Multiple sub-Nyquist sampling encoding

# Multiple sub-Nyquist sampling encoding

## Abstract

MUSE (Multiple sub-Nyquist Sampling Encoding), commercially known as Hi-Vision (a contraction of HI gh-definition tele VISION) was a Japanese analog high-definition television system, with design efforts going back to 1979.

It used dot-interlacing and digital video compression to deliver 1125 line, 60 field-per-second (1125i60) signals to the home. The system was standardized as ITU -R recommendation BO.786 and specified by SMPTE 260M, using a colorimetry matrix specified by SMPTE 240M. As with other analog systems, not all lines carry visible information. On MUSE there are 1035 active interlaced lines, therefore this system is sometimes also mentioned as 1035i. It employed 2-dimensional filtering, dot-interlacing, motion-vector compensation and line-sequential color encoding with time compression to "fold" or compress an original 30 MHz bandwidth Hi-Vision source signal into just 8.1 MHz.

Japan began broadcasting wideband analog HDTV signals in December 1988, initially with an aspect ratio of 2:1. The Sony HDVS high-definition video system was used to create content for the MUSE system, but didn't record MUSE signals. It recorded Hi-Vision signals which are uncompressed.By the time of its commercial launch in 1991, digital HDTV was already under development in the United States. Hi-Vision was mainly broadcast by NHK through their BShi satellite TV channel, although other channels such as WOWOW, TV Asahi, Fuji Television, TBS Television, Nippon Television, and TV Tokyo also broadcast in MUSE.

On May 20, 1994, Panasonic released the first MUSE LaserDisc player. There were also a number of players available from other brands like Pioneer and Sony.

Hi-Vision continued broadcasting in analog by NHK until 2007. Other channels had stopped by 2003 as they transitioned to digital HD signals in ISDB, Japan's digital broadcast standard.

## History

MUSE was developed by NHK Science & Technology Research Laboratories in the 1980s as a compression system for Hi-Vision HDTV signals.

- Japanese broadcast engineers immediately rejected conventional vestigial sideband broadcasting.

- It was decided early on that MUSE would be a satellite broadcast format as Japan economically supports satellite broadcasting. MUSE was transmitted at a frequency of 21 GHz or 12 GHz.

- Japanese broadcast engineers had been studying the various HDTV broadcast types for some time. It was initially thought that SHF, EHF or optic fiber would have to be used to transmit HDTV due to the high bandwidth of the signal, and HLO-PAL would be used for terrestrial broadcast. HLO-PAL is a conventionally constructed composite signal (based on Y {\displaystyle Y} for luminance and C {\displaystyle C} for chroma like NTSC and PAL) and uses a phase alternating by line with half-line offset carrier encoding of the wideband/narrowband chroma components. Only the very lowest part of the wideband chroma component overlapped the high-frequency chroma. The narrowband chroma was completely separated from luminance. PAF, or phase alternating by field (like the first NTSC color system trial) was also experimented with, and it gave much better decoding results, but NHK abandoned all composite encoding systems. Because of the use of satellite transmission, Frequency modulation (FM) should be used with power-limitation problem. FM incurs triangular noise, so if a sub-carrierred composite signal is used with FM, demodulated chroma signal has more noise than luminance. Because of this, they looked at other options, and decided to use Y / C {\displaystyle Y/C} component emission for satellite. At one point, it seemed that FCFE (Frame Conversion Fineness Enhanced), I/P conversion compression system, would be chosen, but MUSE was ultimately picked.

- Separate transmission of Y {\displaystyle Y} and C {\displaystyle C} components was explored. The MUSE format which is transmitted today, uses separated component signalling. The improvement in picture quality was so great, that the original test systems were recalled.

- One more power saving tweak was made: lack of visual response to low frequency noise allows significant reduction in transponder power if the higher video frequencies are emphasised prior to modulation at the transmitter and de-emphasized at the receiver.

## Technical specifications

MUSE's "1125 lines" are an analog measurement, which includes non-video scan lines taking place while a CRT 's electron beam returns to the top of the screen to begin scanning the next field. Only 1035 lines have picture information. Digital signals count only the lines (rows of pixels) that have actual detail, so NTSC's 525 lines become 486i (rounded to 480 to be MPEG compatible), PAL's 625 lines become 576i, and MUSE would be 1035i. To convert the bandwidth of Hi-Vision MUSE into "conventional" lines-of-horizontal resolution (as is used in the NTSC world), multiply 29.9 lines per MHz of bandwidth. (NTSC and PAL/SECAM are 79.9 lines per MHz) - this calculation of 29.9 lines works for all current HD systems including Blu-ray and HD-DVD. So, for MUSE, during a still picture, the lines of resolution would be: 598-lines of luminance resolution per-picture-height. The chroma resolution is: 209-lines. The horizontal luminance measurement approximately matches the vertical resolution of a 1080 interlaced image when the Kell factor and interlace factor are taken into account. 1125 lines was selected as a compromise between the resolution in lines of NTSC and PAL and then doubling this number.

MUSE employs time-compression integration (TCI) which is another term for time-division multiplexing, which is used to carry luminance, chrominance, PCM audio and sync signals on one carrier signal/in one carrier frequency. However, TCI achieves multiplexing by compression of the contents in the time dimension, in other words transmitting frames of video that are divided into regions with chrominance compressed into the left of the frame and luminance compressed into the right of the frame, which must then be expanded and layered to create a visible image. This makes it different from NTSC which carries luminance, audio and chrominance simultaneously in several carrier frequencies. Hi-Vision signals are component video signals with 3 channels: they were RGB initially, and later YP P.

Key features of the MUSE system:

- Scanlines (total/active): 1,125/1,035

- Pixels per line (fully interpolated): 1122 (still image)/748 (moving)

- Reference clock periods: 1920 per active line

- Interlaced ratio: 2:1

- Aspect ratio 16:9

- Refresh rate: 59.94 or 60 frames per second

- Sampling frequency for broadcast: 16.2 MHz

- Vector motion compensation: horizontal ± 16 samples (32.4 MHz clock) / frame, a vertical line ± 3 / Field

- Audio: "DANCE" discrete 2- or 4-channel digital audio system: 48 kHz/16 bit (2 channel stereo: 2 front channels)/32 kHz/12 bit (4 channel surround: 3 front channels + 1 back channel)

- DPCM Audio compression format: DPCM quasi-instantaneous companding

- Required bandwidth: 27 MHz

### Colorimetry

The MUSE luminance signal Y {\displaystyle Y} encodes Y M {\displaystyle YM}, specified as the following mix of the original RGB color channels:

