and airplanes for observation purposes, both for information gathering and directing of artillery fire. A desire to prevent enemy observation led to airplane pilots attacking other airplanes and balloons, initially with small arms carried in the cockpit, and later with machine guns mounted on the aircraft. Dogfights occured when planes fought each other at close quarters, leading to the development of maneuvering tactics. Both sides also made use of aircraft for bombing, strafing and dropping of propaganda. The German military made use of Zeppelins to drop bombs on Britain. By the end of the war airplanes had become specialised into bombers, fighters and observation aircraft.

Between the wars

Between 1918 and 1939 aircraft technology developed very rapidly. In 1918 most aircraft were biplanes with wooden frames, canvas skins, wire rigging and air-cooled engines. Biplanes continued to be the mainstay of air forces around the world and were used extensively in conflicts such as the Spanish Civil War. Most industrial countries also created air forces separate from the army and navy. However, by 1939 military biplanes were in the process of being replaced with metal framed monoplanes, often with stressed skins and liquid cooled engines. Top speeds had tripled; altitudes doubled (and oxygen masks become commonplace); ranges and payloads of bombers increased enormously. Some theorists, especially in Britain, considered that aircraft would become the dominant military arm in the future. They imagined that a future war would be won entirely by the destruction of the enemy's military and industrial capability from the air. Others, such as General Billy Mitchell in the United States, saw the potential of air power to neutralize the striking power of naval surface fleets. German and British pilots had experimented with aerial bombing of ships and air-dropped torpedoes during World War I with mixed results. But the vulnerability of capital ships to aircraft was finally demonstrated on 21 July 1921 when a squadron of bombers commanded by General Mitchell sank the ex-German battleship SMS Ostfriesland with aerial bombs. Germany was banned from possessing a significant air force by the terms of the WWI armistice. The German military continued to train its soldiers as pilots clandestinely until Hitler was ready to openly defy the ban.

World War II

Military aviation came into its own during the Second World War. The increased performance, range, and payload of contemporary aircraft meant that air power could move beyond the novelty applications of World War I, becoming a central striking force for all the combatant nations. Over the course of the war, several distinct roles emerged for the application of air power.

Strategic bombing

Strategic bombing of civilian targets from the air was a strategy first proposed by the Italian theorist General Giulio Douhet. In his book The Command of the Air (1921), Douhet argued that future military leaders could avoid falling into bloody World War I-style trench stalemates by using aviation to strike past the enemy's forces directly at their vulnerable civilian population. Douhet believed that such strikes would cause these populations to rise up in revolt and overthrow their governments to stop the bombing. Douhet's ideas were paralleled by other military theorists who emerged from World War I, including Sir Hugh Trenchard in Britain. In the interwar period, Britain and the United States became the most enthusiastic supporters of the strategic bombing theory, with each nation building specialized heavy bombers specifically for this task.

Luftwaffe

In the early days of WW II both sides avoided strikes against enemy cities, fearing retaliation. When the Luftwaffe, frustrated in its attempts to gain command of the air over Britain in preparation for the planned invasion, turned to the bombing of London and other large cities, they found that it did not have the effect that was predicted by prewar airpower theorists.

Royal Air Force

The British, believing that the German civilian morale was easier to break, started a stategic bombing campaign in 1940 that was to last for the rest of the war. The British bombers of the early war were all twin engined designs and were lacking in defensive armament. Therefore they were quickly forced to adopt a policy of night bombing, which meant that they were never able to hit specific targets such as factories or power plants.

