Fred Mollin

# Fred Mollin

## Abstract

Fred Mollin is an American and Canadian record producer, musician, film and TV composer, music director, music supervisor, and songwriter. He has produced records for Jimmy Webb, Johnny Mathis, Billy Ray Cyrus, Lamont Dozier and America, and has composed music for Beverly Hills, 90210, Friday the 13th (films and television), Forever Knight, Hard Copy, and many more. Mollin rose to prominence early in his career by co-producing (with Matthew McCauley) Dan Hill 's international hit record, " Sometimes When We Touch ", in 1977.

As an artist, he has written and produced music for a series of children's albums, including Disney: Lullaby Album: Instrumental Favorites For Baby, peaking at #6 on January 26, 2001, on Billboard ' s Kid Album music chart; and Disney's Princess Lullaby Album, which peaked at No. 23 on October 25, 2002 (Billboard). He created the musical group Fred Mollin and the Blue Sea Band, composing and producing albums such as Finding Nemo-Ocean Favorites, Lightning McQueen's Fast Tracks, and others, primarily released on Disney / Pixar albums.

## Early life

Fred Mollin was born (February 10, 1953) in Amityville, New York to Edward and Pauline Mollin, and is the youngest of three siblings. He attended Calhoun High School in Merrick, New York.

In an interview with Spirit of Harmony, Mollin said, "When my parents would tell their friends that I was leaving high school at 16 to make a life as a musician, they would all say 'we're so sorry,' as if I was terminally ill. In that day and age, it would have sounded better if I had gone off to join the circus".

## Career

At age 18, Mollin moved to Toronto, Canada in 1971. His brother Larry had moved there a year before and urged Fred to come and see the creative possibilities. In 1972, they formed Canada's first improvisational comedy group, Homemade Theatre. The four-man troupe consisted of Fred (musician, composer, singer, and actor), Phil Savath, Barry Flatman, and his brother, Larry, who also performed for three years on their own CBC television series, Homemade Television. In 1975, Homemade Theatre was awarded a Canadian Gold Record for their novelty single, "Santa Jaws".

### Record producer

Mollin co-produced (with Matthew McCauley) Sometimes When We Touch, by Dan Hill, which became an international hit record in 1977. From 1977 through 1985 Mollin produced such artists as Jimmy Webb, America, and Randy Edelman. He also co-wrote and co-produced Stan Meissner 's hit single "One Chance", which was covered by Eddie Money on his platinum album Can’t Hold Back. Mollin started a new career in 1985 as a TV and film composer, which became a full-time occupation until 1996 when he started to make the transition back to record production with the album Ten Easy Pieces by Jimmy Webb.

Mollin relocated to Nashville in 2001, where he went back to being a full-time record producer for various artists and projects.

### Duets producer

Mollin is known as a record producer with a long history of producing duets involving well-known and iconic artists. These include Willie Nelson, Billy Joel, Carly Simon, Vince Gill, Glen Campbell, Crosby and Nash, Art Garfunkel, Jackson Browne, Linda Ronstadt, Michael McDonald, Amy Holland, David Pack, Sheryl Crow, Natalie Cole, Gregory Porter, Gloria Estefan, Billy Ray Cyrus and Miley Cyrus, and Chris Cornell, among others. The albums by Jimmy Webb, Ten Easy Pieces, Just Across the River, and Still Within the Sound Of My Voice, have the most number of guest artist duet appearances. Other notable album examples with numerous duets are Johnny Mathis ' Sending You A Little Christmas, Kris Kristofferson 's The Austin Sessions, Barry Mann 's Soul And Inspiration, Lamont Dozier 's Reimagination, and Rita Wilson 's AM/FM.

### Film and television music composer

In 1987, Mollin's work on Paramount's Friday the 13th: The Series gave way to 16 uninterrupted years of composing for film and television. His most well-known TV series include Tri-Star's Forever Knight, Spelling's Beverly Hills, 90210, Paramount's Hard Copy, Columbia Pictures' The New Gidget and USA Network's TekWar. His feature film credits include Friday the 13th Part 7 - The New Blood and Friday the 13th Part VIII: Jason Takes Manhattan. His TV movies include NBC's Amy Fisher: My Story, VH1's Daydream Believers-The Monkees' Story, and CBC TV's Little Criminals. He composed and performed the soundtrack for the television series Friday the 13th, mainly using synthesizers and samplers. The music was released on a soundtrack album by GNP Crescendo as the album Friday the 13th: The Series.

Mollin won a Gemini award for Best Original Music Score for a Series, Beyond Reality, in 1991.

### Children's music

Mollin co-created the children's musical group Rugrats with Ronney Abramson and Ron Garant. The group's 1983 debut album, Rugrat Rock, was co-produced by Mollin; it won the Best Children's Album category at the Juno Awards of 1984. In 1985 they recorded a second album, The Rugrats Rock On.

In the early 2000s, Mollin began arranging and producing a series of Disney Lullaby albums: Disney's Lullaby Album: Gentle Instrumental Favorites for Babies (2000), Disney's Lullaby Album (2002), Disney's Princess Lullaby Album (2002), Disney's Christmas Lullaby Album (2003), Disney's Lullaby & Goodnight (2004), and Disney's Lullaby Album, Vol.2 (all released on Walt Disney Records).

In 2004, Mollin created Fred Mollin and the Blue Sea Band, a loose aggregate of studio musicians and guest singers Chris Stapleton, Tom Hambridge, Tim Ruppert, Lari White, Kevin Montgomery, Gunnar Nelson, Johnny Neel, and Webb Wilder, among others, primarily heard on Disney/Pixar albums:

- 2008 - Mater's Car Tunes

- 2008 - Ratatouille What's Cooking?

- 2006 - Disney's Beach Party

- 2005 - Lightnin' McQueen's Fast Tracks

- 2004 - Finding Nemo Ocean Favorites

### Songwriter

As a songwriter, Mollin has written or co-written songs for Cher, Eddie Money, Burning Rome, Toronto, Shania Twain, Stan Meissner, and others.

## Awards and nominations

## Discography

- 2020 - Rumer - Nashville Tears - producer

- 2020 - Rena Strober - Imagine That! - producer

- 2020 - Michelle Creber - Storm - producer

- 2020 - Mandy Barnett - A Nashville Songbook - producer

- 2020 - Mandy Barnett - Help Me Make it Through the Night - producer, guitar, percussion

- 2020 - Lisa Mills - The Triangle - producer, guitar, percussion, photography

- 2019 - Bat McGrath - Bat McGrath - co-producer

- 2019 - Brook Moriber - Steal the Thunder - producer

- 2019 - Fred Mollin - Fast Company (soundtrack) - producer, vocals, guitar, score, composer

- 2019 - Fred Mollin - Sogni D'Oro (Italian version of Disney's Lullaby) - primary artist

- 2019 - The Ides of March - Play On - producer, Hammond B3, Harmonica, Harpsichord

- 2019 - Mandy Barnett - The End of the World - producer

- 2019 - Jared Weiss - Isolated Thunderstorms - producer

- 2018 - Matthew McCauley - Signals Through Noise (produced w Matthew McCauley and Andrew Hermant)

- 2018 - Danny Kortchmar - Honey Don't Leave L.A. co-producer

- 2018 - Michelle Creber - On Display - producer

- 2018 - Rob Galbraith - Where I've Been - executive producer, curator

- 2017 - Carter Beckworth - Stand Up - producer

- 2017 - Annie Bonsignore - Durban Girl - producer

- 2017 - Amanda McBroom - Voices - producer, guitar

- 2017 - Barry Mann and Cynthia Weil - Demos, Live Performances and Rarities - executive producer, curator

- 2017 - Shai Littlejohn - Battleground - producer

- 2016 - Jo Harman - People We Become - producer

- 2016 - Jim Peterik - The Songs - producer, guitar, harmonica, percussion, vocals (background)

- 2016 - Amy Holland - Light On My Path - producer

- 2915 - Peter Oyole - When the Wide World Roars - producer

- 2015 - Matteo Setti - producer

- 2015 - Lexi Walker - Merry Christmas - producer, Arranger, guitar (acoustic), percussion

- 2014 - Engelbert Humperdinck - A Certain Smile (Johnny Mathis Duet) - vocal producer

- 2014 - Fred Mollin - Martha's Vineyards Lullaby Album artist, composer, producer

- 2013 - Tenille Townes - Light - producer, guitar (acoustic), guitar (electric), synthesizer, percussion, vocals (background), composer

- 2013 - Johnny Mathis - Sending You a Little Christmas - producer, guitar (acoustic), guitar (electric), Keyboards, percussion, vocals (background)

- 2013 - Jimmy Webb - Still Within the Sound of My Voice - producer, guitar (electric), organ, synthesizer, percussion, vocals (background)

- 2013 - Carter Beckworth - Humble Pie - producer

- 2013 - Jim Brickman - The Magic of Christmas - producer, "Sending You a Little Christmas"

- 2012 - Rita Wilson - AM/FM - producer, guitar, guitar (12 string acoustic), guitar (acoustic), percussion

- 2013 - Dan Hill - Intimate - co-producer

- 2012 - Pan Am: Music from and Inspired by the Original Series - producer, "Do You Want To Know a Secret?"