The chrominance C {\displaystyle C} signal encodes B − Y M {\displaystyle B-YM} and R − Y M {\displaystyle R-YM} difference signals. By using these three signals (Y M {\displaystyle YM}, B − Y M {\displaystyle B-YM} and R − Y M {\displaystyle R-YM}), a MUSE receiver can retrieve the original RGB color components using the following matrix:

The system used a colorimetry matrix specified by SMPTE 240M (with coefficients corresponding to the SMPTE RP 145 primaries, also known as SMPTE-C, in use at the time the standard was created). The chromaticity of the primary colors and white point are:

The luma (E Y {\displaystyle EY}) function is specified as:

The blue color difference (E P B {\displaystyle EPB}) is amplitude-scaled (E B − E Y {\displaystyle EB-EY}), according to:

The red color difference (E P R {\displaystyle EPR}) is amplitude-scaled (E R − E Y {\displaystyle ER-EY}), according to:

### Signal and Transmission

MUSE is a 1125 line system (1035 visible), and is not pulse and sync compatible with the digital 1080 line system used by modern HDTV. Originally, it was a 1125 line, interlaced, 60 Hz, system with a 5:3 (1.66:1) aspect ratio and an optimal viewing distance of roughly 3.3H. In 1989 this was changed to a 16:9 aspect ratio.

For terrestrial MUSE transmission a bandwidth limited FM system was devised. A satellite transmission system uses uncompressed FM.

The pre-compression bandwidth for Y {\displaystyle Y} is 20 MHz, and the pre-compression bandwidth for chrominance is a 7.425 MHz carrier.

The Japanese initially explored the idea of frequency modulation of a conventionally constructed composite signal. This would create a signal similar in structure to the Y / C {\displaystyle Y/C} composite video NTSC signal - with the Y {\displaystyle Y} (luminance) at the lower frequencies and the C {\displaystyle C} (chrominance) above. Approximately 3 kW of power would be required, in order to get 40 dB of signal to noise ratio for a composite FM signal in the 22 GHz band. This was incompatible with satellite broadcast techniques and bandwidth.

To overcome this limitation, it was decided to use a separate transmission of Y {\displaystyle Y} and C {\displaystyle C}. This reduces the effective frequency range and lowers the required power. Approximately 570 W (360 for Y {\displaystyle Y} and 210 for C {\displaystyle C}) would be needed in order to get a 40 dB of signal to noise ratio for a separate Y / C {\displaystyle Y/C} FM signal in the 22 GHz satellite band. This was feasible.

There is one more power saving that appears from the character of the human eye. The lack of visual response to low frequency noise allows significant reduction in transponder power if the higher video frequencies are emphasized prior to modulation at the transmitter and then de-emphasized at the receiver. This method was adopted, with crossover frequencies for the emphasis/de-emphasis at 5.2 MHz for Y {\displaystyle Y} and 1.6 MHz for C {\displaystyle C}. With this in place, the power requirements drop to 260 W of power (190 for Y {\displaystyle Y} and 69 for C {\displaystyle C}).

## Sampling systems and ratios

The subsampling in a video system is usually expressed as a three part ratio. The three terms of the ratio are: the number of brightness (luma) Y {\displaystyle Y} samples, followed by the number of samples of the two color (chroma) components C b {\displaystyle Cb} and C r {\displaystyle Cr}, for each complete sample area. Traditionally the value for brightness is always 4, with the rest of the values scaled accordingly.

A sampling of 4:4:4 indicates that all three components are fully sampled. A sampling of 4:2:0, for example, indicated that the two chroma components are sampled at half the horizontal sample rate of luma - the horizontal chroma resolution is halved. This reduces the bandwidth of an uncompressed video signal by one-third.

MUSE implements a similar system as a means of reducing bandwidth, but instead of static sampling, the actual ratio varies according to the amount of motion on the screen. In practice, MUSE sampling will vary from approximately 4:2:1 to 4:0.5:0.25, depending on the amount of movement. Thus the red-green chroma component C r {\displaystyle Cr} has between one-half and one-eighth the sampling resolution of the luma component Y {\displaystyle Y}, and the blue-yellow chroma C b {\displaystyle Cb} has half the resolution of red-green.

## Audio subsystem

MUSE had a discrete 2- or 4-channel digital audio system called " DANCE ", which stood for Digital Audio Near-instantaneous Compression and Expansion.

It used differential audio transmission (differential pulse-code modulation) that was not psychoacoustics-based like MPEG-1 Layer II. It used a fixed transmission rate of 1350 kbp/s. Like the PAL NICAM stereo system, it used near-instantaneous companding (as opposed to Syllabic-companding like the dbx system uses) and non-linear 13-bit digital encoding at a 32 kHz sample rate.

It could also operate in a 48 kHz 16-bit mode. The DANCE system was well documented in numerous NHK technical papers and in a NHK-published book issued in the USA called Hi-Vision Technology.

The DANCE audio codec was superseded by Dolby AC-3 (a.k.a. Dolby Digital), DTS Coherent Acoustics (a.k.a. DTS Zeta 6x20 or ARTEC), MPEG-1 Layer III (a.k.a. MP3), MPEG-2 Layer I, MPEG-4 AAC and many other audio coders. The methods of this codec are described in the IEEE paper:

## Real world performance issues

MUSE had a four-field dot-interlacing cycle, meaning it took four fields to complete a single MUSE frame. Thus, only stationary images were transmitted at full resolution. However, as MUSE lowers the horizontal and vertical resolution of material that varies greatly from frame to frame, moving images were blurred. Because MUSE used motion-compensation, whole camera pans maintained full resolution, but individual moving elements could be reduced to only a quarter of the full frame resolution. Because the mix between motion and non-motion was encoded on a pixel-by-pixel basis, it wasn't as visible as most would think. Later, NHK came up with backwards compatible methods of MUSE encoding/decoding that greatly increased resolution in moving areas of the image as well as increasing the chroma resolution during motion. This so-called MUSE-III system was used for broadcasts starting in 1995 and a very few of the last Hi-Vision MUSE LaserDiscs used it (A River Runs Through It is one Hi-Vision LD that used it). During early demonstrations of the MUSE system, complaints were common about the decoder's large size, which led to the creation of a miniaturized decoder.

Shadows and multipath still plague this analog frequency modulated transmission mode.

Japan has since switched to a digital HDTV system based on ISDB, but the original MUSE-based BS Satellite channel 9 (NHK BS Hi-vision) was broadcast until September 30, 2007.

## Cultural and geopolitical impacts

- (1940s): The NTSC standard (as a 525 line monochrome system) was imposed by the US occupation forces.

