The screenplay was written by Alun Owen, who was chosen because the Beatles were familiar with his play No Trams to Lime Street, and he had shown an aptitude for Liverpudlian dialogue. McCartney commented, "Alun hung around with us and was careful to try and put words in our mouths that he might've heard us speak, so I thought he did a very good script."[15] Owen spent several days with the group, who told him their lives were like "a train and a room and a car and a room and a room and a room"; the character of Paul's grandfather refers to this in the dialogue.[16] Owen wrote the script from the viewpoint that the Beatles had become prisoners of their own fame, their schedule of performances and studio work having become punishing.[citation needed]
The film's title originated from something said by Ringo Starr, who described it this way in an interview with disc jockey Dave Hull in 1964: "We went to do a job, and we'd worked all day and we happened to work all night. I came up still thinking it was day I suppose, and I said, 'It's been a hard day ...' and I looked around and saw it was dark so I said, '... night!' So we came to A Hard Day's Night."[62]
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In a 1994 interview for The Beatles Anthology, however, McCartney disagreed with Lennon's recollections, recalling that it was the Beatles, and not Lester, who had come up with the idea of using Starr's verbal misstep: "The title was Ringo's. We'd almost finished making the film, and this fun bit arrived that we'd not known about before, which was naming the film. So we were sitting around at Twickenham studios having a little brain-storming session ... and we said, 'Well, there was something Ringo said the other day.' Ringo would do these little malapropisms, he would say things slightly wrong, like people do, but his were always wonderful, very lyrical ... they were sort of magic even though he was just getting it wrong. And he said after a concert, 'Phew, it's been a hard day's night.'"[64]
Yet another version of events appeared in 1996; producer Walter Shenson said that Lennon had described to him some of Starr's funnier gaffes, including "a hard day's night", whereupon Shenson immediately decided that that was going to be the title of the film.[65]
On 1 March 1964, the Beatles recorded three songs in three hours: "I'm Happy Just to Dance with You" for the film, featuring Harrison on lead vocal; a cover of Little Richard's "Long Tall Sally"; and Lennon's "I Call Your Name", which was originally given to Billy J. Kramer and the Dakotas the previous year.[8] Mono and stereo mixing was carried out over the following two weeks. The "Can't Buy Me Love" / "You Can't Do That" single was released on 16 March and topped charts worldwide.[8] Taking a break for filming,[9] drummer Ringo Starr coined the phrase "a hard day's night", providing the film with its title. Lennon and McCartney wrote a song based on the title, which was recorded at EMI on 16 April and mixed four days later.[10]
On 1 June, with the film completed and the band returning from holidays, the Beatles returned to EMI, recording the remaining songs for the tie-in LP, with outtakes appearing on the Long Tall Sally EP.[11] Covers of Carl Perkins' "Matchbox", with Starr on lead vocals, and Larry Williams' "Slow Down", appeared on the EP, while Lennon's "I'll Cry Instead" and "I'll Be Back" appeared on the LP. The following day on 2 June, the band completed Lennon's "Any Time at All" and "When I Get Home", and McCartney's "Things We Said Today".[11] The band spent the remainder of June and July touring internationally.[12]
Cyanobacteria are photosynthetic prokaryotes that are influential in global geochemistry and are promising candidates for industrial applications. Because the livelihood of cyanobacteria is directly dependent upon light, a comprehensive understanding of metabolism in these organisms requires taking into account the effects of day-night transitions and circadian regulation. These events synchronize intracellular processes with the solar day. Accordingly, metabolism is controlled and structured differently in cyanobacteria than in heterotrophic bacteria. Thus, the approaches applied to engineering heterotrophic bacteria will need to be revised for the cyanobacterial chassis. Here, we summarize important findings related to diurnal metabolism in cyanobacteria and present open questions in the field.
Musically, the Beatles represented a liberating breakthroughjust when the original rock impetus from the 1950s was growing thin. The filmis wall to wall with great songs, including "I Should Have Known Better," "Can't Buy Me Love," "I Wanna Be Your Man," "All My Loving," "Happy Just to Dance With You," "She Loves You," and others,including the title song, inspired by a remark dropped by Starr and writtenovernight by Lennon and McCartney.