- 2012 - Barbra Streisand - Try To Win a Friend - additional production

- 2012 - Disney's Songs And Story: Finding Nemo - composer, producer

- 2012 - Johnny Mathis - The Complete Christmas Collection 1958-2010 - producer of "What a Wonderful World"

- 2011 - JD Souther - Natural History - producer

- 2011 - America - Back Pages - producer, guitar (12 string acoustic), synthesizer, percussion, vocals (background)

- 2011 - Tenille Townes - Real - producer

- 2011 - Ronnie Hawkins - The Ballads of Ronnie Hawkins - producer, various tracks

- 2011 - Johnny Mathis - The Ultimate Collection - multiple producers

- 2011 - Manny Pacquiao (featuring Dan Hill) - Sometimes When We Touch - co-producer

- 2010 - Jimmy Webb - Just Across the River - producer, guitar (electric), Harmonica, synthesizer, percussion, vocals (background)

- 2010 - Frank Hernandez - Since You've Gone - producer

- 2010 - Johnny Mathis - Let It Be Me: Mathis in Nashville - producer, guitar (acoustic), sitar (electric), percussion, arranger

- 2010 - Lewis Moorman - Extended Play - producer

- 2010 - Jason Herndon - producer

- 2010 - Shannon Micol - No More Cinderella - producer

- 2010 - Steve Johannnesen - All the Right Reasons - producer

- 2010 - Playhouse Disney: Let's Dance - composer, producer, "Rollin"

- 2010 - Paul Quarrington - Are You Ready? - producer

- 2009 - 10th Concession - producer

- 2009 - Mater's Car Tunes - producer, songwriter, guitar

- 2009 - Los Lobos - Rolling Handy Manny Soundtrack - songwriter

- 2008 - Billy Ray Cyrus and Miley Cyrus - Ready Set Don’t Go - producer

- 2008 - Billy Ray Cyrus and Miley Cyrus - Ready Set Don’t Go - producer

- 2008 - Disney Adventures In Bluegrass - producer, autoharp

- 2008 - Disney Doubles: Cars - composer, primary artist

- 2008 - Disneymania, Vol. 6 - executive producer

- 2008 - Disney's Handy Manny - composer, producer

- 2008 - Horror Tracks: The Scariest Horror-Soundtracks - composer, primary artist

- 2008 - Danny Kortchmar and Immediate Family - Honey Don't Leave L.A. - co-producer with Danny Kortchmar and Steve Postell

- 2008 - Lilo and Stitch Hawaiian, Vol. 2 Disney - producer

- 2008 - ABC's Love Affair - executive producer

- 2008 - Sleepytime Lullabies (Nickelodeon) - producer, arranger

- 2007 - A Disney Channel Holiday - producer, executive producer

- 2007 -Fred Mollin Christmas Lullaby - primary artist

- 2007 - Disneymania 5 - executive producer

- 2007 - Everlife - Everlife - producer, guitar, executive producer

- 2007 - Disney Channel Family Holiday - producer, executive producer

- 2007 - Country Superstarz - various artists - producer

- 2007 - Hallelujah Country - producer, arranger, guitar (acoustic), guitar (12 string acoustic), Banjo

- 2007 - High School Musical: Hits Collection (box set) - executive producer

- 2007 - High School Musical: The Concert - executive producer

- 2007 - Billy Ray Cyrus - Home at Last - producer, guitar (12 string acoustic), synthesizer, vocals (background), organ (Hammond)

- 2007 - The Cheetah Girls - In Concert: The Party's Just Begun Tour - audio production, executive producer

- 2007 - Jump In! - executive producer

- 2007 - Jimmy Webb - Live and At Large - producer

- 2007 - Pixar Buddy Songs -(Disney) - producer, composer, primary artist

- 2007 - T-Squad - T-Squad - executive producer

- 2007 - Radio Disney Jams, Vol. 9 (Disney) - executive producer

- 2007 - Ratatouille: What's Cooking? (Disney) - composer, primary artist, co-producer

- 2006 - Cars: Lightning McQueen's Fast Tracks (Disney) - producer, primary artist, composer

- 2006 -Fred Mollin - More Music from Forever Knight - primary artist, arranger, producer

- 2006 -Tennessee River Authority - Ramblin' Roads: A Bluegrass Collection producer

- 2006 - Jennifer Clarke - Just About Gone - producer

- 2006 - America - Silent Letter / Alibi - co-producer, guitar (acoustic), percussion, vocals (background)

- 2005 - Disney's Beach Party (Disney's Karaoke Series) - co-producer, vocals

- 2005 - Disney's Beach Party (Disney) - producer, vocals, guitar (acoustic), guitar (electric), primary artist

- 2005 -Fred Mollin - Disney's Lullaby Album, Vol. 2 - primary artist, producer, arranger, performer, musician

- 2005 -Fred Mollin - Friday the 13th, Pts. 7 & 8 (soundtrack) - composer, producer

- 2005 - Collin Raye - Hurricane Jane - producer

- 2005 - Collin Raye - I Know That's Right - producer

- 2005 - Lilo & Stitch 2: Island Favorites (Disney) - producer

- 2005 - John Landry - Someday - producer

- 2005 - Collin Raye - Twenty Years and Change - producer, guitar (acoustic)

- 2005 - Jimmy Webb - Twilight of the Renegades - producer, various tracks

- 2004 - Disney's Lullaby & Goodnight - producer, arranger, musician, primary artist

- 2004 - Gordie Sampson - Sunburn - executive producer

- 2004 - Kris Kristofferson - The Essential - producer on "Please Don't Tell Me How the Story Ends"

- 2004 - Rob Galbraith - Too Long at the Fair - producer

- 2004 - Louise Pitre - Shattered - producer

- 2003 - Bluegrass: American Classics - producer, arranger, autoharp

- 2003 - Nell Bryden - Day for Night - producer, guitar (acoustic), guitar (electric), composer

- 2003 - Disney's Christmas Lullaby Album (Disney) -producer, arranger, musician, composer, guitar, primary artist

- 2003 - Finding Nemo: Ocean Favorites (Disney) - producer, arranger, conductor, guitar, theremin, primary artist

- 2003 - O Mickey, Where Art Thou? (Disney) - producer, compilation producer, guitar (acoustic), autoharp

- 2003 - Sounds of Wood and Steel, Vol. 3 - producer of "You Just Missed Me" - producer, composer, artist, musician

- 2003 -Janey Street - Street Less Traveled - producer, guitar (acoustic)

- 2002 - Lilo & Stitch: Island Favorites (Disney) - producer, various tracks

- 2002 - Disney's Princess Lullaby Album - producer, musician, composer, primary artist

- 2001 - America - Definitive America - co-producer, guitar, percussion, various tracks

- 2000 -Fred Mollin - Disney's Lullaby Album: Gentle Instrumental Favorites for Babies - primary artist,producer, arranger, performer, musician

- 2000 - America - Highway: 30 Years of America - co-producer, guitar, percussion, various tracks

- 2000 - Barry Mann - Soul & Inspiration - producer, guitar (acoustic), guitar (electric), celeste, sampled strings

- 1999 - Frank Stallone - In Love in Vain - co-producer

- 1999 - Dan Hill - Love of My Life: The Best of Dan Hill - co-producer, various tracks

- 1999 More Music from Forever Knight (original soundtrack) - producer, liner notes, performer, composer

- 1999 - Amanda McBroom - Portraits: Best Of Amanda McBroom - compilation producer, producer of various tracks

- 1999 - Superstar (original soundtrack) - co-producer of "Sometimes When We Touch"

- 1999 - Kris Kristofferson - The Austin Sessions - producer, musician

- 1998 -Barney - Barney's Great Adventure - co-producer, various tracks

- 1998 - Sci-Fi's Greatest Hits, Vol. 1: Final Frontiers - composer, various tracks

- 1998 - Sci-Fi's Greatest Hits, Vol. 2: Dark Side - composer, various tracks

- 1998 - Sci-Fi's Greatest Hits, Vol. 3: Uninvited - composer, various tracks

- 1997 - Fantastic Television!! - composer, various tracks

- 1997 - Michael McDonald & Amy Holland - Men Are from Mars, Women Are from Venus - producer of "All I Know"

- 1997 - Fred Mollin - Deepwater Black (soundtrack) - composer, performer, producer

- 1997 - Vampire Themes - composer, various tracks

- 1996 -Fred Mollin - Forever Knight (original TV soundtrack) - primary artist, producer, composer