- (1950s-1960s): Unlike Canada (that could have switched to PAL), Japan was stuck with the US TV transmission standard regardless of circumstances.

- (1960s-1970s): By the late 1960s many parts of the modern Japanese electronics industry had gotten their start by fixing the transmission and storage problems inherent with NTSC's design.

- (1970s-1980s): By the 1980s there was spare engineering talent available in Japan that could design a better television system.

MUSE, as the US public came to know it, was initially covered in the magazine Popular Science in the mid-1980s. The US television networks did not provide much coverage of MUSE until the late 1980s, as there were few public demonstrations of the system outside Japan.

Because Japan had its own domestic frequency allocation tables (that were more open to the deployment of MUSE) it became possible for this television system to be transmitted by Ku Band satellite technology by the end of the 1980s.

The US FCC in the late 1980s began to issue directives that would allow MUSE to be tested in the US, providing it could be fit into a 6 MHz System-M channel.

The Europeans (in the form of the European Broadcasting Union (EBU)) were impressed with MUSE, but could never adopt it because it is a 60 Hz TV system, not a 50 Hz system that is standard in Europe and the rest of the world (outside the Americas and Japan).

The EBU development and deployment of B-MAC, D-MAC and much later on HD-MAC were made possible by Hi-Vision's technical success. In many ways MAC transmission systems are better than MUSE because of the total separation of colour from brightness in the time domain within the MAC signal structure.

Like Hi-Vision, HD-MAC could not be transmitted in 8 MHz channels without substantial modification – and a severe loss of quality and frame rate. A 6 MHz version Hi-Vision was experimented with in the US, but it too had severe quality problems so the FCC never fully sanctioned its use as a domestic terrestrial television transmission standard.

The US ATSC working group that had led to the creation of NTSC in the 1950s was reactivated in the early 1990s because of Hi-Vision's success. Many aspects of the DVB standard are based on work done by the ATSC working group, however most of the impact is in support for 60 Hz (as well as 24 Hz for film transmission) and uniform sampling rates and interoperable screen sizes.

## Device support for Hi-Vision

### Hi-Vision LaserDiscs

On May 20, 1994, Panasonic released the first MUSE LaserDisc player. There were a number of MUSE LaserDisc players available in Japan: Pioneer HLD-XØ, HLD-X9, HLD-1000, HLD-V500, HLD-V700; Sony HIL-1000, HIL-C1 and HIL-C2EX; the last two of which have OEM versions made by Panasonic, LX-HD10 and LX-HD20. Players also supported standard NTSC LaserDiscs. Hi-Vision LaserDiscs are extremely rare and expensive.

The HDL-5800 Video Disc Recorder recorded both high definition still images and continuous video onto an optical disc and was part of the early analog wideband Sony HDVS high-definition video system which supported the MUSE system. Capable of recording HD still images and video onto either the WHD-3AL0 or the WHD-33A0 optical disc; WHD-3Al0 for CLV mode (up to 10 minute video or 18,000 still frames per side); WHD-33A0 for CAV mode (up to 3 minute video or 5400 still frames per side). These video discs were used for short video content such as advertisements and product demonstrations.

The HDL-2000 was a full band high definition video disc player.

### Reel to reel VTRs

For recording Hi-Vision signals, Three reel to reel analog VTRs were released, among them are the Sony HDV-1000 part of their HDVS line, the NEC TT 8-1000 and the Toshiba TVR-1000. These analog VTRs had a head drum angular speed of 3600 RPM and are similar to Type C VTRs. They have a bandwidth of 30 Mhz for luma and 7 Mhz for both chroma channels each, with a signal to noise ratio of 41 dB. They accept luma and chroma signals with bandwidths of up to 30 Mhz for both. Signals are recorded onto the tape using FM modulation. Linear tape speed is 483.1 mm/s and writing speed at the heads is 25.9 m/s. The head drum is 134.5 mm wide and has 4 video record heads, 4 video playback heads and 1 erasing head. It could record for 45 minutes on 10.5 inch reels. The video heads are made of Mn-Zn ferrite material, those used for recording have a gap of 0.7 microns and a width of 80 microns and those for playback have a gap of 0.35 microns and a width of 70 microns. It records audio on 3 linear tracks, and control signals on a linear track. Unlike conventional type C videotape recorders, Vertical Blanking Intervals are not recorded on the tape. Helical tracks have groups of 4 signals length-wise with red chrominance, blue chrominance, and two green chrominance signals with luminance information. Two tracks for green chrominance plus luminance are used to increase the bandwidth of these signals that can be recorded on the tape.

In 1987, technical standards for digital recording of Hi-Vision signals were released by NHK, and Sony and Hitachi developed the HDD-1000 as part of their HDVS line, and the HV-1200 digital reel to reel VTRs respectively. Audio is recorded digitally similarly to a DASH (Digital Audio Stationary Head) digital audio recorder, but several changes were made to synchronize the audio to the video. These digital VTRs can record 8 channels of digital audio on linear tracks (horizontally along the entire length of the tape). According to the standards, these VTRs operate with a head drum speed of 7200 RPM, have a bit rate of 148.5 Mbit/s per video head, a linear tape speed of 805.2 mm/s and a writing speed at the heads of 51.5 m/s, are similar to Type C VTRs, have a head drum 135mm wide, 8 playback, 8 recording and 2 erase heads, with 37 micron wide helical tracks. Bandwidth is 30 Mhz for luma (Y) and 15 Mhz for chroma (P, P). Audio is recorded with a sampling rate of 48 kHz stored at 16 bits per sample in linear tape tracks, sampling rate for luma is 74.25 Mhz and 37.125 Mhz for chroma stored at 8 bits per sample. Signal to noise ratio is 56 dB for chroma and luma. Video fields are divided into 16 helical tracks on the tape. Total video bandwidth is 1.188 gigabits/s. Cue signals are recorded into 3 linear tape tracks. Video is recorded in groups of 4 tracks length-wise within each helical track, to allow for parallelization: high total data rates with relatively low data rates per head, and reduce the linear tape speed. Digital video signals are recorded line by line (1 row of pixels in every frame of video or 1 line of video at a time) with ECC (Error Correcting Code) at the end of each line and in between a number of vertical lines. Reed-Solomon code is used for ECC and each line also has an ID number for trick play such as slow motion and picture search/shuttle.

### Displays

Hi-Vision requires a display capable of handling 30 Mhz of video bandwidth simultaneously for each of the component video channels: RGB or Y, P and P. It was displayed on direct view color CRTs and CRT projectors, and plasma displays and Talaria projectors were explored to determine their ability to display Hi-Vision images. Some TVs have built in MUSE decoders.