U.S. Army Air Force

When the American 8th Army Air Force arrived in England in 1942, the Americans were convinced that they could do what the RAF and the Luftwaffe could not. The 8th was equipped with B-17 Flying Fortresses and B-24 Liberators, both high-altitude four-engined designs with turbo-superchargers. The new bombers also featured the strongest defensive armament yet seen - up to 12 .50 caliber machine guns, depending on the version, most of them in power-operated turrets. Flying during daylight in large, close formations, they were supposed to gain command of the air by themselves. The intended raids would hit hard on chokepoints in the German war economy such as oil refineries or ball bearing factories. The Americans learned the hard way that bombers alone, no matter how heavily armed, could not win the war in the air. Loss rates were rising as they forced their way deeper into enemy territory in 1943, when the infamous strike against the ball bearing plant in Regensburg, Bavaria took place.

Air superiority

During the Battle of Britain many of the Luftwaffe's best pilots had been forced to bail out over British soil, where they were captured. As the quality of the Luftwaffe fighter arm decreased, the Americans introduced the long-ranged P-38 Lightning and P-51 Mustang escort fighters, carrying drop tanks. Newer, inexperienced German pilots—flying potentially superior aircraft like the Focke-Wulf Fw 190 and the Messerschmitt Me 262—gradually became less and less effective at thinning the late-war American bomber streams. Adding fighters to the daylight raids gave the bombers much-needed protection and greatly improved the impact of the strategic bombing effort.

Effectiveness

Strategic bombing did not win the war for the Allies, but in the words of the German armaments minister Albert Speer it created "a second front in the air" long before D-day created the second front on the ground. Speer succeded in increasing the output of armaments right up to mid-1944 in spite of the bombing. Still, the war against the British and American bombers demanded enormous amounts of resources: antiaircraft guns, day and night fighters, radars, searchlights, manpower, ammo and fuel. As a result, the German army groups in Russia, Italy and France rarely saw friendly aircraft and constantly ran short of tanks, trucks, and anti-tank weapons. The only option left was to create World War I-style slit trench defenses quite unlike the Blitzkriegs of 1939-1941.

Tactical air support

By contrast with the British strategists, the primary purpose of the German Luftwaffe was to support the ground army. This accounted for the presence of large numbers of dive bombers in the make-up, and the scarcity of long-range heavy bombers. This 'flying artillery' greatly assisted in the successes of the German Army in the Battle of France (1940). Hitler determined that air superiority was a requirement for the invasion of Britain. When this was not achieved in the Battle of Britain during the summer of 1940 the invasion was cancelled, making this the first major battle whose outcome was determined primarily in the air.

Naval aviation

Aircraft and the aircraft carrier first became important in naval battles in World War II, particularly at the:
- Battle of Taranto
- Attack on Pearl Harbor
- Sinking of Prince of Wales and Repulse, the first time a capital ship fleet had been destroyed solely by aircraft.
- Battle of the Coral Sea, where neither fleet was in visual contact with the other, and all fighting was carried out by aircraft — a military first
- Battle of Midway, where American aircraft sunk four Japanese carriers at a cost to the Americans of one carrier sunk and one disabled, plus some other ships.
- Battle of the Bismarck Sea: US and Australian squadrons destroyed a fleet carrying Japanese reinforcements to New Guinea in 1943.
- Great Marianas Turkey Shoot: US planes all but destroy Japanese naval aviation.
- Battle of Leyte Gulf: the first appearance of kamikazes; conventional planes also play a significant role in perhaps the largest naval battle in history