- 1996 - Jimmy Webb - Ten Easy Pieces - producer, guitar (acoustic), autoharp, vocals (background)

- 1995 - Vineyard Sound, Vol. 2 - Last Boat Home - producer, composer, artist, musician

- 1994 - Super Scary Monster Party (various artists) - producer, composer, artist

- 1994 - The Essential Vampire Theme Collection - producer

- 1994 - Dan Hill - Let Me Show You: Greatest Hits & More - co-producer, various tracks

- 1994 - One Life to Live: The Best of Love (original TV soundtrack) - producer

- 1993 - The Vineyard Sound, Vol. 1 - Katama Meditation Instrumental Track - composer, artist

- 1990 - Frank Stallone - Day In Day Out - co-producer

- 1986 - Eddie Money - Can't Hold Back - songwriter, "One Chance"

- 1983 - Toronto - Girls Night Out - songwriter, "(Don't Give Me The) Once Over"

- 1982 - Jimmy Webb - Angel Heart - co-producer, guitar, vocals (background), percussion

- 1981 - America - Alibi - co-producer, guitar (acoustic), percussion, vocals (background)

- 1980 -Michael Stanley Band - Heartland - Mixing

- 1980 -Marc Tanner / Marc Tanner Band - Temptation - producer

- 1980 - Blaise Tosti - American Lovers - producer

- 1979 -Bishop & Gwinn - This Is Our Night - co-producer, guitar, percussion

- 1979 -Randy Edelman - You're the One - co-producer, percussion, vocals (background)

- 1978 - McCluskey - GRT - co-producer

- 1978 - Dan Hill - Frozen in the Night - producer, guitar (acoustic), percussion, vocals (background)

- 1978 -Bat McGrath - The Spy - co-producer, vocals, guitar, percussion, vocals (background)

- 1977 -Bat McGrath - From the Blue Eagle - co-producer, vocals, guitar, percussion

- 1978 - Ronney Abramson - Jukebox of Paris - co-producer, 6 tracks

- 1977 - Dan Hill - Longer Fuse - producer, vocals, guitar, percussion, vocals (background)

- 1977 - Ronney Abramson - Stowaway (True North) - co-producer

- 1976 - Dan Hill - Hold On - producer, vocals, guitar, percussion, vocals (background)

- 1976 -Paul Clinch & Choya - Living Like a Rich Man - guitar

- 1975 - CB Victoria - Dawning Day - co-producer

- 1974 - Dan Hill - Dan Hill - producer, guitar, vocals

- 1972 -Marc Jonson - Years - drums, vocals (background)

- 1971 - Ellen Warshaw - Ellen Warshaw - co-writer of 2 tracks, acoustic guitar

## Filmography

- 2017 - The Lears (film) (music supervisor)

- 2011 - Manny Pacquiao (featuring Dan Hill): Sometimes When We Touch (video documentary short) (music producer)

- 2002 - Mad Dog Prosecutors (documentary) (composer)

- 2000-2001 - In a Heartbeat (TV series) (21 episodes) (composer)

- 2001 - Borderline Normal

- 2000 - Daydream Believers: The Monkees' Story (TV movie) (original score) (music supervisor)

- 2000 - Pilgrim (film)

- 1999 - Thrill Seekers (TV movie)

- 1999 - The Fall (film) (composer)

- 1999 - Roswell: The Aliens Attack (TV movie) (composer)

- 1999 - Family of Cops III: Under Suspicion (TV movie)

- 1998 - Dream House (TV movie) (composer)

- 1998 - White Lies (TV movie) (music supervisor) (composer)

- 1997 - Freaky Stories (TV series) (1 episode) (composer)

- 1997 - Field Trip/The Story/Panty Raid/The Experiment (1997) (segment: "The Experiment") (composer)

- 1997 - Mission Genesis (TV series) (13 episodes) (composer)

- 1997 - Big Guns Talk: The Story of the Western (TV movie documentary) (composer)

- 1996-1997 - Beverly Hills, 90210 (TV series) (11 episodes) (composer)

- 1996 - The Abduction (TV movie) (composer)

- 1992-1996 - Forever Knight (TV series) (70 episodes) (composer)

- 1994-1996 - TekWar (TV series) (18 episodes) (composer)

- 1995 - Little Criminals (TV movie) (music score) (music supervisor)

- 1995 - Haunted Lives: True Ghost Stories (TV miniseries documentary) (1 episode) (composer)

- 1995 - Blind Faith (composer: theme music)

- 1995 - Baby Baby (composer: theme music) (musician)

- 1995 - The Outer Limits (TV series) (2 episodes) (Composer)

- 1995 - Hangtime (TV series) (composer - 1 episode)

- 1995 - Pilot (composer: theme music)

- 1994 - Gene Autry, Melody of the West (documentary) (composer)

- 1994 - The Odyssey (TV series) (13 episodes) (composer)

- 1993 - Phenom (TV series) (1 episode) (composer)

- 1993 - Liar, Liar: Between Father and Daughter (TV movie) (composer)

- 1993 - In Advance of the Landing (documentary) (composer)

- 1993 - Survive the Night (TV movie) (composer)

- 1992 - Amy Fisher: My Story (TV movie) (composer)

- 1991-1992 - Beyond Reality (TV series) (44 episodes) (composer)

- 1991-1993 - Tropical Heat aka Sweating Bullets (TV series) (theme song, composer, 13 episodes)

- 1991 - Revenge of the Nerds (TV Short) (composer: theme music)

- 1990 - Whispers (composer)

- 1987-1990 - Friday the 13th: The Series (TV series) (72 episodes) (composer)

- 1989 - My Secret Identity (TV series) (44 episodes) (composer)

- 1989 - War of the Worlds (TV series) (composer - 6 episodes, 1989–1990)

- 1989 - Friday the 13th Part VIII: Jason Takes Manhattan (composer)

- 1989 - Where the Spirit Lives (recording supervisor: Toronto) (composer)

- 1989 - CBS Summer Playhouse (TV series) (music performer - 1 episode) (composer)

- 1988-1989 - Ramona (TV series) (10 episodes) (composer)

- 1988 - Family Reunion (composer)

- 1988 - Friday the 13th Part VII: The New Blood (composer)

- 1987-1988 - The New Gidget (TV series) (40 episodes) (composer)

- 1988 - The Ray Bradbury Theater (TV series) (1 episode) (composer)

- 1987 - First Offender (TV movie) (composer)

- 1987 - It's Only Rock & Roll (TV series) (musical director) (co-host) (14 episodes) (composer)

- 1985-1987 - ABC Afterschool Special (TV series) (2 episodes) (composer)

- 1987 - Really Weird Tales (TV movie) (segment composer: "Cursed with Charisma") (composer: theme song written by Fred Mollin)

- 1987 - The Hanoi Hilton (music producer)

- 1986 - Brothers by Choice (TV movie) (composer)

- 1986 - The Truth About Alex (TV movie) (composer)

- 1985 - Screwballs II (composer)

- 1984 - Hockey Night (TV movie) (composer)

- 1982 - Spring Fever (composer)

- 1982 - Marva Collins: Excellence in Education (TV short documentary) (composer)

- 1982 - Heart of Gold (TV movie documentary) (composer: theme music)

- 1980 - The Dream Never Dies (documentary) (composer)

- 1979 - Fast Company (songs and music score)

- 1977-1978 - Homemade Television (TV series) (3 seasons) (actor, composer, musician)

- 1977 - Valdy Down Home Special (TV special) (actor, composer, musician)


Dorrego (Buenos Aires Underground)

# Dorrego (Buenos Aires Underground)

## Abstract

Dorrego is a station on Line B of the Buenos Aires Underground. The station was opened on 17 October 1930 as part of the inaugural section of the line between Federico Lacroze and Callao.

It is located at the intersection of Avenida Corrientes and Avenida Dorrego, and named after the latter. One of the corners of the Parque de los Andes is also located at that intersection. The station connects with Villa Crespo Station of the San Martín Line commuter rail service, as well as Metrobus Juan B. Justo.


1844 in Germany

# 1844 in Germany

## Abstract

Events in the year 1844 in Germany.