### Cameras

Cameras based on Saticon tubes, Plumbicon tubes, Harpicon tubes and CCD image sensors were used to capture footage using the Hi-Vision format. A prototype based on Vidicon tubes was also created.

### MUSE decoders

A MUSE decoder is required for receiving MUSE broadcasts from satellites, and for viewing content in the MUSE format. The decoder converts MUSE format signals into Hi-Vision component video signals that can then be shown in a display.

### Video cassettes

W-VHS allowed home recording of Hi-Vision programmes.

For recording Hi-Vision video, NHK and 10 Japanese companies ("NEC, Matsushita Electric Industrial, Toshiba, Sharp, Sony, Hitachi, Sanyo Electric, JVC, Mitsubishi Electric, Canon") in 1989 released UniHi, a professional videocassette format. Recorders for the format were manufactured by Panasonic, Sony, NEC, and Toshiba. These machines were less expensive than their Type C counterparts. Both studio and portable versions were made. The head drum spins at 5400 RPM and uses tape that is 12.65 mm wide. It has a luminance (Y) bandwidth of 20 MHz and a chrominance (P, P) bandwidth of 7 MHz. The head drum is 76mm wide. It uses two video heads with azimuth recording and records each frame of video into 12 helical tracks; only 6 tracks are necessary for each video field if recording interlaced video. Audio is recorded digitally as a PCM signal, as a section on the helical tracks. Writing speed at the heads is 21.4 m/s. The tape also has 3 linear tracks, one for audio, control and time code each. Signal to noise ratio for luminance is 41 dB and for chrominance it is 47 dB. The tape is wrapped 180° around the head drum. Development began in 1987. It uses metal particle tape. It could record video for 1 hour (63 minutes). Linear tape speed is 120 mm/s. The cassette measures 205mm (width) x 121mm (depth) x 25mm (height). Signals are recorded using time-compression integration, in groups of two signals length-wise on each helical track. Grouping is used to increase the bandwidth that can be recorded on the tape. The cassette is intented to be air-tight with two flaps in the cassette's opening to protect the tape.

This videocassette format was developed in order to reduce the size of HD recording equipment. The Sony version of the UniHi VTR, the HDV-10, had a price of over 90,000 US dollars.


# List of NFL career passing completions leaders

## Abstract

This is a list of the top 50 National Football League quarterbacks career regular season passing completions and attempts, of quarterback playoff completions and attempts by players with over 250 playoff completions, and combined career totals.

Tom Brady is the all-time leader in passing completions with 7,753 and passing attempts with 12,050. He also leads in playoff completions and attempts with 1,200 and 1,921, respectively.

## Regular season completions leaders

Bolded players indicate making their debut on list.

Through Week 2 early Sunday games of 2024 season.

## Playoff leaders

Through 2023 playoffs. Based on at least 250 completions.

## Historical passing completions leaders

Nine players are recognised as having held the record as the NFL's career pass completions leader. The longest record holder was Fran Tarkenton who held the record for 20 years.


The Madness Inside Me

# The Madness Inside Me

## Abstract

The Madness Inside Me is a 2021 American psychological thriller film written and directed by Matthew Berkowitz. Merrin Dungey stars as Madison Taylor, a forensic psychiatrist whose husband is killed during a home invasion by Francis Tate (Devon Graye). However, Taylor refuses to identify the murderer and instead stalks him as she contemplates her conflicted feelings about both her husband's death and his murderer. It premiered at the 2020 Oldenburg International Film Festival. The Madness Inside Me was later acquired by Gravitas Ventures and was released on digital platforms, Blu-ray, and DVD on September 3, 2021.

## Plot

Forensic psychiatrist Dr. Madison Taylor (Merrin Dungey), who works in the New York City prison system evaluating inmates for parole, is a witness to her husband Jeremy (Anthony DeSando) being assaulted by Francis Tate (Devon Graye) during a home invasion. In the struggle, Francis knocks Madison unconscious. When she wakes in the hospital, Detective Thompson (Thomas Q. Jones) reveals to her that her husband was murdered. Though Madison identifies Francis in a police lineup, she later testifies during his trial that he was not the killer.

In the aftermath of the trial, Madison is unable to sleep and begins to photograph strangers, places herself in increasingly dangerous situations, and ultimately starts to stalk Francis. After Jeremy's death, Madison's relationship with Jeremy's sister, Cynthia (Jennifer Gelfer), and her husband James (Brit Whittle) becomes strained. Madison attempts to understand the thrill that so many of the inmates that she had worked with felt with hunting their victims, and contemplates whether this was a buried aspect of her own personality. She continues working with incarcerated felons, including Eddie (Scotty Tovar), who was convicted of killing his father. Madison's self-destructive behavior leads her to meet Francis for coffee. Their encounter develops into a violent, sexual relationship as she tries to understand who Francis is and why he murdered her husband. She learns from Francis that he had broken into her apartment because he is a voyeur and that he did not intend to kill her husband.

## Cast

- Merrin Dungey as Madison Taylor

- Devon Graye as Francis Tate

- Jennifer Gelfer as Cynthia

- Scotty Tovar as Eddie

- Thomas Q. Jones as Detective Thompson

- Anthony DeSando as Jeremy

- Brit Whittle as James

- John Buffalo Mailer as Robert

- Nick Mathews as Robbie

- Samantha Watkins as Rebecca

- Jocelyn Jones as Mila

- Claudia Maree Mailer as Pamela

- Ciaran Byrne as Ian Kerns

- Danielle Guldin as Nicole

## Production

Writer/director Matthew Berkowitz originally pitched The Madness Inside Me in an earlier form before his directorial debut, Wild in Blue (2015), featuring a younger woman as the lead character but was not able to get the film made. After the release of Berkowitz's second film, A Violent Man (2017), he revisited the idea and wrote the screenplay with an older lead actress in mind. The mother of Matthew Berkowitz, the film's writer/director, is a psychologist and Berkowitz based some of the film on the concept of identity.

Principal photography took place over 18 days in New York City, and the prison scenes were shot at a prison in Queens. Shooting mostly took place at night utilizing a Red camera. Nancy Moonves and Martin Tuchman served as executive producers on the film.

## Release

The Madness Inside Me premiered at the Oldenburg International Film Festival on September 17, 2020. The It was released on VOD services (including Amazon, Google Play, iTunes, Microsoft Movies & TV, YouTube, and Vudu) and Blu-ray and DVD by Gravitas Ventures on September 3, 2021.

