Hand
Palmar and Dorsal aspects of human right hand
X-ray of human hand
Vein	dorsal venous network of hand
Nerve	ulnar nerve, median nerve, radial nerve
MeSH	Hand

A hand (med./lat.: manus, pl. manūs) is a prehensile, multi-fingered extremity located at the end of an arm or forelimb of primates such as humans, chimpanzees, monkeys, and lemurs. A few other vertebrates such as the koala (which has two opposable thumbs on each "hand" and fingerprints remarkably similar to human fingerprints) are often described as having either "hands" or "paws" on their front limbs.

Hands are the main structures for physically manipulating the environment, used for both gross motor skills (such as grasping a large object) and fine motor skills (such as picking up a small pebble). The fingertips contain some of the densest areas of nerve endings on the body, are the richest source of tactile feedback, and have the greatest positioning capability of the body; thus the sense of touch is intimately associated with hands. Like other paired organs (eyes, feet, legs), each hand is dominantly controlled by the opposing brain hemisphere, so that handedness, or the preferred hand choice for single-handed activities such as writing with a pen, reflects individual brain functioning.

Some evolutionary anatomists use the term hand to refer to the appendage of digits on the forelimb more generally — for example, in the context of whether the three digits of the bird hand involved the same homologous loss of two digits as in the dinosaur hand.^[1]

The human hand has 27 bones, 14 of which are the phalanges (proximal, medial, and distal) of the fingers. The metacarpal is the bone that connects the fingers and the wrist. Each human hand has 5 metacarpals.^[2]

Definitions[link]

Many mammals and other animals have grasping appendages similar in form to a hand such as paws, claws, and talons, but these are not scientifically considered to be grasping hands. The scientific use of the term hand in this sense to distinguish the terminations of the front paws from the hind ones is an example of anthropomorphism. The only true grasping hands appear in the mammalian order of primates. Hands must also have opposable thumbs, as described later in the text.

Humans have two hands located at the distal end of each arm. Apes and monkeys are sometimes described as having four hands, because the toes are long and the hallux is opposable and looks more like a thumb, thus enabling the feet to be used as hands. Also, some apes have toes that are longer than human fingers.^[3]

The word "hand" is sometimes used by evolutionary anatomists to refer to the appendage of digits on the forelimb such as when researching the homology between the three digits of the bird hand and the dinosaur hand.^[1]

Human anatomy[link]

The human hand consists of a broad palm (metacarpus) with 5 digits, attached to the forearm by a joint called the wrist (carpus).^[4][5] The back of the hand is formally called the opisthenar.

Digits[link]

The digits of the human hand

The four fingers on the hand are used for the outermost performance; these four digits can be folded over the palm which allows the grasping of objects. Each finger, starting with the one closest to the thumb, has a colloquial name to distinguish it from the others:

• index finger, pointer finger, or forefinger
• middle finger or long finger
• ring finger
• little finger, pinky finger, or small finger

The thumb (connected to the trapezium) is located on one of the sides, parallel to the arm. A reliable way of identifying true hands is from the presence of opposable thumbs. Opposable thumbs are identified by the ability to be brought opposite to the fingers, a muscle action known as opposition.

Bones[link]

Bones of the human hand

The skeleton of the human hand consists of 27 bones:^[6] the eight short bones of the wrist or carpus organized into a proximal row (scaphoid, lunate, triquetral and pisiform), which articulates with the skeleton of the forearm, and a distal row (trapezium, trapezoid, capitate and hamate), which articulates with the bases of the metacarpal bones (i.e. the bones of the palm or "hand proper"). Together with the fourteen phalanx bones of the fingers these metacarpal bones form five rays or poly-articulated chains.

Because supination and pronation (rotation about the axis of the forearm) are added to the two axes of movements of the wrist, the ulna and radius are sometimes considered part of the skeleton of the hand.

There are numerous sesamoid bones in the hand, small ossified nodes embedded in tendons; the exact number varies between different people:^[7] whereas a pair of sesamoid bones are found at virtually all thumb metacarpophalangeal joints, sesamoid bones are also common at the interphalangeal joint of the thumb (72.9%) and at the metacarpophalangeal joints of the little finger (82.5%) and the index finger (48%). In rare cases, sesamoid bones have been found in all the metacarpophalangeal joints and all distal interphalangeal joints except that of the long finger.

Articulations[link]

The articulations are:

• interphalangeal articulations of hand (the hinge joints between the finger bones)
• metacarpophalangeal joints (where the fingers meet the palm)
• intercarpal articulations (where the palm meets the wrist)
• wrist (may also be viewed as belonging to the forearm.)

Arches[link]

The fixed and mobile parts of the hand adapt to various everyday tasks by forming bony arches: longitudinal arches (the rays formed by the finger bones and their associated metacarpal bones), transverse arches (formed by the carpal bones and distal ends of the metacarpal bones), and oblique arches (between the thumb and four fingers):

Of the longitudinal arches or rays of the hand, that of the thumb is the most mobile (and the least longitudinal). While the ray formed by the little finger and its associated metacarpal bone still offers some mobility, the remaining rays are firmly rigid. The phalangeal joints of the index finger, however, offer some independence to its finger, due to the arrangement of its flexor and extension tendons.^[8]

The carpal bones form two transversal rows, each forming an arch concave on the palmar side. Because the proximal arch simultaneously has to adapt to the articular surface of the radius and to the distal carpal row, it is by necessity flexible. In contrast, the capitate, the "keystone" of the distal arch, moves together with the metacarpal bones and the distal arch is therefore rigid. The stability of these arches is more dependent of the ligaments and capsules of the wrist than of the interlocking shapes of the carpal bones, and the wrist is therefore more stable in flexion than in extension.^[8] The distal carpal arch affects the function of the CMC joints and the hands, but not the function of the wrist or the proximal carpal arch. The ligaments that maintain the distal carpal arches are the transverse carpal ligament (part of the flexor retinaculum) and the intercarpal ligaments (also oriented transversally). These ligaments also form the carpal tunnel and contribute to the palmar arches. Several muscle tendons attaching to the TCL and the distal carpals also contribute to maintaining the carpal arch. ^[9]

Compared to the carpal arches, the arch formed by the distal ends of the metacarpal bones is flexible due to the mobility of the peripheral metacarpals (thumb and little finger). As these two metacarpal approach each other, the palmar gutter deepens. The central-most metacarpal (index finger) is the most rigid, and it and its two neighbours are untied to the carpus by the interlocking shapes of the metacrapal bones. The thumb metacarpal only articulates with the trapezium and is therefore completely independent, while the fifth metacarpal (little finger) is semi-independent with the fourth metacarpal (ring finger) forms a transitional element to the fifth metacarpal.^[8]

Together with the thumb, the four ulnar fingers form four oblique arches, of which the arch of the index finger functionally is the most important, especially for precision grip, while the arch of the little finger contribute an important locking mechanism for power grip. The thumb is undoubtedly the "master digit" of the hand, giving value to all the other fingers. Together with the index and middle finger, it forms the dynamic tridactyl configuration responsible for most grips not requiring force. The ring and little fingers are more static, a reserve ready to interact with the palm when great force is needed. ^[8]

Muscles[link]

Muscles and other structures of wrist and palm

The muscles acting on the hand can be subdivided into two groups: the extrinsic and intrinsic muscle groups. The extrinsic muscle groups are the long flexors and extensors. They are called extrinsic because the muscle belly is located on the forearm.