## Incumbents

- King of Bavaria – Ludwig I of Bavaria

- King of Hanover – Ernest Augustus

- King of Prussia – Frederick William IV

- King of Saxony – Frederick Augustus II

- King of Württemberg – William I of Württemberg

- Grand Duke of Baden – Leopold, Grand Duke of Baden

## Events

- 15 March – opening of Gößnitz station

### Undated

- Rabbinical Conference of Brunswick

## Establishments

- Freiburger Turnerschaft von 1844

- Roemer- und Pelizaeus-Museum Hildesheim

- Waggonfabrik Fuchs

## Births

- 3 January – Hermann Eggert, German architect (died 1920)

- 16 January – Paul Singer, German politician (died 1911)

- 14 February – Joseph Thyssen, German industrialist (died 1915)

- 10 March – Karl Gutbrod, German judge (died 1905)

- 25 March – Adolf Engler, German botanist (died 1930)

- 3 April – Georg Ratzinger, priest and politician (died 1899)

- 30 April – Carl von Thieme, German banker (died 1924)

- 17 May – Julius Wellhausen, biblical scholar (died 1918)

- 6 August – Alfred, Duke of Saxe-Coburg and Gotha (died 1900)

- 30 August – Friedrich Ratzel, German geographer and ethnographer (died 1904)

- 13 September – Ludwig von Falkenhausen, German general (died 1936)

- 15 October – Friedrich Nietzsche, German philosopher, cultural critic, composer, poet, philologist (died 1900)

- 24 November – Friedrich Jolly, neurologist (died 1904)

- 25 November – Carl Benz, German engine designer and automobile engineer (died 1929)

## Deaths

- 8 March – Theresia Anna Maria von Brühl, pastellist (born 1784)

- 11 May – Georg Ludwig Engelhard Krebs, apothecary and natural history collector (born 1792)

- 16 May – Joseph Knauer, Bishop of Wroclaw (born 1764)

- 4 August – Christian Friedrich Illgen, Protestant theologian (born 1786)


Septet

# Septet

## Abstract

A septet is a formation containing exactly seven members. It is commonly associated with musical groups but can be applied to any situation where seven similar or related objects are considered a single unit, such as a seven-line stanza of poetry.

## Classical and romantic period

One of the most famous classical septets is Beethoven 's Septet in E ♭ major, Op. 20, composed around 1799–1800, for clarinet, bassoon, horn, violin, viola, cello, and double bass. The popularity of Beethoven's septet made its combination of instruments a standard for subsequent composers, including Conradin Kreutzer (Op. 62, 1822), Franz Berwald, and Adolphe Blanc (Op. 40, ca. 1864), and, with small changes in the instrumentation, Franz Lachner (1824; violin, viola, violoncello, contrabass, flute, clarinet, horn), and Max Bruch (1849; No Opus; Clarinet, Horn, Bassoon, two Violins, Cello and Contrabass). When Franz Schubert added a second violin in 1824 for his Octet, he created a standard octet that influenced many other subsequent composers (Kube 2001). Camille Saint-Saëns 's Septet in E ♭ major, Op. 65 (1881) is for trumpet, piano, string quartet, and double bass. The English composer Percy Hilder Miles composed his "Jupiter" Septet in Eb (1897) for the same forces as the Beethoven.

## 20th century

The modern composer Bohuslav Martinů wrote three septets: a group of six dances called Les Rondes for oboe, clarinet, bassoon, trumpet, two violins, and piano (1930); a piece called Serenade No. 3 for oboe, clarinet, four violins, and cello (1932); and Fantasie for theremin, oboe, piano, and string quartet (1944). Darius Milhaud composed a string septet in 1964 for string sextet and double bass. Paul Hindemith composed a wind septet in 1948 for flute, oboe, clarinet, bass clarinet, bassoon, horn, and trumpet. Hanns Eisler composed two septets, both scored for flute, clarinet, bassoon, and string quartet: Septet No. 1 Op. 92a ("Variations on American Children's Songs") (1941), and Septet No. 2 ("Circus") (1947), after Chaplin’s 1928 movie The Circus. Two component works in the series of Chôros by the Brazilian composer Heitor Villa-Lobos are scored for seven instruments: No. 3 (1925), subtitled "Pica-páo" (Woodpecker), is for clarinet, bassoon, saxophone, 3 horns, and trombone (or for male chorus, or for both together), and No. 7 (1924), actually subtitled "Septet", is for flute, oboe, clarinet, saxophone, bassoon, violin, and cello (with tam-tam ad lib.).

There are some 20th-century works for seven instruments for which it is difficult to be certain that the term "septet" should be extended, if they are not obviously chamber music and may have titles pointing in other directions. Examples include Maurice Ravel 's Introduction and Allegro (1905), Rudi Stephan 's Music for Seven String Instruments (1911), Leoš Janáček 's Concertino (1925), Arnold Schoenberg 's Suite, Op. 29 (1925–26), Isang Yun 's Music for Seven Instruments (1959), Aribert Reimann 's Reflexionen (1966), and Dieter Schnebel 's In motu proprio canon for seven instruments of the same kind (1975) (Kube 2001). John Adams wrote his string septet, Shaker Loops, in 1978.

Jehan Alain composed the Messe modale en septuor in 1938 for seven parts, soprano, alto, flute and string quartet.

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Lyttelton railway station

# Lyttelton railway station

## Abstract

Lyttelton railway station is the northern terminus of the Main South Line, a main trunk railway line from Lyttelton to Invercargill in the South Island of New Zealand. There have been three stations built at Lyttelton, with the most recent of these still being used for railway purposes.

Both freight and passenger services have featured at Lyttelton since it opened in 1867. With the cessation of suburban passenger trains to Lyttelton in the 1970s, freight became the mainstay of railway business at Lyttelton and passenger traffic from Lyttelton now plays only a minor role. Tranz Scenic have run a limited tourist service from the station during the summer season in recent years, though patronage of the trains is limited to cruise ship passengers. Proposals have been made to reinstate a commuter rail service from Lyttelton, but that is not considered to be a realistic possibility for the foreseeable future. Rail operations at Lyttelton have included all three forms of motive power, with steam being dominant until the late 1960s, after which diesel began to take over, with electric power being used from 1929 to 1970. All trains at Lyttelton are now diesel-hauled.

Public transport connections at Lyttelton include Metro bus routes 28 and 35 (for which the nearest bus stop is a short distance down Norwich Quay from the station), and the Diamond Harbour ferry, which departs from a jetty opposite the station. Until they were discontinued in 1976, the Steamer Express inter-island ferries connected with passenger trains at Lyttelton on wharf no. 2 (opposite the station). Other nearby amenities include Lyttelton Main School, a medical clinic, several hotels, and the Lyttelton central business district.

## History

### Facilities

#### First station (1867–1873)

On 16 April 1861, Canterbury Superintendent, William Moorhouse, engaged the services of Melbourne-based contractors Holmes & Co. to construct the Lyttelton rail tunnel. The contract did not cover the erection of stations, but they, including the station at Lyttelton, were also built by the contractor at cost plus a margin of 15%. Work on the contract commenced later that year.

The original plan for the Lyttelton station, as suggested in 1864 by Provincial Engineer Edward Dobson, was to have the track terminate at a station on a jetty in line with the rail tunnel, as was subsequently done at Port Chalmers in Dunedin. The following year, the provincial executive decided instead to locate the station in front of the town. That necessitated the reclamation of land for the station and yard, using fill extracted from the bore of the tunnel. Plans for the station included an export shed, goods shed, offices, and a platform.

The station opened on 9 December 1867, coinciding with the official opening of the tunnel. The arrival of the first train was viewed by a crowd of around 500 people. Some of the first passengers commented that the station was not finished, even appearing temporary in nature.

The station building was a small wooden structure with a gabled roof, with dimensions of 16 by 35 feet (4.9 by 10.7 m). Trains were worked to the sides of ships for the transfer of cargo by means of wagon turntables, because the tracks in the station yard were at right angles to the wharves. Access to the goods shed was provided by means of a traverser.

#### Second station (1873–1963)

Plans for the second station were drawn up in January 1873. John Marshman, General Manager of the Canterbury Provincial Railways, successfully convinced the provincial government to erect verandas over the station platforms arguing that "... I do not remember seeing anywhere a railway station of the dimensions and importance of that at Lyttelton where people were sent out of doors in all weathers to reach the carriages". The station was brought into service on completion in August 1873.

With several alterations and additions, that station served Lyttelton for 90 years, until replaced by a modern structure in 1963. The station offices were at right angles to the passenger platforms, originally on the western side of Oxford Street, but moved to the other side of that street in about 1882. The platform was lengthened in 1903 to accommodate an additional two carriages, necessitating the relocation of the lamp room to a position near the engine shed. The railway stores shed was destroyed by fire, presumed to be arson, on 6 November 1937. Following the removal of a siding to Kinsey & Company's store near the station, a 50-foot (15 m) extension of the platform at the west end was authorised in 1950, because of difficulties in placing mixed consists (a common practice at the time) at the platform.

The many decades of service provided by that station necessitated several significant repairs or renovations during its existence. In 1910, the District Engineer wrote to the Chief Engineer to point out the many defects that had developed, and expressed his preference for the erection of a new station. That was not accepted, and he was directed to make whatever repairs were necessary to the existing structure. A report from the District Engineer in 1935 noted that several buildings at Lyttelton, dating from 1882, were irreparably infested with borer. By the 1950s, years of deferred maintenance had led to the station buildings becoming dilapidated. Despite that, it was not until the late 1950s that a decision was finally made to replace the station.