## Reception

### Critical response

Anthony Francis of Screen Comment called The Madness Inside Me "Well-directed and extremely well-written" and wrote, "Berkowitz’s film swims in territories previously explored by filmmakers as varied as Brian De Palma, Roman Polanski, David Cronenberg, and Luis Buñuel." Writing for HorrorBuzz.com, Kyle Williams gave the film 9 out of 10, calling it "stunning in both its technical and creative achievements" and praised Berkowitz for "effectively crafting a thrilling, intriguing world full of engaging characters." Ben Bradley from Starburst gave the film 3 out of 5 stars and particularly praised the film's cinematography as "stunning" while adding that the film "doesn’t provide many answers but is an engaging watch nevertheless."


The Man Who Fell to Earth

# The Man Who Fell to Earth

## Abstract

The Man Who Fell to Earth is a 1976 British science fantasy drama film directed by Nicolas Roeg and adapted by Paul Mayersberg. Based on Walter Tevis 's 1963 novel of the same name, the film follows an extraterrestrial named Thomas Jerome Newton (David Bowie) who crash-lands on Earth seeking a way to ship water to his planet, which is suffering from a severe drought, but finds himself at the mercy of human vices and corruption. It stars David Bowie, Candy Clark, Buck Henry, and Rip Torn. It was produced by Michael Deeley and Barry Spikings. The same novel was later adapted as a television film in 1987. A 2022 television series with the same name serves as a continuation of the film 45 years later, including featuring Newton as a character and showing archival footage from the film.

The Man Who Fell to Earth retains a cult following for its use of surreal imagery and Bowie's first starring film role as the alien Thomas Jerome Newton. It is considered an important work of science fiction cinema and one of the best films of Roeg's career.

## Plot

Thomas Jerome Newton is a humanoid alien who travels to Earth from a distant planet. Landing in New Mexico, he appears as an Englishman. Newton has arrived on Earth on a mission to take water back to his home planet, which is experiencing a catastrophic drought. Newton swiftly uses the advanced technology of his home planet to patent many inventions on Earth. He acquires tremendous wealth as the head of an Arizona technology-based conglomerate, World Enterprises Corporation, aided by leading patent attorney Oliver Farnsworth. This wealth is needed to construct a space vehicle with the intention of shipping water back to his home planet.

While revisiting New Mexico, Newton meets Mary-Lou, a lonely young woman from Oklahoma who works an array of part-time jobs in a small town hotel to support herself. Mary-Lou introduces Newton to many customs of Earth, including churchgoing, alcohol, and sex. She and Newton move into a house together which he has built close to where he first landed in New Mexico.

Dr. Nathan Bryce, a former college professor who had sex with his female students, has landed a job as a fuel technician with World Enterprises and slowly becomes Newton's confidant. Bryce senses Newton's alienness and arranges a meeting with Newton at his home where he has hidden a special X-ray camera. When he takes a picture of Newton with the camera, it reveals Newton's alien physiology. Newton's appetite for alcohol and television (he is capable of watching multiple televisions at once) becomes crippling, and he and Mary-Lou fight. Realizing that Bryce has learnt his secret, Newton reveals his alien form to Mary-Lou. She is unable to accept his true form, and flees in panic and horror.

Newton completes the spaceship and attempts to take it on its maiden voyage amid intense press exposure. However, just before his scheduled take-off, he is seized and detained, apparently by the government and a rival company. His business partner Farnsworth is murdered. The government, which had been monitoring Newton via his driver, holds Newton captive in a locked luxury apartment, constructed deep within a hotel. During his captivity, they keep him sedated with alcohol (to which he has become addicted) and subject him to rigorous medical tests, cutting into his human disguise. One examination, involving X-rays, causes the contact lenses he wears as part of his human disguise to permanently affix themselves to his eyes.

Toward the end of Newton's years of captivity, he is visited again by Mary-Lou. She is much older, and her appearance has been ravaged by alcohol and time. They have mock-violent, playful sex that involves firing a gun with blanks, and afterwards occupy their time drinking and playing table tennis. Mary-Lou declares that she no longer loves him, and he replies that he does not love her either. Eventually Newton discovers that his "prison", now derelict, is unlocked, and he leaves.

Unable to return home, a despondent and alcoholic Newton creates a recording with alien messages, which he hopes will be broadcast via radio to his home planet. Bryce, who has since married Mary-Lou, buys a copy of the album and meets Newton at a restaurant. Newton is still rich and young-looking despite the passage of many years. However, he has also fallen into depression and continues to suffer from alcoholism. Seated on the restaurant's outdoor patio, Newton inquires about Mary-Lou, before collapsing in a drunken stupor on the chair.

## Cast

- David Bowie as Thomas Jerome Newton

- Rip Torn as Dr. Nathan Bryce

- Candy Clark as Mary-Lou

- Buck Henry as Oliver V. Farnsworth

- Bernie Casey as Mr. Peters

- Jackson D. Kane as Professor Canutti

- Rick Riccardo as Trevor

- Tony Mascia as Arthur

- Adrienne La Russa as Helen

- Albert Nelson as waiter

- Claudia Jennings as Mr. Peters' wife (uncredited)

- Jim Lovell as himself

## Production

### Pre-production

Paramount Pictures had distributed Roeg's previous film, Don't Look Now (1973), and agreed to pay $1.5 million for the US rights. Michael Deeley used this guarantee to raise finance to make the film. Roeg originally considered casting author Michael Crichton and actor Peter O'Toole in the role of Newton before Bowie.

### Filming

Filming began on 6 July 1975. The film was primarily shot in New Mexico, with filming locations in Albuquerque, White Sands, Artesia and Fenton Lake. The film's production had been scheduled to last eleven weeks, and throughout that time, the film crew ran into a variety of obstacles: Bowie was sidelined for a few days after drinking bad milk; film cameras jammed up; and for one scene shot in the desert, the movie crew had to contend with a group of Hells Angels who were camping nearby.

Bowie, who was using cocaine during the movie's production, was in a fragile state of mind when filming was underway, going so far as to state in 1983 that "I'm so pleased I made that, but I didn't really know what was being made at all" and that "My one snapshot memory of that film is not having to act. Just being me was perfectly adequate for the role. I wasn't of this earth at that particular time." He said of his performance:

I just threw my real self into that movie as I was at that time. It was the first thing I'd ever done. I was virtually ignorant of the established procedure, so I was going a lot on instinct, and my instinct was pretty dissipated. I just learned the lines for that day and did them the way I was feeling. It wasn't that far off. I actually was feeling as alienated as that character was. It was a pretty natural performance.... a good exhibition of somebody literally falling apart in front of you. I was totally insecure with about 10 grams a day in me. I was stoned out of my mind from beginning to end.