Intrinsic[link]

The intrinsic muscle groups are the thenar (thumb) and hypothenar (little finger) muscles; the interossei muscles (four dorsally and three volarly) originating between the metacarpal bones; and the lumbrical muscles arising from the deep flexor (and are special because they have no bony origin) to insert on the dorsal extensor hood mechanism.^[10]

Extrinsic[link]

Extensor compartments of wrist (back of hand)

The fingers have two long flexors, located on the underside of the forearm. They insert by tendons to the phalanges of the fingers. The deep flexor attaches to the distal phalanx, and the superficial flexor attaches to the middle phalanx. The flexors allow for the actual bending of the fingers. The thumb has one long flexor and a short flexor in the thenar muscle group. The human thumb also has other muscles in the thenar group (opponens and abductor brevis muscle), moving the thumb in opposition, making grasping possible.

The extensors are located on the back of the forearm and are connected in a more complex way than the flexors to the dorsum of the fingers. The tendons unite with the interosseous and lumbrical muscles to form the extensorhood mechanism. The primary function of the extensors is to straighten out the digits. The thumb has two extensors in the forearm; the tendons of these form the anatomical snuff box. Also, the index finger and the little finger have an extra extensor, used for instance for pointing. The extensors are situated within 6 separate compartments.

The first four compartments are located in the grooves present on the dorsum of inferior side of radius while the 5th compartment is in between radius and ulna. The 6th compartment is in the groove on the dorsum of inferior side of ulna.

Sexual dimorphism[link]

The average length of an adult male hand is 189 mm, while the average length of an adult female hand is 172 mm. The average hand breadth for adult males and females is 84 and 74 mm respectively.^[11]

Disorders and diseases[link]

• Polydactyly, more than the usual number of fingers or toes. Having more than the typical number of metacarpal bones may be caused by genetic disorders like Catel-Manzke syndrome.
• Syndactyly, fusion of fingers or toes.
• Hand infection
• Hand surgery
• Carpal tunnel syndrome
• Dupuytren's contracture
• Claw hand, paralysis of intrinsic muscles of hand.

Fractures of the hand include:

• Scaphoid fracture
• Rolando fracture - a comminuted intra-articular fracture through the base of the first metacarpal bone
• Bennett's fracture - a fracture of the base of the first metacarpal bone which extends into the carpometacarpal (CMC) joint.^[12]
• Boxer's fracture - a fracture at the neck of a metacarpal

Evolution[link]

"Hands" of a Javanese tree shrew and a human

The prehensile hands and feet of primates evolved from the mobile hands of semi-arboreal tree shrews that lived about a 100 million years ago. This development has been accompanied by important changes in the brain and the relocation of the eyes to the front of the face, together allowing the muscle control and stereoscopic vision necessary for controlled grasping. This grasping, also known as power grip, is supplemented by the precision grip between the thumb and the distal finger pads made possible by the opposable thumbs. Hominidae (great apes including humans) acquired an erect bipedal posture about 3 million years ago, which freed the hands from the task of locomotion and paved the way for the precision and range of motion in human hands.^[13] Functional analyses of the features unique to the hand of modern humans have shown that they are consistent with the stresses and requirements associated with the effective use of paleolithic stone tools. It is possible that the refinement of the bipedal posture in the earliest hominids evolved to facilitate the use of the trunk as leverage in accelerating the hand.^[14]

While the human hand has unique anatomical features, including a longer thumb and fingers that can be controlled individually to a higher degree, the hands of other primates are anatomically similar and the dexterity of the human hand can not be explained solely on anatomical factors. The neural machinery underlying hand movements is a major contributing factor; primates have evolved direct connections between neurons in cortical motor areas and spinal motoneurons, giving the cerebral cortex monosynaptic control over the motoneurons of the hand muscles; placing the hands "closer" to the brain.^[15] The recent evolution of the human hand is thus a direct result of the development of the central nervous system, and the hand, therefore, is a direct tool of our consciousness — the main source of differentiated tactile sensations — and a precise working organ enabling gestures — the expressions of our personalities.^[16]

A gorilla, a large primate with small thumbs, and the hand skeleton of Ardipithecus ramidus, a small Pliocene primate with human-like thumbs

There are nevertheless several primitive features left in the human hand, including pentadactyly (having five fingers), the hairless skin of the palm and fingers, and the os centrale found in human embryos, prosimians, and apes. Furthermore, the precursors of the intrinsic muscles of the hand are present in the earliest fishes, reflecting that the hand evolved from the pectoral fin and thus is much older than the arm in evolutionary terms.^[13]

The proportions of the human hand are plesiomorphic (shared by both ancestors and extant primate species); the elongated thumbs and short hands more closely resemble the hand proportions of Miocene apes than those of extant primates.^[17] Humans did not evolve from knuckle-walking apes, ^[18] and chimpanzees and gorillas independently acquired elongated metacarpals as part of their adaptation to their modes of locomotion.^[19] Several of primitive hand features most likely present in the chimpanzee-human last common ancestor (CHLCA) and absent in modern humans are still present in the hands of Australopithecus, Paranthropus, and Homo floresiensis. This suggests that the derived changes in modern humans and Neanderthals did not evolve until 2.5 to 1.5 million years ago or after the appearance of the earliest Acheulian stone tools and that these changes are associated with tool-related tasks beyond those observed in other hominins.^[20] The thumbs of Ardipithecus ramidus, a CHLCA candidate, are robust like in humans, and thus a primitive trait, while the palms of other extant higher primates are elongated to the extent that some of the thumb's original function has been lost (most notably in highly arboreal primates such as the spider monkey). In humans, the big toe is thus more derived than the thumb.^[19]

Additional images[link]

Static adult human physical characteristics of the hand. Static adult human physical characteristics of the hand.   X-ray of a child's hand   Hands clenched in fists. Hands clenched in fists.   Cutaneous innervation of the upper limbs and hands.   Dissection of hand

See also[link]

• Dermatoglyphics
• Hand strength
• Hand walking
• Handanalysis
• Handstand
• Knuckle-walking

References[link]

External links[link]