#### Proposed station (1920s)

By the time electrification became a serious proposition for Christchurch in the 1920s, the Lyttelton station was showing its age. Because upgrading the line between Christchurch and Lyttelton was a major undertaking, it was proposed that it would be an opportune time to replace the Lyttelton station with a new facility. It was also around that time that plans were being prepared for a new station at Christchurch, and the idea was to build a new station for Lyttelton at the same time.

The Minister of Railways, Gordon Coates, included the construction of a new station at Lyttelton in the programme of works for 1924. Though plans for the station were completed in 1927 and promises made by the Railways Department to build it after the electrification of the Lyttelton rail tunnel, there was no progress. In 1928, the stationmaster noted that the construction of a new station at Lyttelton had been indefinitely postponed, and he arranged for the station buildings to be painted instead.

The matter of a new station was again raised in the mid-1930s, by which time the facilities at Lyttelton had continued to deteriorate. On 10 August 1936, the same year that plans for the new Christchurch station were approved, the Minister of Railways, Dan Sullivan, said that "the matter is receiving consideration at present, but the request has to be considered in the light of requests for stations in other places where there are also very good claims." He claimed that Lyttelton could expect a new station, but he could not say when that would happen. Early the following year, when the stationmaster asked to be consulted about the plans for the new station, he was informed by the District Traffic Manager that there were no proposals, of even a tentative nature, for a new station at Lyttelton. The station was finally painted in 1940 following concerns expressed by the local council about its appearance, a move that was regarded as evidence that the Railways Department had shelved plans to build a new station.

#### Third station and yard (1963 – present)

The Chief Civil Engineer wrote to the District Engineer on 5 July 1957 to inform him that Lyttelton was next in line for a station upgrade. A survey of the existing building was requested so that Working Estimates for the project could be prepared. After considering the many faults in the building highlighted by that survey, the Chief Civil Engineer confirmed in writing to the District Engineer on 12 February 1959 that it had been decided to replace the station building rather than try to renovate it. He therefore requested that the requirements of the staff based at Lyttelton be determined, and that plans be prepared for a suitable new structure.

Even before the third station opened, there were doubts about the long-term viability of passenger rail services between Lyttelton and Christchurch. The Lyttelton road tunnel was soon to become a reality, providing a much more convenient road link between Lyttelton Harbour and the Canterbury Plains. It was expected to make road transport a serious competitor to the railways for the custom of passengers, and concerns were expressed that a new station for Lyttelton could not be justified. Despite that, the Minister of Railways, John McAlpine, announced on 7 August 1962 that the Cabinet had approved a redevelopment of the railway facilities at Lyttelton.

As part of the station redevelopment, the functions of the Goods Office were moved to the former Harbour Board building, on the corner of Oxford Street and Norwich Quay. That building was also to house the station master, the railway port superintendent and the goods supervisor, as well as their respective support staff. Renovation of the building for its new function was underway in September 1962, and was expected to be completed by the end of the year. Following completion of the renovations, and the relocation of the goods office, the old Goods Office building was scheduled for demolition. The demolition was delayed while the power supply for the station was re-routed, because it had fed through the Goods Office building. The land formerly occupied by that building was reallocated for use as a car park.

Once work on the Goods Office was completed, construction of the new station commenced in January 1963, next to the existing station. The old station remained in use while the new station was being built. The first section of the new station was brought into service on 10 June 1963. At that time, the old station was demolished in stages to make way for the construction of the remainder of the new station.

The official opening ceremony was held on 14 October 1963, presided over by the mayor of Lyttelton, J. B. Collett. Various other dignitaries and invited guests were present, including the Minister of Railways, John McAlpine (who officially opened the station), the local member for parliament, Norman Kirk, and the Railways general manager, A. T. Gandell. An invitation to attend was also extended to members of the public. During his speech, the mayor expressed his confidence that, despite the impending completion of the Lyttelton road tunnel, and the desire expressed by the Christchurch Transport Board to operate bus services to Lyttelton, both road and rail could coexist to meet Lyttelton's transport requirements. Two buses were provided to convey official guests to the Borough Council Chambers for morning tea.

A new goods shed at Lyttelton was completed and ready for use on 7 December 1970. Many years later, in 1988, an internal Railways Department memorandum noted that the goods shed had been closed.

In 1972. it was proposed to alter the station building to accommodate all of the salaried division staff based at Lyttelton. At the time, they were working in the old Harbour Board building, which was considered to be an unsatisfactory situation. With the reduction in traffic to Lyttelton following the cancellation of suburban passenger services, some of the facilities in the station building were no longer required, and it was suggested that the building could be better utilised to house the remaining staff.

On 30 September 1977, the District Engineer requested that the dock siding at Lyttelton station be removed because the track was in poor condition and access to the siding by trains was not possible. Several days later, the District Traffic Manager responded that the track had, in fact, been renewed, and that it was still required for the stabling of shunting locomotives and track maintenance vehicles.

The station platform was shortened in 1980, after it was reported that the curved portion of the platform, east of the station building, was causing problems with clearances. That part of the platform was determined to be surplus to requirements and its removal was requested. It had previously served both the main line and the dock siding that terminated behind the station building.

#### Sidings

Numerous sidings have served private customers in the vicinity of Lyttelton station. None of those sidings remain in service, though the sidings that served the oil companies in the vicinity of Godley Quay, Cyrus Williams Quay, George Seymour Quay, and Charlotte Jane Quay are still in place.

#### Wharves

The wharves of the Lyttelton port played a major part in the rail operations at Lyttelton station. All railway operations at the port were managed by the Railways Department until the mid-1970s when the port was classified as a container port and the Minister of Railways decided to phase out department operations there over the next two years. During that transitional period, responsibility for management of the wharves was transferred to the Harbour Board.

At around the time the rail connection to wharf no. 2 was removed, the Railways Department decided to also rationalise the trackwork on the waterfront and informed the Harbour Board of plans to disconnect wharves 4 and 7. The Harbour Board inspected wharf no. 4 and determined that rail access to it could continue for several more years provided repairs were made. They were also advised by the Traffic Manager that rail access to wharf no. 4 was still required, and it was therefore decided not to make any changes to that connection. However, the department decided in October to proceed with its plans for wharf no. 7 and arrangements were made with the Inspector of the Permanent Way for the work to be carried out.

Further modifications were planned to waterfront trackwork in 1982, when the department notified the Harbour Board that it intended to remove rail access to No. 1 Breastwork. On 28 August 1984, a memorandum from the Chief Civil Engineer to the District Engineer noted that wharf no. 2 had been disconnected, and that only wharves 3 and 7 retained as operable rail connections.

##### Wharf no. 2

Perhaps the most well-known wharf to rail Travellers was wharf no. 2, also known as the Steamer Express Wharf, which for over 70 years served as the inter-island ferry wharf for the boat trains that terminated at Lyttelton. After 1902, passengers to and from ferries used the wharf. The ferries were operated by the Union Steam Ship Company until 1974, at which point the Ministry of Transport took over their operation until the service was cancelled in 1976.

Several facilities were installed on the wharf in addition to the railway tracks, including a wooden platform with a veranda, which was used by passengers to board and alight from the trains, several windbreak walls, a stock race, a staircase, a gangway to board and disembark ferry passengers, a cafeteria, store room, and the main office building, which was used by both the Railways Department and the Union Company until the early 1960s, after which the Railways Department relocated to a new building. The office was extended in 1954 and used by the Railways Department during the day to sell train tickets, and by the Union Company at night to sell ferry tickets.

In February 1965, the Lyttelton Harbour Board decided to construct a new passenger terminal and vehicle loading facility on wharf no. 2 to cater for the new roll on/roll off ferries due to enter service in December that year. To facilitate the construction work, the Harbour Board arranged for the inter-island ferries to use wharf no. 3 for the remainder of the year and requested that the Railways Department-owned veranda be shortened to allow the new building to be erected.

The Harbour Board consulted with Railways Department on the design of the new facilities and requested that the department consider a contribution towards the cost of the project. The department made several suggestions, including that the board consider amending its plans to allow for a wider 13 feet (4.0 m) platform, because they considered the plan for an 8 feet (2.4 m) -wide platform to be insufficient. The department also considered that, because the primary beneficiaries of the new facilities would be the Union Company, and the department was likely to derive little, if any, additional revenue as a result of the improved facilities, the railways were not liable for any of the cost beyond any necessary alterations to the facilities on the wharf that they already owned.