Candy Clark, Bowie's co-star, remembers things differently: "David vowed to Nic, 'No drug use'," says Clark and he was a man of his word, "clear as a bell, focused, friendly and professional and leading the team. You can see it clearly because of (DP) Tony Richmond's brilliant cinematography. Look at David: his skin is luminescent. He's gorgeous, angelic, heavenly. He was absolutely perfect as the man from another planet." She added that Roeg had hired "an entirely British crew with him to New Mexico and I remember David was very happy about that." Roeg also cast Bowie's bodyguard, Tony Mascia, as his character's onscreen chauffeur.

Bowie and Roeg had a good relationship on set. Bowie recalled in 1992 that "we got on rather well. I think I was fulfilling what he needed from me for that role. I wasn't disrupting... I wasn't disrupted. In fact, I was very eager to please. And amazingly enough, I was able to carry out everything I was asked to do. I was quite willing to stay up as long as anybody."

Bowie brought a personal library with him; "I took 400 books down to that film shoot. I was dead scared of leaving them in New York because I was knocking around with some pretty dodgy people and I didn't want any of them nicking my books. Too many dealers, running in and out of my place."

### Music

Although Bowie was originally approached to provide the music, contractual wrangles during production caused him to withdraw from this aspect of the project. Nonetheless, Bowie would go on to use stills from the film for the covers of two of his albums, Station to Station (1976) and Low (1977). The music used in the film was coordinated by John Phillips, former leader of the pop group The Mamas & the Papas, with personal contributions from Phillips and Japanese percussionist-composer Stomu Yamash'ta as well as some stock music. Phillips called in former Rolling Stones guitarist Mick Taylor to assist with developing ideas for the soundtrack. The music was recorded at CTS Lansdowne Recording Studios in London, England.

Due to a creative and contractual dispute between Roeg and the studio, no official soundtrack was released for the film, even though the 1976 Pan Books paperback edition of the novel (released to tie in with the film) states on the back cover that the soundtrack is available on RCA Records. The soundtrack, derived from recently rediscovered masters, was eventually released on CD and LP in 2016 to coincide with the 40th anniversary of the film's premiere. The music by Yamash'ta had already appeared on his own albums, as noted below.

- Musical Directors: John Phillips, Derek Wadsworth

- Piano/Keyboards: Pete Kelly, John Taylor

- Guitars: Mick Taylor, Ricky Hitchcock, Richard Morcombe, Jim Sullivan

- Pedal Steel Guitar: B. J. Cole

- Bass: Steve Cook

- Drums: Henry Spinetti

- Percussion: Frank Ricotti

Composed and recorded by Stomu Yamashta:

- "Poker Dice" (from Floating Music)

- "33⅓" (from Raindog)

- "Mandala" (from the Soundtrack from Man from the East)

- "Wind Words" (from Freedom is Frightening)

- "One Way" (from Floating Music)

- "Memory of Hiroshima" (from the Soundtrack from Man from the East)

Performed by John Phillips:

- "Boys from the South"

- "Rhumba Boogie"

- "Bluegrass Breakdown"

- " Hello Mary-Lou " (featuring Mick Taylor)

Other music:

- " Blueberry Hill " – Louis Armstrong

- "Enfantillages Pittoresques" composed by Erik Satie, performed by Frank Glazer

- " A Fool Such As I " – Hank Snow

- " Make the World Go Away " – Jim Reeves

- " Try to Remember " – The Kingston Trio

- " Blue Bayou " – Roy Orbison

- " Silent Night " – Robert Farnon

- " True Love " – Bing Crosby

- "Love Is Coming Back" – Genevieve Waite

- " Stardust " – Artie Shaw

- " Planets Suite, Op. 32: Mars, Bringer of War & Venus, Bringer of Peace" composed by Gustav Holst and performed by the Bournemouth Symphony Orchestra

For the scenes in which Newton's thoughts drift back to his alien home, Phillips and Roeg enlisted Desmond Briscoe to craft simple electronic atmospheres that were then combined with whale songs, to eerie effect.

## Release

According to Michael Deeley, when Barry Diller of Paramount saw the finished film he refused to pay for it, claiming it was different from the film the studio wanted. British Lion sued Paramount and received a small settlement. The film obtained a small release in the United States through Cinema V in exchange for $850,000 and due to foreign sales the film's budget was just recouped.

The British Board of Film Censors passed the film uncut for adult UK audiences with an X rating.

It was announced in the summer of 2016 that the film was in the process of being digitally remastered to 4K quality for its 40th anniversary (which was reported to have begun before Bowie's death). This remastered version premiered at BFI Southbank before being released in cinemas across the UK on 9 September of that year. The film's 2011 and 2016 re-releases grossed $100,072 domestically and $73,148 internationally.

## Reception

### Critical response

Roger Ebert of the Chicago Sun-Times awarded the film 2 + 1 ⁄ 2 stars of four; while he complimented parts of the film and the directing, he was dismissive of the plot, writing in his review that the film is "so preposterous and posturing, so filled with gaps of logic and continuity, that if it weren't so solemn there'd be the temptation to laugh aloud." Gene Siskel of the Chicago Tribune gave the film three stars out of four and wrote that it "may leave you punch drunk, knocked out by its visuals to the point of missing what a simple story it is." Richard Eder of The New York Times praised the film, writing, "There are quite a few science-fiction movies scheduled to come out in the next year or so. We shall be lucky if even one or two are as absorbing and as beautiful as The Man Who Fell to Earth."

Robert Hawkins, reviewing for Variety, praised Roeg's direction and felt the film was "stunning stuff throughout, and Bowie's choice as the ethereal visitor is inspired...Candy Clark, as his naive but loving mate, confirms the winning ways that won her an Oscar nomination in American Graffiti. Her intimate scenes with Bowie, especially the introductory ones, are among pic's highlights." Charles Champlin of the Los Angeles Times described Bowie as "perfect casting" but thought the film was "a muddle," and suspected it was because he reviewed a version trimmed by 20 minutes for its U.S. run: "That would do a lot to explain why the movie proceeds from the provocatively cryptic to the merely incomprehensible." In a retrospective review, Kim Newman of Empire gave the movie five stars out of five, describing the film as "consistently disorientating and beguilingly beautiful."

Review aggregator Rotten Tomatoes reports the film has a 79% approval rating based on 71 reviews with an average rating of 7.80/10. The critics' consensus states: "Filled with stunning imagery, The Man Who Fell to Earth is a calm, meditative film that profoundly explores our culture's values and desires." On Metacritic, the film has achieved a weighted average rating of 81 out of 100 from 9 critic reviews, citing "universal acclaim".