Find more about Hand on Wikipedia's sister projects:
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	Images and media from Commons
	Learning resources from Wikiversity
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	Source texts from Wikisource
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• Hand anatomy (eMedicine)
• Watch the National Film Board of Canada documentary Faces of the Hand (Requires Adobe Flash)
• American Society for Surgery of the Hand
• The Common Hand article in the May 2012 National Geographic

v t e Human regional anatomy (TA A01.1) Head Forehead · Ear · Jaw · Face (Cheek, Eye, Nose, Mouth, Chin) · Occiput · Scalp · Temple Neck Throat · Adam's apple Trunk Chest (Breast) · Abdomen (Navel) · Back · Pelvis (Sex organs) Limbs Upper limb Shoulder · Axilla · Arm Elbow · Forearm Wrist · Hand · Finger (Thumb · Index · Middle · Ring · Little) Lower limb/ (see also leg) Hip · Buttocks · Thigh Knee · Calf · Crus Ankle · Heel · Foot · Toe (Hallux · Long  • Third  • Fourth  • Fifth) · Sole General anatomy: systems and organs, regional anatomy, planes and lines, superficial axial anatomy, superficial anatomy of limbs

Jonathan "Jon" Lajoie (born August 21, 1980) is a Canadian comedian, actor, rapper, singer, musician and Internet celebrity from Montreal, Quebec.^[1]

Background[link]

Lajoie was born in Saint-Hubert, Quebec, Canada and raised in Montreal, Quebec. His father is French-Canadian and his mother is English-Canadian. He graduated from Dawson College's theatre program in 2001.^[2] Since 2003, he has acted as an English-Canadian musician named Thomas Edison in Radio-Canada's French-Canadian sitcom L'auberge du chien noir.^[3]

Career[link]

Jon Lajoie began his career as a comedian in 2007. Lajoie's performance included music, skits, and some stand-up comedy. Jon Lajoie has also released 2 studio albums.

[edit] The League

Lajoie currently has a role in the FX Network TV show called The League as Taco MacArthur, a perpetually stoned and unemployed musician.^[4] Lajoie performs his song "The Birthday Song" and "Vaginal Hubris" in two episodes of the first season. Throughout the series, Lajoie performs songs written specifically for the show.

[edit] Comedy Central Presents

Jon Lajoie filmed an episode of Comedy Central Presents on November 7, 2009.^[5] It premiered on March 5, 2010.^[6] The same special aired uncensored as part of Comedy Central's Secret Stash on June 6 at 1:30 AM (EST). The special featured the world premiere of the video for his song "Pop Song".

Discography[link]

Studio albums[link]

Singles[link]

• "Very Super Famous" (2011)
• "The Best Song" (2011)
• "F**k Everything" (2011)

Music videos[link]

References[link]

External links[link]

• Official website
• Jon Lajoie's channel on YouTube
• Jon Lajoie on Myspace
• Lajoie on Funny or Die
• Jon Lajoie at the Internet Movie Database
• The Lance – Jon Lajoie's transition from online to stage, Dec. 3, 2008
• Jon Lajoie Conquers web with Coarse Songs – AOL Music

Jiří Trnka (Czech pronunciation: [ˈjɪr̝iː ˈtr̩ŋka]) (24 February 1912, Plzeň - 30 December 1969, Prague) was a Czech puppet maker, illustrator, motion-picture animator and film director.^[1] In addition to his extensive career as an illustrator, especially of children's books, he is best known for his work in animation with puppets, which began in 1946. Most of his movies were intended for adults, and many of them were adaptations of literary works of Czech authors or foreigners. Because of his influence in animation, he was called "the Walt Disney of Eastern Europe",^[2] despite the great differences between their works.

Biography[link]

Formative Years[link]

The Trnka family lived as middle class citizens in Pilsen, in western Bohemia. Although his father was a plumber and his mother a dressmaker, both remained very close to their peasant origins. As a child, young Jiří enjoyed sculpting puppets made ​​of wood and put on stage small shows for friends.

He later attended classes at a vocational school in his hometown, where he met his teacher Josef Skupa, who eventually would become a leading public figure in the world of Czech puppeteers. Skupa was his mentor, entrusted Trnka with certain responsibilities, and managed to convince his family, who initially were initially reluctant, to allow him to enroll at the prestigious School of Applied Arts in Prague (today the Academy of Architecture, Art and Design in Prague), where he completed his apprenticeship between 1929 and 1935.

Career as illustrator[link]

With the training received in the school of arts and his experience working in a printmaking workshop, Trnka soon began a successful career as an illustrator. He was hired by the Prague publishing house Melantrich, and his first illustrated work was Mr. Boska The tiger of Vítezslaw Šmejc, published in 1937.

Since then, Trnka illustrated numerous children's books. Throughout his life, he illustrated 130 works of literature, most of them for children. Especially famous are his illustrations for the tales of the Brothers Grimm, as well as collections of folktales from Czech authors such as Jirí Horák and Jan Pálenícek. Also related to his native folklore are his illustrations for Bajaj by Vladimír Holan, published in 1955, that would also be the starting point for his future in animation. In addition to the above, Trnka illustrated, among many other books, the tales of Andersen and Perrault, the fables of La Fontaine, The Thousand and One Nights, several works of Shakespeare and Lewis Caroll's Alice in Wonderland. In honor of his entire career as an illustrator, he was awarded in 1968 the Hans Christian Andersen Award by the International Board on Books for Young People (IBBY).

In some cases, his job as an illustrator gave him ideas for making animated films, as happened with Bajaj and A Midsummer Night's Dream.

Career as Animator[link]

Beginnings[link]

After graduating from the Prague School of Arts and Crafts, Trnka created a puppet theater in 1936. This group was dissolved when World War II began, and he instead designed stage sets and illustrated books for children throughout the war. Several years later, at the end of World War II, he founded with Eduard Hofman and Jiří Brdečka a real study animation, called bratří v Triku. He began his activity in the study of animation by making some short films: Zasadil Dedek Repu (Grandfather planted a beet, 1945); Zvířátka to petrovští (Animals and Bandits, 1946), awarded at the Cannes Film Festival just one year after he began working in films,^[1] Perak SS (The Springer and the SS men, 1946), an anti-Nazi film, and Darek (The Gift, 1946), a satire on the values ​​of middle class close in a style echoing surrealism. Despite his early success, Trnka did not feel comfortable with traditional animation, which in his opinion required too many intermediaries that prevented him from freely expressing his creativity. In the fall of 1946 he first considered puppet animation films, and began to experiment with the help of Bretislav Pojar.^[1]

Early films (1947-1950)[link]

The result was his first feature film Špalíček ("The Czech years", 1947), based on a book illustrated by Mikoláš Aleš. The film consists of six short films, which put on stage the legends and customs of his country: Carnival (Masopust), spring (Jaro), the legend of St. Procopius (Legenda or svatem Prokopu), the procession (Pout), party in the village (Posviceni) and Bethlehem (Betlem). The film attracted the international attention to Czech animation and was awarded at many festivals, including the Venice Film Festival.

Since 1948, the studios of Trnka began receiving subsidies from the government. The next film they produced was Cisaruv Slavik ("The Emperor's Nightingale", 1949), based on a story by Hans Christian Andersen. Unlike the previous, it is a real feature film with one single storyline. The movie also includes real actors (two kids, Helena Patrocková and Jaromir Sobota), although only in the prologue that precedes the story itself. The puppets and sets are significantly different from the previous film, given the setting in an idealized imperial China. Cisaruv Slavik also won numerous awards at international festivals across Europe and America.