Construction of the new terminal had commenced by June 1965 and was completed in December. At a function on 20 December 1965, the Union Company inaugurated the first of two of its new roll on/roll off ferries, and the new facilities. The Railways Department maintained a desire to augment the platform and, in 1968, the District Traffic Manager, with the support of the Lyttelton Stationmaster, asked that the District Engineer seriously consider the idea of lengthening the platform to the end of the wharf, which would allow for an additional two carriages to be attached to trains.

Following the cancellation of the inter-island ferries, and at the instigation of the Harbour Board, the District Engineer requested authorisation from the Chief Civil Engineer for the removal of the redundant veranda on 30 September 1976 and permission was granted on 26 October. On 17 May 1979, it was reported that part of the veranda had been removed but some of it remained, because the area beneath it was being used as a car park. It was suggested that the rest of the veranda be offered for sale to the Harbour Board or removed by the department. The Harbour Board agreed to purchase it and told the department it would eventually demolish it as part of wharf reconstruction works. On 14 August, the department agreed to transfer responsibility for the veranda to the Harbour Board at no cost.

In August 1979, the Harbour Board advised the Railways Department that rail connections to wharf no. 2 were surplus to its requirements. Based on that advice, the department decided in October to remove the rail connection to wharf no. 2, and the District Engineer requested that the Inspector of the Permanent Way make the necessary arrangements.

### Operations

The first train to Lyttelton was a freight consist headed by the provincial railways No. 3 locomotive, which ran through the tunnel to Lyttelton the week of 25 November, two weeks before the official opening of the tunnel and the station. The first passenger train arrived at Lyttelton on 9 December 1867, the date the station was officially opened.

After opening, operations settled down to a schedule of three daily mixed return services between Lyttelton and Christchurch. Passenger traffic on the preceding Ferrymead line had been very light, consisting almost entirely of people living in the vicinity, because the walk over the Port Hills was considered to be too arduous.

For most people, Lyttelton was an important transfer point for their inter-island journeys. From 1895, and nightly from 1905, an inter-island ferry service operated between Wellington and Lyttelton, being the main way people travelled between the two islands. At Lyttelton, passengers had to transfer their own luggage between the ferries on the No. 2 wharf and the trains at Lyttelton station. Beginning in 1902, the express trains pulled up beside the ferries on the wharf, enabling the direct transfer of passengers and luggage between the ferries and the trains. To do that, trains were hauled past Lyttelton station into a headshunt, from which they were moved by a different locomotive around a sharp curve onto the wharf.

A major improvement in operations to Lyttelton was heralded by the inauguration of electrification on 14 February 1929, when the first electric locomotive-hauled passenger service arrived from Christchurch. That was the first suburban electric train service in the country, and its implementation was based on the successful electrification of the Otira Tunnel in 1923. Introduction of the electric services was popular with both train crews and passengers, eliminating the nuisance of smoke in the tunnel they had previously endured. For much of their 41 years of service, the electric locomotives provided 20 daily return services to Lyttelton. The deteriorating economics of their operation, and the need to replace the ageing locomotivesm, led to the de-electrification of the line in 1970.

A Drewery rail tractor was based at Lyttelton in 1936, for a trial period, to be used for shunting operations. Members of the shunting staff based at Lyttelton were trained in its use by the locomotive staff, with maintenance carried out by the traffic staff. The tractor was stored in the steam locomotive shed and, for the purposes of evaluation, was used for as much of the shunting work as possible, to reduce the amount of time steam locomotives were needed. Later, diesel locomotives began to make their presence felt at Lyttelton and, in 1969, four Hitachi rail tractors were assigned there. However, steam locomotives were still used for the South Island Limited at Lyttelton until the late 1960s.

In response to a request for the Railways Department to cease blocking access to the Breakwater and Launch wharves in winter months, during which A class locomotives were used to heat the carriages of the Steamer Express trains, the department sought clearance from the Harbour Board to stand the locomotives on the wharf while the carriages were being heated. Approval was granted in June 1966, on the condition that the locomotives venture no further than 20 yards (18 m) onto the wharf. That was considered to be a permanent arrangement for wharf no. 2, but only a temporary measure for wharf no. 3, pending the arrival of the second roll on/roll off ferry, at which time the ferries and the Steamer Express trains would cease using that wharf. The Working Timetable was amended in September to authorise the use of A locomotives up to the shore end of the platform.

The transfer of mail between the inter-island steamer ferries and trains used to be a significant source of traffic for Lyttelton. Mail items were transported in hampers, bags, or crates, and transferred to ships using slings. Local services transported the mail between Christchurch and the port in postal vans. Following the introduction of the rail-air service in the 1960s, use of the ferries to transport mail between Christchurch and Wellington declined.

Passenger services between Christchurch and Lyttelton steadily lost patronage following the opening of the Lyttelton road tunnel in 1964. When the line was de-electrified, a limited diesel-hauled passenger service was introduced. However, it was not enough to arrest the decline in patronage and, as a result, the service was cancelled on 28 February 1972. The "boat train" express services that connected with the Steamer Express ferries were cancelled four years later, on 14 September 1976, coinciding with the cancellation of the inter-island ferry services. Those latter services were, from 1 December 1970, provided by The Southerner, which terminated at Lyttelton.

In a letter dated 5 February 1982, the Acting District Traffic Manager made the following points, that give some insight into the type and volume of traffic handled at Lyttelton at the time:

- Apart from some tracks to Gladstone Quay that had already been spiked, there were no tracks that were considered to be redundant.

- Export coal traffic required a storage capacity of around 200 loaded high-side wagons per day. When colliers were loading, backlogs of up to 400 wagons could occur.

- Lyttelton handled an average of eighty container wagons per day.

- It was occasionally necessary to store in excess of 100 UK class wagons at Lyttelton.

- Oil traffic was a significant feature at Lyttelton. A shortage of capacity on the oil sidings often necessitated two or three shunting movements.

- Meat was an important seasonal business, with ships regularly berthing at wharves 3 or 7, no. 1 breastwork, or Cashin Quay, depending on availability.

- Other frequently used facilities included the Sea Cargo Terminal on Gladstone Quay and the loading bank.

## Today

The original Lyttelton station signal box is the only building that survives, and, after its relocation, is now sited near the former station building. It was originally located at the western end of the yard near the tunnel portal. The railway station was only recently demolished in the 2010s. The Lyttelton Port of Christchurch owns the land around the former station building, access to which is restricted to authorised personnel. All railway-related facilities on wharf no. 2 have been removed, including the railway/ferry inter-modal facilities.

Lyttelton remains a busy freight yard that continues to serve the Lyttelton Port of Christchurch. Major sources of traffic for the port include export dairy products, coal, timber, vehicles, and other general container freight. New Zealand Railways Corporation staff were based at Lyttelton station through the 1980s for the management of container traffic but have since been relocated. All Lyttelton-based railways-related staff now work out of the station building. Railway operations staff have maintained a presence in the station building where they make use of some of the rooms. The station building has hosted or is currently hosting other short-term private lessees, including New Zealand Express Transport and the Lyttelton Information Centre.

Beginning with the 1997–1998 summer season, Tranz Scenic provided day trips for passengers from cruise ships docked at Lyttelton out to Arthur's Pass. Initially, passengers were collected by coach from Lyttelton and transferred to Christchurch from whence they departed on the TranzAlpine service. Since 2000, Tranz Scenic have run special trains which collect passengers from Lyttelton railway station and take them direct to Arthur's Pass, using spare carriages from the TranzAlpine/ TranzCoastal fleet. This operation has required the use of some office space in the station building, as well as using the station precinct to transfer passengers between trains and buses. Some tour groups travel by train to Arthur's Pass and return to Lyttelton, while other groups only make half the journey by train and complete the trip by coach. Because the track adjacent to the station platform has been removed, passengers board or alight from trains outside the station building on the track nearest the platform. Buses transfer passengers between the trains and the wharf for security reasons. Though the number of special trains varies from season to season, business has been generally improving, with 43 services running in the summer of 2008–2009.

The Lyttelton Port Company announced that it will be installing an extended siding at Lyttelton to accommodate longer freight trains. The new 24-wagon siding will replace two existing 8-wagon sidings, which will reduce the time spent marshaling trains. The move is part of a plan to increase the annual container capacity by 40,000 TEUs to approximately 300,000 and to increase the use of the port-to-city container shuttle rail service. In the long-term, the port hopes to move its operations to new wharves and to remove the existing wharves in front of the town.

## Proposals

Various calls have been made for the reintroduction of passenger rail services for Christchurch. Several reports have been commissioned to that effect, some of which have proposed new suburban services along the Main South Line from Lyttelton. Currently there are no plans to implement any of the proposals.


1997 Jarrell tornado

# 1997 Jarrell tornado

## Abstract

On May 27, 1997, an extremely violent multi-vortex tornado struck the community of Jarrell, Texas, killing 27 people and injuring a further 12. The tornado caused $40.1 million (1997 USD) in damages and was the subject of multiple well-known photographs, earning the tornado the nickname of the "Dead Man Walking ".