### Legacy

Since its original 1976 release, The Man Who Fell to Earth has achieved cult status. This status has been echoed by critics, especially as it was a popular hit with midnight movie audiences years after it was released. Joshua Rothkopf of Time Out believed that the cult classic status, which he described as a "vaguely demeaning term", does the film a disservice. He labeled the film as "the most intellectually provocative genre film of the 1970s." When re-released in 2011, Ebert gave the film three stars, stating that readers should "consider this just a quiet protest vote against the way projects this ambitious are no longer possible in the mainstream movie industry." The movie has been applauded for its experimental approach and compared to more recent sci-fi films such as Under the Skin. Rolling Stone ranked it second on its 50 best sci-fi movies of the 1970s, Timeout ranked it 35th on its 100 best sci-fi movies, it is 61st on the Online Film Critics Society list of "greatest science fiction films of all time". Empire placed it 42nd on its list of 100 best British films. British Film Institute included it on its list of "50 late night classics", demonstrating its popularity as a midnight movie.

Bowie's role in the film led to his casting as Nikola Tesla in The Prestige (2006), with director Christopher Nolan stating "Tesla was this other-worldly, ahead-of-his-time figure, and at some point it occurred to me he was the original Man Who Fell to Earth. As someone who was the biggest Bowie fan in the world, once I made that connection, he seemed to be the only actor capable of playing the part." It also led to Bowie being cast by Jack Hofsiss in the play The Elephant Man. Hofsiss said: "The piece of work he did that was most helpful in making the decision was The Man Who Fell To Earth, in which I thought he was wonderful, and in which the character he played had an isolation similar to the Elephant Man's".

## In popular culture

- Iron Maiden 's founder Steve Harris used the font in the film poster to come up with the band's iconic name design.

- In Philip K. Dick 's science fiction novel VALIS, fictionalised versions of Dick and K. W. Jeter become obsessed with Valis, a film starring musician Eric Lampton. Dick based the novel's story on his and Jeter's real obsession with The Man Who Fell to Earth; Lampton is a fictionalised stand-in for Bowie.

- The music video to Guns N' Roses 's 1987 " Welcome to the Jungle " was partially based on The Man Who Fell to Earth.

- The music video to Scott Weiland 's 1998 song " Barbarella " uses themes from The Man Who Fell to Earth.

- Dr. Manhattan 's apartment and Ozymandias ' Antarctic retreat in the 2009 film Watchmen were mainly based on the set of The Man Who Fell to Earth.

- The 2009 song "ATX" by Alberta Cross is based on Bowie's character in The Man Who Fell to Earth.

- Michael Fassbender has said he used Bowie's performance as an inspiration for the android David in Ridley Scott 's 2012 science fiction film Prometheus.

- In Bret Easton Ellis 's 2010 novel Imperial Bedrooms, the main character mentions that he is involved with writing the script for a remake of The Man Who Fell to Earth.

- The musical Lazarus, which premiered off-Broadway in 2015, with music and lyrics by David Bowie and book by Enda Walsh, is based on the novel and the film. While the music video for the 2013 Bowie song " The Stars (Are Out Tonight) " references the film with a picture of alien Bowie, as he appears in the film, on a magazine.

- The title of the Doctor Who episode " The Woman Who Fell to Earth " is a reference to the book and film.

- A character by the name Thomas Jerome Newton appears in the TV series Fringe, as does David Robert Jones, which is David Bowie's birth name.


Prince Daddy & the Hyena

# Prince Daddy & the Hyena

## Abstract

Prince Daddy & the Hyena is an American punk rock band from Albany, New York, formed in 2014. They have released three full-length albums and four extended plays.

## History

### Formation and early years

Prince Daddy and the Hyena was formed in 2014 when Kory Gregory, Alex Ziembiec and Zakariya Houacine were inspired to start a band after seeing Rozwell Kid live. According to Gregory, Rozwell Kid was a substantial influence on much of his early songwriting. The origin of the band's name is obscure; Gregory has stated that he "would make up a different dumbass story each time". He has variously explained that it was derived from a game that Gregory played with the band's TM & merch person – Luis Wiest – at recess in elementary school, that it was the name of Gregory's childhood guinea pig, or that it is his parents' anniversary. He has also tweeted that there is a comma missing between Prince and Daddy, due to a grammatical error.

The band met lead guitarist Cameron Handford through house shows and mutual friends eventually leading up to his joining of the band. Prince Daddy & the Hyena began in 2014 with the release of an extended play titled Skip Cutscenes! Blow Loud!.

The band released the EP Adult Summers in 2015 through Broken World Media and again in 2017 through Counter Intuitive Records.

Their first full-length album I Thought You Didn't Even Like Leaving was finally released in 2016 on Broken World Media.

In 2017, Ziembiec left the band and was replaced by Daniel Gorham from Pictures of Vernon.

### Cosmic Thrill Seekers

In 2019, the band released its second full-length album titled Cosmic Thrill Seekers on Counter Intuitive Records, and embarked on several extensive tours in support of the album. This tour would prove difficult for the band, as they were involved in a traffic accident which left the band and members of their team temporarily unable to walk. After recovering from this incident, the band's tour van was broken into, leading to the loss of $7,500 worth of equipment.

The band toured Europe with Oso Oso in support of the album in the fall of 2019, and in 2020, the band embarked on a co-headlining tour with Oso Oso, with support from Just Friends.

### Self-titled album

In 2021, the band signed to Pure Noise Records and released the single "Curly Q.", which Gregory wrote for his nephew.

In 2022, they announced their forthcoming third album, Prince Daddy & the Hyena, to release on April 15. The album is conceptually about the fear of death, and was inspired by a van crash the band experienced. The album was also supported by the singles "A Random Exercise In Impermanence (The Collector)," "El Dorado," and "Shoelaces," as well as a headlining tour throughout the United States with Macseal, Insignificant Other, and California Cousins.

Original drummer Alex Ziembiec died in November 2022.

In February 2023, they embarked on a co-headlining tour with Drug Church, with support from Anxious and Webbed Wing.

## Musical style

The band has self-identified themselves as a punk rock band in an interview with The Fader. Critically, the band has been described as "smartly crafted slacker punk" with elements of power pop, post-hardcore, and emo by AllMusic. Pitchfork has identified the band as both punk rock and emo.

Frontman Kory Gregory has cited Weezer, the Strokes, Jeff Rosenstock, and Green Day as major influences on the sound. In an interview with The Fader, Gregory described the sound on the band's second album Cosmic Thrill Seekers as "the soundtrack to a Disney film played by a punk rock band."