"We often could rely on Ringo for titles cos Ringo had this happy knack of getting things wrong - little malapropisms - and it was always better than the real one. Someone said to him, you know, you look a bit tired today. He said, 'Yeah, I've had a hard day's night, you know'. He meant it, and we all went, 'Hard Day's Night, that's great!'"
The Spring and early Summer of 1964 saw The Beatles filming and recording new material both for the movie and their next album. They also filmed a TV special, and played a few UK dates prior to jetting off on a 27 day tour that visited Denmark, The Netherlands, Hong Kong, Australia and New Zealand. They eventually returned to Britain on 2nd July and four days later attended the world premiere of "A Hard Day's Night" at the London Pavilion.
But remember, your goal is to break the cycle of your newborn being up all night. And since your baby relies on you for external cues about the difference between day and night, starting early is the first step. This allows for your baby to have a full day before bedtime.
As you get your newborn ready for bed at night, dim the lights around your home. Dimming the lights around the house and making it darker is a great external cue that it's time to get into our jammies and go to sleep. One way to do this is to start a bedtime routine.
Behavioral evidence supports the hypothesis that some level of illumination is necessary for A. dorsata foragers to be nocturnally active. Reports show that worker bees can actively forage throughout the night if the moon is at least half full [11, 16]. Furthermore, in cities, A. dorsata may be capable of flying using artificial sky glow from city lights even when the moon is below the horizon [30]. The nocturnal foraging behavior of A. dorsata might therefore be an example of positive light effects on activity, where the light available from the moon or artificial lights stimulate activity at a time the species would not otherwise be active [31]. Regardless, this ability to be active during bright daylight hours as well as dim nighttime hours is impressive, as light intensity decreases by a factor of one million between a sunny day to a full moon night and is therefore even lower on nights when the moon is not full [32].
We recorded nocturnal activity from 5 nights before to 5 nights after the full moon of every month except October and November, where we recorded nocturnal activity from the full moon to 5 nights after the full moon due to delays in obtaining A. dorsata colonies. The colony observed each month is shown, as is the season to which each month belongs. We obtained minimum temperatures for every observation day through an online resource ( ). In addition to the observations focused on the full moon, we also observed Colony 4 for two complete lunar cycles, indicated by the text above; illumination readings were collected every observation night during the January to February lunar cycle (lunar cycle 1).
We recorded the nocturnal and diurnal activity of one A. dorsata colony for two complete lunar cycles: January 21 to February 19, 2019 and March 21 to April 19, 2019 (Fig 1). For each cycle, we began filming on the night of the first full moon (January 21 and March 21, respectively) and recorded for 24 hours until sunset on the following day. These 24-hour recordings were repeated every four to five days, such that we were able to record behavior on the night of every major moon phase in the lunar cycle (full, third-quarter, new, first-quarter, full) as well as one day in between each major phase.
Regressions of number of bee arrivals against number of bee dances per census period are shown for (a) day time periods, (b) twilight time periods (both morning and evening), and (c) night time periods. Strong correlations were found between arrival and dance rates for all diel times (rs > 0.82 for all). Data from all five A. dorsata colonies are included in this analysis.
When examining the effects of moon phase on bee arrival rates, we found that arrival rates varied greatly depending on diel time ( = 437.58, P < 2e-16) and moon phase ( = 291.9286, P < 2e-16), and that the activity seen during a given diel time varied depending on the moon phase (Diel Time*Moon Phase: = 317.0116, P < 2e-16; Fig 5). In particular, all bee arrival rates during the day (all P > 0.9) and during twilight (all P > 0.5) were constant across the moon phases. Arrivals rates during the day and during twilight on a given moon phase generally did not differ (P > 0.05), except for on the night of the waning gibbous moon, where twilight arrival rates were higher than daytime arrival rates (P < 0.05). In contrast, arrival rates at night were highly dependent on proximity to the full moon (Fig 5), being high and close or equal to the daytime arrival rates within a week of the full moon but extremely low and close to zero near the new moon (see Table C in S1 File for all estimated marginal means). Arrival rates at night were often lower than arrival rates during twilight (all P < 0.05) but did match twilight arrival rates on the nights of the full, waxing gibbous, waning gibbous, and the third quarter moons (all P > 0.05). be457b7860
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