The tornado stalled over the Double Creek Estates housing subdivision for approximately 3 minutes at high-end F5 strength, causing arguably some of the most severe tornado damage ever recorded. NIST Studies on the tornado have been conducted in the years and decades after the event.

As of 2024, this tornado is Texas' most recent F5 or EF5 tornado. The tornado was the fourth-deadliest of the 1990s in the United States, only being surpassed by the 1990 Plainfield tornado that killed 29, the 1998 Birmingham tornado that killed 32, and the 1999 Bridge Creek–Moore tornado that killed 36. It was also the only F5 tornado of 1997, and the next F5 would occur on April 8 of the following year.

## Meteorological synopsis

On the morning of May 27, 1997, an upper-level low-pressure area located over portions of South Dakota and Nebraska lifted north, causing a weak, mid-level flow across Texas as a result. While this occurred, a cold front extended southwest of a surface-based low-pressure area from Fayetteville, Arkansas to the Dallas–Fort Worth metroplex to the Permian Basin, which also included two decaying outflow boundaries northeast of the DFW metroplex. A gravity wave was also noted from the cold front near Waco, Texas and southward, which would promote initiation of supercells, including the one which produced the Jarrell tornado. The latter two factors were caused by an overnight mesoscale convective system which had dissipated before the mesoscale setup of the Jarrell tornado.

An upper-air balloon sounding was conducted by the National Weather Service in Fort Worth while the cold front passed directly over the DFW metroplex, which showed favorable mid-level lapse rates, a dewpoint temperature of 73 °F (23 °C) on the surface, and some wind shear, though not towards the surface, which suggested non-tornadic supercell activity. However, a sounding launched from Calvert, Texas a few hours later revealed surface-based convective available potential energy (CAPE) values above 6500 j/kg, up from 3000 j/kg shown by the sounding previously launched over the DFW metroplex. This, along with extremely high CAPE values shown near the surface from a sounding over Waco at 12:00 CDT (17:00 UTC), likely caused vorticity near and along the cold front and the production of the Jarrell tornado.

The supercell that produced the Jarrell tornado first developed in McLennan County before noon, initially moving slowly southwestward in the unstable airmass. Shortly thereafter, a tornado watch was issued by the Storm Prediction Center for eastern Texas and western Louisiana. As the thunderstorm cell moved parallel to Interstate 35, it rapidly intensified and prompted the issuance of a severe thunderstorm warning for portions of McLennan County at 12:50 CDT (17:50 UTC), later being upgraded to a tornado warning as the supercell then began to rapidly exhibit lower-levels of rotation. This would result in multiple tornadoes being produced before the Jarrell tornado occurred; most notably an F3 tornado which caused severe damage in portions of Falls County near Bruceville-Eddy and Lake Belton. Another tornado, rated an F0, touched down near Stillhouse Dam and was incorrectly claimed as the Jarrell tornado due to its close proximity from the F5 tornado's path. This tornado was also subject of a famous image.

Shortly thereafter, the supercell began to move slightly westward towards Jarrell and Salado, while continuing to show signs of rapid, low-level rotation. This would result in another tornado warning being issued by the National Weather Service in Austin/San Antonio for Williamson County, including Jarrell, at 15:30 CDT (22:30 UTC), in response to the storm's approach to the town. The warning was in effect for a duration of one hour, and local warning sirens in the town went off an estimated 10—12 minutes before the impact. Multiple short-lived, small, and rope-like funnel clouds preceded the Jarrell tornado; and despite being theorized and commonly accepted as being separate tornadoes, there is a possibility that these were part of it.

## Tornado summary

### Formation, track towards Jarrell

The tornado officially touched down within the Williamson County line 3 miles (4.8 km) north of Jarrell as a faint, rope-shaped funnel swathed in large amounts of dust at 3:40 pm CDT (20:40 UTC). The tornado began to undergo a dramatic intensification as it took on the shape of a "dead man walking", with a human-like shape of the tornado created by multiple subvortices around it. Traffic along Interstate 35 came to a stop as the tornado descended nearby. The Texas Highway Patrol also stopped traffic on both sides of the interstate under the expectation that the tornado would cross the highway; it ultimately moved parallel to Interstate 35.

Tracking south-southwest, the tornado quickly intensified and grew in width. The exact size of the tornado was difficult to determine, as F5 damage was first recorded as it widened. This was unusual as F5 damage was documented relatively early into its lifespan and continued until the tornado's dissipation. Its intense winds scoured the ground, vegetation, and stripped pavement from three county roads; the thickness of the asphalt pavement was an estimated 3 inches (7.6 cm). A culvert plant near the intersection of two county roads collapsed. Nearby, a similar plant and a mobile home sustained some damage, with the latter struck by a 2×4 piece of lumber.

Some of the most extreme damage at this location was inflicted to a small metal-framed recycling plant that was directly hit and destroyed, with only several twisted and bent metal beams remaining. Multiple people were sheltering in a mobile home far south of the recycling plant, but later decided to evacuate to a frame house to take cover. The frame house was directly hit by the tornado moments later, killing everyone inside, while the mobile home only sustained minor damage.

### Impact at Double Creek Estates

The tornado turned slightly, entering the Double Creek Estates at high-end F5 intensity. It grew to its maximum width, estimated to be 3 ⁄ 4 mile (1.2 km). Post-event surveys and eyewitness accounts suggested that the tornado began to slow its pace, contributing to the extremely violent damage observed there. The tornado immediately began to destroy structures and homes as it hit multiple smaller streets at the northeastern edge of the Estates. The exact time of this is unknown, but timekeeping devices from remaining debris and synced videos had the tornado's starting impact at most likely 3:48 pm.

The entire Double Creek Estates was subjected to extreme winds for three minutes due to the "stalling" pattern of the tornado, which likely exacerbated the damage. Multiple well-built homes on Double Creek Drive were completely swept away and clean slabs were left with a lack of any large debris. Foundations in the direct path of the tornado had all of their plumbing and sill plates ripped away, with some of the foundations partially scoured as well. The tornado was heavily documented during this phase, and was most likely at its most visible point in its lifespan. Grassy fields in this area also sustained extreme ground scouring of up to 18 inches (46 cm). As a result of this, the path was heavily studied due to its visibility and ground scarring.

The tornado picked up cars and were mangled beyond recognition or torn apart, and at least six recognizable cars were found over 300 yards (270 m) away, despite being crushed and mud-covered. Many were never recovered, and are presumed to have been "ground up" inside the debris ball. All trees in the subdivision were completely debarked, with one small tree documented to have had an electrical cord pierced through its trunk.

### Weakening and dissipation

After exiting the Double Creek Estates area, the tornado then crossed over a county road while paralleling Spears Ranch Road. After continuing into a cedar tree forest, it began to rapidly weaken, crossing over Appaloosa Cove Road before dissipating. The National Centers for Environmental Information (NCEI) concluded that it had lifted at 3:53 pm, remaining on the ground for 13 minutes and traversing 5.1 miles (8.2 km).

## Aftermath

Within minutes after the tornado's impact, emergency management, police, and other volunteers began search-and-rescue operations in Jarrell. Numerous different agencies assisted in the search-and-rescue process, including the Texas Department of Public Safety Police, Texas National Guard, and other smaller agencies. Relief operations, which covered 211 homes and persons damaged or wounded in the tornado, cost an estimated $250,000; community donations covered at least $200,000 of the expenses.

The tornado knocked out power in Jarrell, effectively stunting communications between EMS and residents. Cell phones were not functional, and the loved ones of residents became increasingly concerned due to an inability to communicate. Despite this, emergency services were quick to arrive in Jarrell, and the damage was so intense that they almost drove past Double Creek Estates, unaware that houses had stood there. The Double Creek Estates subdivision quickly became the focal point of search-and-rescue and recovery efforts, which were aided by civilians and volunteer workers.

In the six days following the event, the Office of the Federal Coordinator for Meteorological Services and Supporting Research (OOTCFMSASR) conducted multiple surveys from the air and on the ground to survey the track of the tornado and the damage caused by it. The Texas branch of the Civil Air Patrol also helped, and in the end the tornado garnered an F5 rating, which was challenged by the NIST.

Support came in from all over the country, and millions of dollars were donated to aid Jarrell. Texas Governor George W. Bush visited Jarrell days after the tornado and stated that the "damage was mind-boggling."

The Jarrell Volunteer Fire Department organized a temporary morgue. Although a death toll of 30 people was initially reported, that figure was later revised to a final tally of 27.

A memorial park, which includes twenty-seven trees to commemorate the victims, was built in the Double Creek Estates area. Many impacted people in Double Creek Estates remained in the general area amid recovery efforts stemming from the tornado.