## Band members

Current

- Korneilious "Kory" Jophus Gregory – lead vocals, guitar (2014–present)

- Cameron "Cambo" Hanford – guitar (2014–present)

- Daniel "Podwick" Gorham – drums, backing vocals (2018–present)

- Jordan "J Nasty" Chmielowski – bass (2024–present; touring 2022–2023)

Past

- Zakariya "Hardly Knew Yee" Houacine – bass (2014–2019)

- Alex "Al Al Bean" Ziembiec – drums (2014–2017; died 2022)

- Adam Dasilva – bass (2020–2022)

Touring

- Jake Sulzer – drums (2017), bass (2023)

- James Ringness – drums (2017)

- Cole Syzilagyi – bass (2022)

### Timeline

## Discography

Studio albums

- I Thought You Didn't Even Like Leaving (2016, Broken World Media/2017, Counter Intuitive Records)

- Cosmic Thrill Seekers (2019, Counter Intuitive Records)

- Prince Daddy & the Hyena (2022, Pure Noise Records)

EPs

- Skip Cutscenes! Blow Loud! (2014, Wallflower Records)

- Adult Summers (2015, Broken World Media, 2017 Counter Intuitive Records)

Splits

- Prince Daddy & The Hyena/Just Friends (2016, Broken World Media)

- Now That's What I Call Music Vol. 420 (2017, Counter Intuitive Records)

Singles

- Adult Summers Pt. 2 (2015, Broken World Media) HIDDEN TRACK* (2015, Broken World Media)

- HIDDEN TRACK* (2015, Broken World Media)

- I Thought You Didn't Even Like Leaving (2016, Broken World Media)

- Hundo Pos (2016, Broken World Media)

- I Forgot To Take My Meds Today (2017, Broken World Media)

- I Lost My Life (2019, Counter Intuitive Records)

- Lauren (Track 2) (2019, Counter Intuitive Records)

- Fuckin' A (2019, Counter Intuitive Records)

- Prototype of The Ultimate Life-form (2019, Counter Intuitive Records)

- Curly Q (2021, Pure Noise Records)

- A Random Exercise in Impermanence (The Collector) (2022, Pure Noise Records)

- El Dorado (2022, Pure Noise Records)

- Shoelaces (2022, Pure Noise Records)


Octavio Rivero

# Octavio Rivero

## Abstract

Raúl Octavio Rivero Falero (born 24 January 1992), known as Octavio Rivero, is a Uruguayan footballer who plays as a striker for Ecuadorian Serie A side Barcelona SC.

## Career

### Beginnings and Uruguay teams

Rivero began his playing career at local club Huracán de Treinta y Tres, where despite being a striker he also played as an attacking midfielder. In 2008, he moved to Montevideo to play for Defensor Sporting and remained on the club's youth program for four years.

He joined Central Español in 2012, where his professional career began, and debuted for the first team in a game against Danubio. In his first season as a professional he played 16 games as a starter and finished the championship with three goals. For the next championship he was transferred to Rentistas and begins the most successful cycle of his career as the top scorer of the club with 10 goals and is one of the principal figures of the team finishing the season as one of the top scorers of the Uruguayan Clausura 2014 helping Rentistas qualify to the Copa Sudamericana 2014.

### O'Higgins

His great performances with Rentistas led him to sign for Chilean Champion O'Higgins in 2014, where he scored 10 goals in 16 matches, being one of the best players of the Chilean championship.

### Vancouver Whitecaps FC

Rivero's success at O'Higgins attracted the interest of Vancouver Whitecaps FC of Major League Soccer who signed Rivero as a young designated player on 25 December 2014. He scored his first goal for the Whitecaps on his debut, against Toronto FC, giving Vancouver a 1–0 lead, but they ended up losing the game 3–1. Rivero followed up on his goal with an 86th-minute winner away at Chicago Fire to earn his team a 1–0 win. Rivero continued his impressive goal scoring form to start his Whitecaps career with his third goal in three games, this time another game winner deep into second half stoppage time away at Orlando City SC, again to earn his team a 1–0 win. After scoring three goals in four games, Rivero was named MLS Player of the Month for the month of March 2015. On 4 April, his fifth game with Vancouver, he temporarily took over the league lead in goals with four goals in five games after scoring his team's second goal in a 2–0 win over the LA Galaxy. After that Rivero scored another goal against the Columbus Crew SC in a 2–2 draw earning him a league-leading five goals in six games for the Whitecaps. On 6 July 2016, Rivero completed a transfer to Colo-Colo on the same day that the Chilean club's coaching staff resigned.

### Santos Laguna

Rivero joined Liga MX team Santos Laguna on a loan in January 2020.

### Unión Española

After being a free agent during 2022, he joined Unión Española for the second half of the 2022 Chilean Primera División.


Silverstream railway station

# Silverstream railway station

## Abstract

Silverstream railway station is a suburban railway station serving Silverstream in Upper Hutt, New Zealand. The station is located on the Hutt Valley section of the Wairarapa Line, 26.8 km (16.7 mi) north of Wellington. The station is served by Metlink 's electric multiple unit trains of the "Matangi" FP class. Trains stopping at Silverstream run to Wellington and Upper Hutt.

The station has an island platform between two tracks, linked to Field Street in the south by a footpath, and to Fergusson Drive in the north-west and Whitemans Road to the north-east via pedestrian level crossings.

## Services

### Rail

TransDev operates Hutt Valley Line electric suburban services between Wellington and Upper Hutt via Silverstream. The basic daytime off-peak timetable is:

- 3 tph to Wellington, stopping all stations (2 tph on weekends)

- 3 tph to Upper Hutt, stopping all stations (2 tph on weekends)

The basic morning peak timetable is:

- 3 tph to Wellington, stopping all stations to Taita then Waterloo only

- 2 tph to Upper Hutt, stopping all stations

### Bus

The following Metlink bus services serve the station:

## History

The present Silverstream railway station replaced the earlier station from 21 November 1954 when the section of line alongside the hill south of Silverstream, which passed over the wooden truss bridge just below Silverstream Hospital, was closed. The deviation of the line is some distance to the west of the original line and crosses the Hutt River on a steel bridge with concrete piers - the replacement station is several hundred yards to the north of the old station.

An adjacent level crossing had automatically locking gates installed to stop pedestrians using the crossing until a second train clears the crossing (after a 2003 accident).

The station was damaged by a small fire circa 2000, which left it leaking and with no lights under the shelter for several years. The fire damage showed until some repairs were made that the station had toilets at one point until the area was boarded up again.

In 2019–20 the GWRC is to "renew" the Silverstream railway station.