Throughout 1949, Trnka also made ​​three short films with animated puppets: Roman s basou ("Story of a Bass," or "Novel with Bass"), adapted from a story by Anton Chekhov; Certuv mlýn ("The Mill Devil "), and Arie prerie ("Song of the Prairie"), a western parody loosely based on The Diligence by John Ford.

The following year he produced his third feature Trnka animation with puppets, Bajaj ("The Prince Bayaya", 1950), based on two stories by writer Bozena Nemcova. Set in a fantastic medieval time, it is the story of a farmer who succeeds in becoming a knight, defeats a dragon, and wins the love of a princess.

The fifties[link]

During the first half of the next decade, Trnka experiment with new techniques in his short animations. He returned to the cartoon O zlaté rybce ("The Golden Fish", 1951), and animated shadow puppets in Dva mrazíci (1953). In Veselý Circus ("The Merry Circus", 1951) he used a technique that involved stop-motion with two-dimensional paper cutouts. He neglected, however, the production of any animated feature-length puppet film. Apparently, for a time he had the idea of making a film about Don Quijote, but the project was not well received by the Czechoslovakian authorities. In 1953 premiered Staré pověsti české ("Old Czech Legends", 1953), his quarter-length movie. As Špalíček, his first feature, Staré pověsti české is structured in seven episodes that tell the legendary history of the Czech people. The film is adapted from a work by Alois Jirásek (1851-1930), then a popular author among the Czech youth, and has an obvious patriotic tone.

In the same vein to explore the classics of Czech literature, Trnka in 1955 faced the challenge of adapting to the screen a work immensely popular, the anti-war satire Švejk in Jaroslav Hašek (The Good Soldier Švejk). At the time, there already existed film adaptations of this work done with real actors but Trnka was the first to make an animated film about the character. For the construction of the puppets, Trnka was inspired by the illustrations for the original book made by ​​Josef Lada, which in the popular imagination were closely associated with the characters of Hašek. The humorous film is divided into three episodes, which tell the grotesque adventures of Švejk during World War I. It is not considered one of his best work. In spite of this, it received several awards at international festivals.

In 1959 he made ​​his last feature film: Sen noci svatojánské ("A Midsummer Night's Dream," 1959), adapted from one of the most famous works of William Shakespeare. Trnka had previously illustrated this book so he knew it well. In his adaptation, he put focus on, besides the images, the music of Václav Trojan, and strove to give the film an air of ballet, for which even hired as an adviser to a renowned dancer. The puppets used in the film were not constructed of wood, but a specially-made plastic, which allowed for a more detailed modeling of faces. Although it did not escape some criticism, Sen noci svatojánské was a resounding international success and is recognized as one of the masterpieces of Trnka.

The sixties[link]

Grave of Jiří Trnka at the Central Cemetery in Pilsen

Over the next decade, the filmmaker made only a few short films, which were progressively in a pessimistic tone. The first was Vasen ("The Passion", 1962), the story of a young man passionate about his motorcycle. He followed that same year with Kybernetická Babicka ("Cyber ​​Grandma"), a satire on the increasing importance of technology in everyday life. Archandel Gabriel Pani Husa ("The Archangel Gabriel and Ms Goose", 1964), set in Venice medieval, adapts one of the stories of the Decameron by Boccaccio.

He considers his greatest work to be the short Ruka ("The Hand", 1965), his last film. In the words of Bendazzi, Ruka is "a kind of hymn to the creative freedom raging." In short, it is about a sculptor visited by a huge hand, which seeks the completion of a sculpture of itself. By rejecting the imposition, the artist is constantly pursued by the hand, ending with induced suicide and the hand officiating at his funeral. Ruka is considered a protest against the conditions imposed by the Czechoslovak communist state to artistic creation, and even some have seen in it an anticipation of the so-called Prague Spring. Although the film initially had no problems with censorship (which Trnka blamed on carelessness or simple ignorance), after his death copies were confiscated and banned from public display in Czechoslovakia for two decades.

Jiří Trnka died of a heart condition in 1969 when he was just 57 years old. His funeral was a large public event.

Animation techniques[link]

Throughout his career he experimented with different Trnka animation techniques, from traditional cartoons in his first shorts to animation with shadow puppets. However, his preferred method, and that which gave him worldwide fame, was stop-motion puppet work. His carved puppet characters were animated in complex sets with an expressive use of lighting. In this manner he was able to realize the dream of Czech baroque sculptors to set their sculptures in motion. Of puppet films Trnka said:^[1]

Puppet films are truly unlimited in their possibilities: they can express themselves with the greatest force precisely when the realistic :expression of the cinematographic image often faces insurmountable obstacles.

Really Trnka was not involved so much with the animation itself, but primarily on the development of scripts and puppet making. His studio had a trained team of animators, among which especially Bretislav Pojar was credited as responsible for the animation of many of Trnka's films. Other prominent animators from Trnka's studios were Stanislav Latal Trnka, Jan Karpas, Sramek Bohuslav, Frantisek Zdenek Hrabar and Braun.

Although animated films with puppets had already been made before Trnka, he corresponds to the main thrust of this technique, later used in many parts of the world. Unlike what had been done before, Trnka chose not to alter the appearance of the dolls with artificial elements to denote their emotions but to keep it unchanged, getting his expression through changes in framing and lighting. According Pojar:

He always gave his eyes a look indefinable. With the simple turn of their heads, or with a change of lighting, rose smiling expressions, or :unhappy, or dreamers. This gave one the impression that the puppet hid more than it showed, and its heart of wood stored even more.

The scripts of the films were also Trnka's own work, who often used works of Czech authors (many of them related to popular folklore), as well as classics of world literature, such as Chekhov, Boccaccio, and Shakespeare.

In Trnka animated films the music also had an important role. In all his films and several of his short films, the composer of the music was Vaclav Trojan (1905-1983).

Filmography[link]

Short films[link]

• Dedek Zasadil repu ("My grandfather planted a beet", 1945). Cartoons.
• Zvírátka to petrovstí ("Animals and bandits", 1946). Cartoons.
• Perak SS ("The jumper and the men of the SS", 1946). Cartoons.
• Darek ("The Gift", 1946). Cartoons.
• Román s basou ("Story of a bass," 1949).
• Certuv mlýn ("The Devil's Mill", 1949).
• Arie prerie ("Song of the Prairie", 1949).
• O zlaté rybce ("The Golden Fish", 1951). Cartoons.
• Cirkus Veselý ("The gay circus", 1951).
• Dva mrazíci (1954)
• Hurvínek Circus ("Circus Hurvínek", 1955).
• Proc UNESCO? ("Why is the UNESCO", 1958). Cartoons
• Vasen ("The Passion", 1962).
• Kybernetická Babicka ("The Cybernetic Grandma", 1962).
• Gabriel Archandel Pani Husa ("The Archangel Gabriel and Mrs. Goose", 1964).
• Maxplatte, Maxplatten (1965)
• Ruka ("The Hand", 1965).