## Fatalities

Out of the 131 residents who lived in or near Double Creek Estates, 27 were killed. The remains of these people were found at over 30 locations, and the majority of the deaths were reported in the Morbidity and Mortality Weekly Report as being caused by bodily and head trauma and one fatality was reported to have been caused by asphyxia. Bodily remains were later found at 30 locations, and the physical trauma inflicted on some of the tornado victims was so extreme that first responders reportedly had difficulty distinguishing human remains from the remains of animals at the sites, as the remains were reportedly "ground up" in the winds of the tornado.

The sheer strength and intensity of the tornado, as it was in Jarrell, gave the people in its direct path little time to get to safety. Most of the homes that were located in Double Creek Estates at the time were constructed on a slab foundation and lacked of a basement. Up to nineteen people had sought refuge in a single storm cellar.

Many residents of the Double Creek Estates had followed the recommended safety procedures, but were still killed because of the strength of the tornado. Some people had chosen to evacuate ahead of the tornado, which may have saved lives. Despite the near-complete destruction of houses on the edge of the tornado, some walls were left standing, protecting several residents. One survivor holed up in a bathtub and was flung several hundred feet from her house onto a road.

Three entire families were killed in the Double Creek Estates area: the Igo family (five members), the Smith family (three members) and the Moehring family (four members).

Around 300 cattle grazing in a nearby pasture were killed and some were found 0.25 miles (400 m) away. Hundreds of these bodies, including domesticated animals were found dismembered, lacking limbs, decapitated or skinned.

13 people were reported to have been admitted to a hospital after the event, and one person died there. Most of the wounded had abrasions and lacerations due to debris from the tornado. Nine families in Jarrell had more than one member die in the tornado, and the youngest victim was five years old.

After the tornado, multiple residents of Jarrell were interviewed about the tornado and the actions that they took. Many said they were aware of the tornado warnings, and the majority said that they first learned of the warnings through commercial television.

Due to the slow movement and high visibility of the tornado, most of the residents interviewed said they watched the approach of the tornadoes prior to taking shelter. Most said they knew to go to the center of their houses, to avoid staying in mobile homes, and to seek shelter rather than trying to flee the tornadoes. These actions saved lives, but in the case of the Jarrell tornado were unable to prevent fatalities.

## Documentation

The tornado was heavily documented during its lifetime, making it a focal point of research for the NWS and other weather agencies. Multiple videos exist of the tornado, showing the fast rotation and heavy debris cloud that engulfed the tornado during its maximum strength.

### "Dead Man Walking" photograph

The Jarrell tornado was the subject of one of the most famous pieces of tornado media ever taken, now known as the "Dead Man Walking". Scott Beckwith took the famous photograph, which has become notorious for closely resembling the grim reaper.

The image consists of the tornado, shrouded in debris, with the main vortex and an adjacent subvortice making "leg" shapes near the bottom of the tornado, giving it the appearance of a giant silhouette walking across the ground. A third subvortice separate from the main funnel is also seen, resembling that of the blade of a reaper's scythe. The image has been widely called an example of pareidolia. It is one of 8 photographs taken in a sequence as the tornado grew in size.

The photo has received international mainstream attention and has gained it and many other similar tornadoes the nickname of the "Dead Man Walking tornado". Many other spin-off images have been produced, including a photograph of the 2013 El Reno tornado. "Dead Man Walking" tornadoes are now generally referred to multi-vortex tornadoes with "legs", but the Jarrell tornado helped popularize the term.

### Videos

Multiple famous videos have been taken of the tornado, including one by photojournalist Scott Guest, who captured the earlier tornadoes and main tornado forming.

### Other media

In the aftermath of the tornado, multiple books and publications were released, which detail the stories of survivors. A documentary, titled "The Jarrell Tornado: 20 Years Later" was released in 2017, and shows footage from Scott Guest and Tim Marshall, both of whom were photographers and videographers in Jarrell during the event.

## Damage

### Structural

Thirty-eight structures were obliterated in the Double Creek Estates. Three businesses adjacent to Double Creek Estates were also destroyed. In total, the tornado dealt $10–20 million in damage to the neighborhood.

The tornado caused widespread damage to structures, and destroyed an estimated 40 family residences. Of these estimated 40 homes, multiple were completely swept off their foundations as a result of the wind. Many of the structures that were swept away were located in the double Creek Estates.

### Monetary

The Jarrell tornado damage was classified as F5 severity throughout most of the tornado's path. Approximately $40 million in damage was inflicted upon property with another $100,000 inflicted upon crops.

## Reactions

Then-governor of Texas George W. Bush declared Williamson County a disaster area, and during a visit to Jarrell on May 28, stated that "it was the worst tornado I've ever seen". U.S. Senator Kay Bailey Hutchison also visited Jarrell and Cedar Park. Bush later requested federal aid for Williamson and Bell counties with support from Hutchinson.

The Federal Emergency Management Agency elected not to provide federal aid, citing the contributions from private and state sources. Instead, the Small Business Administration and U.S. Department of Agriculture made available loans for the rebuilding of homes, farms, and ranches.

Between May 29 and June 1, the Office of the Federal Coordinator for Meteorological Services and Supporting Research carried out aerial and ground surveys of the tornadic damage in Texas in coordination with the Texas Wing Civil Air Patrol.

## Case studies

Multiple in-depth studies have been conducted on the tornado, which detail what happened on May 27, and what caused the outbreak and subsequent Jarrell tornado to unfold.

### American Meteorological Society (AMS)

The American Meteorological Society (AMS) conducted a case study on the event. It discussed the meteorological conditions that caused the event and the significance of the Jarrell tornado.

### National Institute of Standards and Technology (NIST)

A case study and critique was published by the National Institute of Standards and Technology (NIST), which covered the structural damage caused by the tornado and the track that it left. The NIST also published a detailed critique of the Fujita Scale as a direct result of the Jarrell tornado, which was at the time rated an F5. The critique stated that:

"We ascribe the NWS rating to the failure of the Fujita tornado intensity scale to account explicitly for the dependence of wind speeds causing specified types of damage or destruction upon the following two structural engineering factors: (1) quality of construction, defined as degree of conformity to applicable standards requirements, and (2) the basic design wind speed at the geographical location of interest."

The NIST had claimed that the Fujita scale failed to account for critical pointers in the assessment of the Jarrell tornado. The case study concluded that some of the homes at Double Creek Estates did have small structural integrity issues, which includes factors such as a lack of sufficient anchor bolts and steel straps in the house foundations. After the critique was published, the rating was kept as an F5.

### University of Wisconsin-Madison

The University of Wisconsin-Madison also published a case study on the event, authored by Andrew Mankowski, which detailed the weather conditions that caused the tornado to form and how it became as violent as it was. The study said that:

"From a synoptic view the main feature was a cold front pushing its way south into Texas. Frontogenesis helped aid in forcing some of the upward vertical motions. From the Gulf of Mexico came a southerly low-level jet bringing warm moist air. This warm moist air from the LLJ helped destabilize the air. The air was already highly unstable with CAPE values reaching 6,000 J/kg."

According to Mankowski, the CAPE values in the atmosphere at the time were extremely unstable, contributing to directional shear which formed the supercells. This caused the violent rotation that eventually produced the Jarrell tornado, and the subsequent strength of the tornado.

### Centers for Disease Control and Prevention (CDC)

The Centers for Disease Control and Prevention (CDC), which is a U.S. government-affiliated disease control group, produced a study on the casualties of the tornado, which included in-depth explanations of the injuries sustained to the bodies of victims, lengths of hospital stays, among other things. The study and survey concluded that:

"A total of 33 persons presented to six area hospitals for treatment of injuries sustained directly or indirectly by the three tornadoes. Of these 33 persons, 13 (39%) had multiple diagnoses. The categories of injuries included lacerations (18 {55%}), contusions (15 {46%}), abrasions (10 {30%}), strains/sprains/muscle spasms (six {18%}), fractures (two {6%}), penetrating wound (one {3%}), and closed-head injury (one {3%}). The median age of the injured persons was 38 years (range: 1–75 years)."

The case study had also noted the lack of shelters causing multiple of the deaths, and recommended that more storm shelters be installed in Jarrell. Had shelters been implemented before the tornado, many more lives may have been potentially saved, and the tornado showed the importance of storm shelters.

### Other studies

Many other groups and organizations did small case studies and surveys in the wake of the tornado, which include the Federal Emergency Management Agency (FEMA) and the Regional and Mesocale Meteorology Branch (RaMMB). A small case study by the NOAA had concluded that the Emergency Alert System (EAS) was not activated in a timely manner to warn about the tornado. Many warning systems had also failed, and the study recommended that emergency alerts and tornado warnings be issued earlier.

## Sources

- This article incorporates text from this source, which is in the public domain.

- This article incorporates text from this source, which is in the public domain.

- This article incorporates text from this source, which is in the public domain.