Post World War II

Military aviation in the post-war years was dominated by the needs of the Cold War. The post-war years saw the almost total conversion of combat aircraft to jet power, which resulted in enormous increases in speeds and altitudes of aircraft. Until the advent of the Intercontinental Ballistic Missile major powers relied on high-altitude bombers to deliver their newly-developed nuclear deterrent; each country strove to develop the technology of bombers and the high-altitude fighters that could intercept them. The concept of air superiority began to play a heavy role in aircraft designs for both the United States and the Soviet Union. The Americans developed and made extensive use of the high-altitude observation aircraft for intelligence-gathering. The U-2, and later the SR-71 Blackbird were developed in great secrecy. The U-2 at its time was supposed to be invulnerable to defensive measures, due to its extreme altitude. It therefore came as a great shock when the Soviets downed one piloted by Gary Powers with a ground-to-air missile. In the 70s and 80s it became clear that speed and altitude was not enough to protect a bomber against air defences. The emphasis shifted therefore to maneuverable attack aircraft that could fly 'under the radar', at altitudes of a few hundred feet. The development of the helicopter revolutionised the aerial support of ground forces. A helicopter could deliver troops quickly to areas inaccessible to fixed-wing aircraft - and, unlike paratroops, they could be recovered again. This led to an entirely new class of airmobile troops, reffered to as "[Air Cavalry]" in the U.S., able to land unexpectedly, strike, and leave again. Such tactics played a major part in the Vietnam War.

Post Cold War

Vietnam War while on station in support of Operation Southern Watch and Operation Enduring Freedom.]] The collapse of the Soviet Union in 1991 forced Western air forces to undergo a shift from the massive numbers felt to be necessary during the Cold War to smaller numbers of multi-role aircraft. The closure of several military bases overseas and the U.S. Base Realignment and Closure program have served to highlight the effectiveness of aircraft carriers in the absence of dedicated military or air forces bases, as the Falklands war and U.S. operations in the Persian Gulf have highlighted. While the advent of precision-guided munitions have allowed for strikes at arbitrary surface targets once proper reconnaissance is performed, the standard military doctrine still applies: wars against third-world regional entities still cannot be won through air power alone.

External links

- [http://www.skygod.com/quotes/airpower.html Aerial Warfare Quotations] Category:Aerial warfare Category:Military aviation

Freestyle skiing

Freestyle Skiing began in the 1930s, Norwegian skiers began using ski acrobatics in alpine and cross country training. While not considered a competitive sport, professional skiing exhibitions in the United States featured performances of what would later be called freestyle. Freestyle skiing, or "slopestyle," began to develop further throughout the 1960s and into the 1970s. The free-form sport had few rules, and wasn't without danger. The International Ski Federation (ISF) recognised freestyle as a sport in 1979 and brought in new regulations regarding certification of athletes and jump techniques in an effort to curb the dangerous elements of the competitions. The first World Cup series was staged in 1980 and the first World Championships took place in 1986 in Tignes, France. Freestyle skiing was a demonstration event at the Calgary Games in 1988. Mogul skiing was added to the official programme of the Albertville Games in 1992 and aerials was added to the program of the Lillehammer Games in 1994. Currently (2006) there are two main disciplines of Freestyle

Aerial

Antenna (radio)

Overview

Antenna effectiveness

Resonant frequency

Impedance

Gain

Efficiency

Bandwidth

Polarization

Transmission and receiving

Theoretical antenna types

Practical antenna models

See also

External links

Aerial (dance move)

History

Classic Aerials

Jumps and Cannonballs

Charleston Jumps

Lifts (Retitle)

Flips

Base Aerials

Miscellaneous

Theatrics, Gymnastics, and Kids

Slides and Spins

Drags and Slop

Dips

Moves to Sort

Jam Notes

Safety

Connection

Grips

Choreography Notes

See also

To Do

Kate Bush

Biography

Overview

The studio albums

The Kick Inside (1978)

Lionheart (1978)

Never For Ever (1980)

The Dreaming (1982)

Hounds of Love (1985)

The Sensual World (1989)

The Red Shoes (1993)

Aerial (2005)

Musical style

Live Performances

Video projects

Movie projects

Collaborations

Influence on other musicians

Discography

Albums

Singles

Videos

The Tour of Life 1979

External links

References

Aerial warfare

Balloon warfare

Before World War I

World War I

Between the wars

World War II

Strategic bombing

Luftwaffe

Royal Air Force

U.S. Army Air Force

Air superiority

Effectiveness

Tactical air support

Naval aviation

Post World War II

Post Cold War

See also

External links

Freestyle skiing