Feature films[link]

• Špalíček ("The Czech Year", 1947)
• Cisaruv Slavik ("The Emperor's Nightingale", 1949)
• Bajaja ("Prince Bayaya", 1950)
• Staré Ceske povesti ("Old Czech Legends", 1953)
• Vojak Dobrý Svejk ("The Good Soldier Svejk", 1955)
• Sen noci svatojanske ("A Midsummer Night's Dream", 1959)

See also[link]

• List of stop-motion films

References[link]

External links[link]

• Jiří Trnka at the Internet Movie Database
• Jiri Trnka -- Walt Disney Of The East!
• Hans Christian Andersen Award
• Jiri Trnka: an artist who turned puppets into film stars

Quincy Matthew Hanley (born October 26, 1986),^[3] better known by his stage name ScHoolboy Q, is an American hip hop recording artist signed to Top Dawg Entertainment and Interscope Records. Hanley is a member of Black Hippy along with Jay Rock, Kendrick Lamar and Ab-Soul. In a 2011 interview when asked about what encouraged him to start rapping, Hanley explained that it was something he was "born to do": "I was just chillin’ man, but rapping’s just something I was born to do. I don’t know when I started rapping. I don’t know how I started rapping, but I know I wrote a verse and I was stuck ever since," he explained.^[4]

Preceded by two mixtapes, his first independent album Setbacks, reached #100 on the US Billboard 200 chart in 2011, selling close to 1,000 digital copies in the first week.^[5] On January 14, 2012, he released his second independent album Habits & Contradictions. The album debuted at #111 on the US Billboard 200, with first-week sales of 3,900 digital copies in the United States.^[6]

Biography[link]

1986-2009: Early life and career beginnings[link]

Hanley was born October 26, 1986, on a military base in Frankfurt, Germany. While there, his parents decided they were no longer staying together, therefore his mother chose a last name for him at random. That is why no one else in his family shares his surname. His father remained in the Army, but his mother took Hanley to Texas for a couple years, before going to California.^[1] He grew up in Los Angeles, California on 51st Street, neighboring Figueroa and Hoover Street. He claims to have been playing football since the age of six years old until he was 21. He played receiver, cornerback, and tailback, however in college he just played receiver and returner. After graduating Crenshaw High School, Hanley went on to attend Glendale Community College, Los Angeles City College, Southwest College and West Los Angeles College where he played football for the West Los Angeles Oilers: "I went to West L.A. college, I went to Southwest college, LACC, and Glendale. I didn’t really get the school like that. I would go to practice and go home. I wasn’t really paying attention in class. I was just in there making sure I did enough work so I could still be eligible. I wasn’t really trying to pass the class. I was just trying to be eligible to play football." As to how he came up with his stage name: "When I was in school, all the homies called me Schoolboy. I wore glasses and I had a 3.3 in high school, before fucking up my senior year gang-banging. My name’s Quincy, so I just stick to Schoolboy Q."^[7]

Growing up on Hoover Street he joined a street gang, the 52 Hoover Crips: "I was gang-banging at 12. I was a Hoover Crip. My homies were doing it and I wanted to do it. I can’t really explain that. I didn’t get into it with another hood or anything like that. I was just following the leader." Before turning to music Hanley became a drug dealer selling Oxycontin, and for a short time crack and marijuana: "I was selling Oxycontin. I sold crack a little bit, but I didn’t make a whole lot of money selling crack or weed or any of that. I made a lot of money selling Oxycontin. I used to go out of town and get it. You just sit back, your homie tell you about this person, and that person spread the word. And then they come to you. You don’t need to get that hype. So I was selling all types of shit. Got beat up, beat shit up."^[8] In 2007, he was arrested for a crime he won't disclose and says he was sent to jail for six months, half of which he finished on house arrest: "When I was 21 I got arrested and went to jail. I got a felony charge and they gave me a strike too. I don’t be putting out what my charge was but it wasn’t a sexual thing."^[1][8]

He claims to have written his first verse when he was 16, but wasn't serious about music until he was 21. Music became his way of expressing himself: "I wrote my first verse when I was 16. I wasn’t really rapping, but you know everybody wrote a verse before. I wrote the verse but I wasn’t really fucking with it. By 21, I started to really get into it and gained a passion for it. You got to let your aggression out, so you got to get in the booth and let it out. I was really working on my craft, studying music, and I became Q. I did all of it, school and the streets. I was just lost; I didn’t know what I wanted to do. I was just trying to do something. Then I found music and it was just over after that. I made my first little bit of money doing music, after that I wanted to get used to doing it, and I kept rapping. Then it became something that I had to do."^[9]

In 2006 he began to work with Top Dawg Entertainment, recording at their studio "House of Pain" and collaborating with their artists. His first time at the studio he worked with his soon to be Black Hippy cohorts Jay Rock and Ab-Soul: "I walked in and the beat was playing. Ali told them that I rap. Punch told me to jump on the beat. It was a record that Jay Rock and Ab-Soul were writing to, so then I wrote it. Punch liked it and he told me to come back through. I kept coming back, kept getting better, and eventually they signed me to TDE." On July 29, 2008, Hanley released his first mixtape titled Schoolboy Turned Hustla. After the release of Schoolboy Turned Hustla, he signed a deal with Top Dawg Entertainment in 2009, where he formed Black Hippy with fellow label mates and frequent collaborators, Kendrick Lamar, Jay Rock and Ab-Soul.^[10][11]

In 2009 Hanley was involved in a short "beef" with fellow west-coast rapper 40 Glocc. Hanley released a diss track titled "Ezell (40 Glocc Killa)" where he questions 40 Glocc's gang-banging. Hanley has went on record as to why they were "beefing": "He made some false statements about my boy, Tyga, that's my little brother. He did a lot of fake stuff with Wayne, a lot of lies, rumors and childish shit that I really didn't like, and I really felt disrespected by this clown saying all this shit so I just had to like air it out". He went on to say "It's over with, I did what I did, I said what I said and I won't diss him no more, because it's obvious he ain't on my level...so why categorize myself with a loser?".^[12] He released Gangsta & Soul, his second mixtape on May 14, 2009, which included the diss track.

2010–present: Independent albums and Black Hippy[link]

Although Hanley did not release a project, 2010 had him touring, doing guest appearances and had him in the studio working with the rest of Black Hippy and on his then-upcoming project Setbacks. On January 11, 2011, exclusively through iTunes he released Setbacks, his first independent album under Top Dawg Entertainment to critical acclaim.^[13] The album reached number one-hundred on the Billboard 200 selling 787 units it's first week.^[14] Two weeks after the album's release Hanely took to Twitter and gave the album away for free.^[15] By the time Q's first album, SetBacks, was released in early 2011, he'd quit gangbanging altogether.^[16] Setbacks propelled Hanley into the spotlight and allowed him to earn a large internet following: "The concept behind Setbacks was [to talk about] all the shit that’s the reason why I can’t rap. The reason I can’t accomplish what I want to accomplish is because I’m doing all this dumb shit. I put it all together on the album. Like, ‘Druggys With Hoes,’ I’m out here drugging and I’m not even trying to fuck with hoes. ‘Kamikaze,’ I’m not even trying to rap—keep going broke. Different shit like that, I sum it up all in one album. My life did a whole 180 after that dropped. A lot of people still didn’t know the name though, but a lot of people did. It was weird. It just took me to the right spot. I made some fucking money off the project, it helped me see that I needed to do more positive shit in life, and it made me into the person I am now. All I do now is just chill. I’d rather just chill, work on my music, be with my two-year-old daughter, and smoke weed and shit."^[17]

Hanely headlined his first show on March 11, 2011, at the Key Club in West Hollywood, California.^[18] In March 2011 Hanley was arrested at the 2011 South by Southwest music festival and explained that he was ultimately jailed because of marijuana possession: "I got sent to jail for some weed. That was all bad. And I was the one that broke up the fight," said Schoolboy Q. "And then my manager Dave he thought he was Tupac Shakur, ‘Don’t touch my artist! Don’t touch my artist! Don’t touch my artist!’ I’m cool. I’m his artist. I’m like whatever. I’m straight then he kept going crazy. My ass went to the pen…Yea, I got away and then everybody walked out like Tupac in MGM. Police was like ‘Aww, there they go.’ Of course I’m the only one with all the weed."^[19]

On September 22, through his Twitter feed, Hanley announced the title of his second full length project to be Habits & Contradictions. He described the album as a "prequel to Setbacks".^[20] On September 26, 2011, he released the first offering off of Habits & Contradictions, a song titled "Druggys Wit Hoes Again" featuring Ab-Soul. On October 19, 2011, he leaked "There He Go", followed by "Oxy Music" on October 28. On October 31, he was featured on ASAP Rocky's critically acclaimed mixtape LiveLoveA$AP, on a song titled "Brand New Guy", which was well received by the public. To keep promoting Habits & Contradictions he released "My Hatin’ Joint" on November 15, 2011. On November 29, 2011, a music video for "To tha Beat (F'd Up)" from Setbacks was leaked,^[21][22] later that same day Hanley officially released a music for a track titled "Sacrilegious" for Habits & Contradictions.^[23] On January 2, 2012, Hanley released another song, "Blessed" featuring Kendrick Lamar and announced the album's release date to be January 14, 2012.^[24]

On January 6, 2012, via Twitter, Hanley announced guest appearances on the album would include ASAP Rocky, Currensy and Dom Kennedy.^[25][26][27] On January 6, Hanley also released a public service announcement for Habits & Contradictions, shot and edited by Dwayne LaFleur.^[28] Hanley sat down with freeOnSmash, for an interview and spoke on some of the tracks from his Habits & Contradictions, the interview was released on January 9, 2012. OnSmash claims "The 17 track project, due out January 14, is a look into Q’s life, with tales of pill selling, life struggle, partying, religious hypocrites, his block and everything in between."^[29] The album was released exclusively on iTunes, with only a few hard copies being sold and signed by Schoolboy Q in L.A.. In early hours of release, the album moved up to iTunes Top 10 Albums chart and stayed over within days after release. The album debuted at #111 on the US Billboard 200 chart, with first-week sales of 3,900 digital copies in the United States.^[6] With only two days at retail the Top Dawg Entertainment release scanned nearly 4,000 units to crack the Top 100, without any marketing or advertising.^[6] The album also debuted on the Top R&B/Hip-Hop Albums at number twenty-five, Top Rap Albums at number sixteen, Top Independent Albums at number seventeen and at number three on the Top Heatseekers album chart respectively. Music videos for "Hands on the Wheel" with ASAP Rocky and "Nightmare on Figg St." were later released.

In March 2012, MTV announced that Top Dawg Entertainment, the independent record label Schoolboy Q is signed to, have closed a joint venture deal with Interscope Records and Aftermath Entertainment, marking the end of his career as an independent artist. Under the new deal, Black Hippy cohort, Kendrick Lamar's debut studio album, Good Kid in a Mad City will be jointly released via Top Dawg/Interscope/Aftermath while releases from the rest of Black Hippy (Ab-Soul, Jay Rock and ScHoolboy Q) will be distributed via Top Dawg/Interscope.^[2] On March 24, Schoolboy Q announced #TheGroovyTour; a month long tour with Ab-Soul accompanying him the entire way. The tour kicks off on April 20 at the Bill Graham Civic Auditorium in San Francisco, California.^[30] On April 3, 2012, Interscope Records released "Hands on the Wheel" as a single via iTunes^[31] and began promoting the song at Urban and Rhythmic radio formats in North America.

Musical style[link]

Influences[link]

Schoolboy Q cites Nas, 50 Cent, Jay-Z, Mobb Deep, Kurupt, 2Pac, Biggie, Kanye West, Beanie Sigel and Wu-Tang Clan as rappers who influenced him: "But Biggie, Nas and 50 Cent [are my biggest influences]".^[32]

In several interviews Schoolboy Q has stated 50 Cent is the biggest reason he started to take rapping and his music career seriously, even going as far as saying 50 Cent probably saved his life: "We got the same shit going on. Everything he talk about is the same shit I did. I relate to Fifty… I can listen to 50 Cent and tell he really mean what he’s saying. He’s one of them niggas that got away with confidence. Fifty ain’t got the best bars, he ain’t got Jay-Z bars but his confidence on a record…you can’t deny it. I seen where he was doing an interview about Ja Rule during the beef shit, he was saying that any nigga that just getting out of jail that don’t know what to do with himself is getting into the rap game. Recently when I just got out of jail I didn’t know what to do I wasn’t going to try and finish playing football. That’s when I was fucking around with rapping, I wasn’t really rapping but when I heard that I was like fuck it…I really went hard at it. Fifty probably saved my life on some real shit."^[33]

Rapping technique[link]

In an interview with Complex magazine, he says he got his "rhyme-style" from Jay-Z: "I got [my rhyme style] from Jay-Z though. If you really listen to Jay-Z, he has a new sound every time he raps. It’s never the same. He might use a little swag, but it’s always like a different flow. So that’s all I try to do."^[32]

Schoolboy Q has been called very versatile with rapping as proven on his albums Setbacks and Habits & Contradictions. LA Weekly noted on Setbacks: "His style had begun to take shape, with his penchant for stretching vowels like Silly Putty or slurring a word and then snapping back into double time."^[16] As stated he never tries to stick with the same flow: "But at the same time, its just a feeling I can’t really explain. You got to be wiser to stay on the track, but there’s no rules. When you start rapping with rules, it’s when you start sounding boring. You may hear me fuck with my voice, you may hear me do a two-bar pause, you may hear me do an odd 33 bars instead of 30. Give you 14 bars instead of 16."^[32]

Discography[link]

Independent albums[link]

Mixtapes[link]

Promotional singles[link]

Guest appearances[link]

Music videos[link]

As main artist[link]

As featured artist[link]

References[link]

External links[link]

• Schoolboy Q on Myspace
• ScHoolboy Q at Allmusic

Bullet for My Valentine
Bullet for My Valentine performing at the 2010 Norway Rock Festival.
Background information
Origin	Bridgend, Wales, United Kingdom
Genres	Heavy metal, metalcore, thrash metal
Years active	1998–present
Labels	Columbia, Trustkill, Gun, Sony Music, Jive, RCA
Website	bulletformyvalentine.com
Members
Matthew Tuck Michael Paget Michael Thomas Jason James
Past members
Nick Crandle

Bullet for My Valentine are a Welsh heavy metal band from Bridgend, formed in 1998. The band is composed of Matthew Tuck (lead vocals, rhythm guitar), Michael Paget (lead guitar, backing vocals), Jason James (bass guitar, backing vocals), and Michael Thomas (drums). They were formed under the name Jeff Killed John and started their music career by covering songs by Metallica and Nirvana. Jeff Killed John recorded six songs which were not released; two of these tracks were reworked later in their career as Bullet for My Valentine. Financial difficulties dictated the name change, which was followed by a change in music direction. In 2002, the band secured a five-album deal with Sony BMG. The band has stated that their music is influenced by classic heavy metal acts such as Metallica, Iron Maiden, and Slayer. The band is part of the Cardiff music scene.

Bullet for My Valentine's debut album, The Poison, was released on 3 October 2005 in the United Kingdom and on 14 February 2006 in the United States to coincide with Valentine's Day hence their band name. The album entered the Billboard 200 in the US at number 128. It was certified Gold by the Recording Industry Association of America. The band made appearances at the Download Festival and Kerrang! XXV, and undertook a US tour with Rob Zombie. Bullet for My Valentine's second studio album, Scream Aim Fire, was released on 29 January 2008 and debuted at number four on the Billboard 200. The band's third album, Fever, was released on 26 April 2010 and debuted at number three on the Billboard 200. The band has sold over one million albums in the United States and nearly 2,500,000 albums worldwide and are the most-successful act in the Kerrang! Awards category of "Best British Band" with three wins.

History[link]

Jeff Killed John and record deal (1998—2005)[link]

	"Tears Don't Fall" noicon According to Scott Alisoglu of Blabbermouth.net, "Tears Don't Fall"'s "twin lead work, thrashy romps, galloping tempos, and a hot solo launch the track out of mediocrity."[1]
Problems listening to this file? See media help.

Jeff Killed John was the forerunner band to Bullet for My Valentine and was formed in 1998 by Matthew Tuck, Michael "Padge" Paget, Nick Crandle, and Michael "Moose" Thomas while studying music at Bridgend College. Playing Nirvana and Metallica cover songs, the band released a two-track EP in 2002, You/Play with Me, which was produced by Greg Haver. The EP was financed through the Pynci scheme for new Welsh musicians and the release garnered radio airplay on BBC Radio 1's broadcast at Newport's T.J.'s.^[2] Jeff Killed John's music followed the nu metal trend set by bands such as Korn and Limp Bizkit.^[2] Bassist Crandle left the band on the eve of entering the recording sessions for You/Play with Me and was replaced by Jason James.^[2] The band then changed their name to Bullet for My Valentine and reworked their musical strategy; they decided to play thrash metal songs with "harmony guitars and big angelic choruses" according to frontman Tuck.^[3]

Roadrunner Records showed interest in Bullet for My Valentine and offered the band a deal. The offer was ultimately turned down, and the band signed a five-album record deal with Sony BMG and a UK licensing deal with Visible Noise. According to Tuck, they chose Sony because, "We thought that a lot more doors would be open to us."^[3] A self-titled EP was released on 15 November 2004 in the UK. Produced by Colin Richardson, it featured five tracks and marked the band's first official release.^[2] A second EP, Hand of Blood, was released on 22 August 2005 through Trustkill Records and was only available in the US; the release contained one extra track than the self-titled EP, "4 Words (To Choke Upon)." Daniel Lukes of Decibel Magazine reviewed the EP by stating, "The worst part is that the music itself isn’t all that bad, for the genre." He went on to comment that the band should be "embarrassed" about the release.^[4] Zeromag's Josh Joyce complimented the band on "how technical they can get without confusing the kids."^[5]

[edit] The Poison (2005—2007)

Bullet for My Valentine at 2007's Earthday Birthday (depicted from left to right: Paget, James, and Tuck).

Bullet for My Valentine's debut album, The Poison, was released on 3 October 2005 in the UK and on Valentine's Day, 2006 in the US. It entered the Billboard 200 at number 128,^[6] and attained number 11 on the Independent Albums chart.^[7] On 30 January 2009, the album was certified gold by the RIAA after 500,000 copies were sold in the US.^[8] Four singles were released from The Poison: "4 Words (To Choke Upon)", "Suffocating Under Words of Sorrow (What Can I Do)", "All These Things I Hate (Revolve Around Me)", and "Tears Don't Fall".^[9] Bullet for My Valentine promoted the album by touring across the world. In 2005, with increased popularity, they played on the larger Download Festival Snickers stage;^[10] in 2006, the band were moved to near the top of the main stage bill.^[11] Other tours included opening for Metallica and Guns N' Roses in the summer of 2006,^[12] the Vans Warped Tour and Earthday Birthday. The band's headline performance at Kerrang XXV, a one-off gig at Brixton Academy in London on 28 January 2006, was filmed for their first DVD, The Poison: Live at Brixton.^[13][14] During June 2007, Tuck suffered from laryngitis, which let to an emergency tonsillectomy in July.^[15] Bullet for My Valentine were forced to cancel several shows, including supporting Metallica for three dates on their Sick of the Studio '07 tour on 29 June in Bilbao, 5 July in Vienna, and 8 July at the recently completed Wembley Stadium in London.^[16] Unable to speak, Tuck wrote that as soon as doctors cleared him he would be in the studio working on the band's next album.^[17]

[edit] Scream Aim Fire (2007—2008)

Bullet for My Valentine's second studio album, Scream Aim Fire, was recorded at Sonic Ranch Studios and was produced by Colin Richardson.^[18] Tuck commented at the time, "It's a lot more up tempo, a lot more aggressive".^[19] The album was released in the US on 29 January 2008.^[20] It sold 53,000 copies in its first week and peaked at number four on the Billboard 200.^[21] Three songs were released as singles: "Scream Aim Fire", "Hearts Burst into Fire", and "Waking the Demon".

In support of the new album, the band toured North America and Australia in the spring of 2008 for the Taste of Chaos tour alongside Atreyu, Blessthefall, and Avenged Sevenfold. Bullet for My Valentine cut short the Canada portion of the tour and flew back home to support the daughter of James who was in hospital.^[22] The band performed in North America again in the summer of 2008 as part of the No Fear Tour with Bleeding Through, Cancer Bats, and Black Tide.^[23] In late 2008, the band toured Europe, supported by Lacuna Coil, Bleeding Through, and Black Tide.^[24] In December 2008, Scream Aim Fire was re-released with four bonus tracks that were recorded during the album's studio sessions, but with re-recorded vocal-lines.^[25]

[edit] Fever (2009—2011)

Michael Paget (left) and Matthew Tuck (right) at 2006's Roskilde Festival held in Denmark.

Matt Tuck spoke to Daniel Marez of Metal Hammer in March 2009 about the band's progress on writing and recording their third album. Tuck stated that there were four or five songs that were finished and that "usually we write and record 14 tracks that I then have to write vocal lines for, but this time I’m trying to write the vocals as I write the music".^[25] Bullet for My Valentine confirmed in August 2009 that they were aiming for an early 2010 release for the new album, while Tuck stated that the upcoming record is "a lot more mature-sounding, it's a lot more classic. It'll stand the test of time [more] than both the previous things we've done".^[26] In a January 2010 interview with Rock Sound, Tuck stated explained details for the album; it would be titled Fever and that the 11-track record would have a sound closer to The Poison rather than Scream Aim Fire and would be absent of ballads.^[27]

During the summer of 2009, Bullet for My Valentine toured across the United States as part of the Mayhem Festival,^[28] alongside Killswitch Engage, Slayer, and Marilyn Manson on the main stage;^[29] they also appeared on the UK leg of the Sonisphere tour at Knebworth, headlining the second stage.^[30] The band will be headlining the second stage at the Download Festival 2010 on the Friday night.^[31] The band has also been confirmed for Nova Rock,^[32] Metaltown,^[33] Rock am Ring,^[34] Rock on the Range,^[35] The Bamboozle,^[36] Bilbao Live Festival,^[37] Fortarock^[38] and Graspop.^[39] In addition, they will be playing alongside the Big Four on the Greek leg of Sonisphere.^[40] Fever was released on 27 April 2010.^[41] A free download of a new track called "Begging For Mercy" was released on the band's website on 14 February 2010 as part of a Twitter promotion.^[42] The song "Your Betrayal" was chosen as the lead single for the album and was set to release on 9 March 2010, but, unexpectedly, was released earlier on 2 March 2010 as a digital single on iTunes Store. The second single is called "The Last Fight" and was released on 19 April. The album artwork for this studio album was released on the official website on 5 March 2010.^[41] Bullet for My Valentine announced the start their US tour in support of Fever. It began on 30 April with the bands Airbourne and Chiodos as support.^[43] On 12 March the band released the music videos for "The Last Fight" and "Your Betrayal".^[44] The band revealed the track listing on their website on 15 March, as well as other various sources that include an email to all of their subscribers on the mailing list.^[45] On 26 April the band played a secret show in London to celebrate the release of Fever. This was their only UK headline show until the end of the year.^[46]

Fourth studio album (2011—present)[link]

On 28 January 2011, Michael Paget stated that the group had already drawn proportions for the next studio album and will sound a lot like Fever. He followed-along with stating that the band plans to have the songs for it written within 2011 and will begin recording the album by the end of the year. A couple tracks left from the Fever sessions might be redone, re-arranged and re-recorded for the new record.^[47] The band played at Uproar Festival 2011, after which they began writing material for a fourth studio album. The band hopes to release the album sometime in 2012.^[48]

On 7 October, RCA Music Group announced it was disbanding Jive Records along with Arista Records and J Records. With the shutdown, the band (and all other artists previously signed to these three labels) will release their future material (including their next studio album) on the RCA Records brand.^[49][50] Also in October, frontman Matt Tuck announced that he will be working on a new side project which he has described as "metal as fuck", influenced by bands such as Pantera and Slipknot.^[51] On May 1, 2012, it was revealed that the project will be called AxeWound and will feature Liam Cormier, Mike Kingswood, Joe Copcutt and Jason Bowld.

In May 2012, it was announced that Bullet For My Valentine would be playing at the South African music festival Oppikoppi. They were slated to play in the country for the Coke Zero Fest of 2009, but pulled out at the last minute to record Fever.^[52]

Musical style and influences[link]

Bullet for My Valentine are primarily deemed as a contemporary metal band. With detailed statements, their music has been described by critics as heavy metal,^[53][54] metalcore^[41][55] and thrash metal.^[56][57] The band has cited being influenced by bands such as Metallica, Annihilator, Pantera, Machine Head, Iron Maiden, Guns N' Roses,^[58] Testament, Stuck Mojo, Slayer, Judas Priest, and Megadeth.^[59] These bands inspire Bullet for My Valentine's "catchy vocals, aggressive riffs, and melodies," according to Thomas.^[60] The band describe two of their albums, The Poison and Fever, as having a "super dark" tone,^[61] Tuck went on to state that "…we're a hard rock band with metal influences, and I’ve said that from Day One.”^[27] Kirk Miller of Decibel Magazine praised the band for the effort in synchronised song structures.^[62] When asked of their views on their looks, members of the band have stated that they would not change their sound or image for a commercial approach; Tuck also commented that, "Without sounding harsh, we're more interested in what our music sounds like than what our fucking hair looks like."^[63]

Band members[link]

Current members

• Michael Paget – lead guitar, backing vocals (1998–present)
• Michael Thomas – drums (1998–present)
• Matthew Tuck – lead vocals, rhythm guitar (1998–present)
• Jason James – bass guitar, backing vocals (2003–present)

Former members

• Nick Crandle – bass guitar (1998–2003)

Timeline[link]

id:bass value:brightgreen legend:Bass guitar
id:bass;vocals value:purple legend:Bass, backing vocals
id:drums value:yellow legend:Drums
id:rhythm;vocals value:red legend:Rhythm guitar, lead vocals
id:guitar;vocals value:brightblue legend:Lead guitar, backing vocals
id:lines value:black legend:Studio albums

at:10/03/2005 color:black layer:back
at:01/29/2008 color:black layer:back
at:04/26/2010 color:black layer:back

bar:Hetfield text:"'Matthew Tuck"
bar:Lars text:"Michael Paget"
bar:Mustaine text:"Jason James"
bar:Kirk text:"Michael Thomas"
bar:Ron text:"Nick Crandle"

width:10 textcolor:black align:left anchor:from shift:(10,-4)
bar:Hetfield from:01/01/1998 till:end color:rhythm;vocals
bar:Lars from:01/01/1998 till:end color:guitar;vocals
bar:Ron from:01/01/1998 till:01/01/2003 color:bass
bar:Mustaine from:01/01/2003 till:end color:bass;vocals
bar:Kirk from:01/01/1998 till:end color:drums

Discography[link]

Studio albums

• The Poison (2005)
• Scream Aim Fire (2008)
• Fever (2010)

Awards and achievements[link]

• Welsh Music Award
  • Best Newcomer (2004)^[64]
• Metal Hammer Golden God Award
  • Best British Band (2006, 2010)^[65][66]
• Kerrang! Awards
  • Best Single for "Tears Don't Fall" (2006)^[67]
  • Best British Newcomer (2005)^[68]
  • Best British Band (2008, 2009, 2010)^[69][70]
  • Headlined Kerrang!'s 25 year anniversary tour of the UK^[71]
  • Best Live Band (2010)^[72]

References[link]

External links[link]

• Official website