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The introduction to the book includes an analysis by the author of Van Morrison 's skill to use " the stuff of his life " . Turner compares Van Morrison with other musicians of the time period , including Robbie Robertson , Bob Dylan , and Neil Young . The book 's 10 chapters contain a pictorial overview of the musician 's professional work . The book 's chapters are structured according to record releases of the musician . Pictures include images from locations where Van Morrison grew up in Belfast , contact prints from a photo shoot for a cover album with his wife at the time Janet Planet , and archived marketing photographs of a younger Van Morrison . The beginning of the book includes 10 close @-@ up shots of the musician . The book also contains a complete discography of Van Morrison 's work .
Turner describes Van Morrison 's early life as George Ivan Morrison on Hyndford Street in Belfast . " I 'm definitely Irish " , Van Morrison is quoted as stating in the book . He asserts that Van Morrison was affected by his mother 's religious conversion to the Jehovah 's Witnesses when he was a child . Turner states that this experience contributed to his position as an outcast : " Who else in Belfast had a father who played Jelly Roll Morton records , and a mother who indulged in doorstep evangelism ? " Turner discusses Van Morrison 's musical colleagues , his successes , the break @-@ ups of his various bands , and his efforts to seek out creative expression . The author includes commentary and images from Van Morrison 's first release with the band Them in 1964 , through to his latest album at the time of the book 's publication .
Turner interviewed flautist John Payne for the book , who had sat in on sessions with Van Morrison and later collaborated with him . Payne comments on their work together on the album Astral Weeks , which also included musicians Connie Kay , Warren Smith , Jay Berliner , and Richard Davis : " Ironically , the image you have when you listen to the album now is of these guys who are all together , and they realise they are creating a monumental work of art . The fact is that it was just another session for them . " Payne states of his observations of Van Morrison 's performance style : " When ( Van ) was on stage , he would look like a space cadet , but then he 'd open his mouth and you would realize that he had channeled everything into the sound of his voice . The rest of it was just a shell that was there for the purpose of producing this noise . "
The book notes the artist 's reluctance to be interviewed or engage with the public , and quotes him as saying : " It 's very hard for me to relate to people asking questions that are not only boring but don 't have anything to do with my life ... It 's a waste of time on my part because it drains me from doing what I really want to do , which is just to play music . " Van Morrison describes his perceived musical role : " I just feel I 'm doing the job . My job is to play music and deliver the show ... It 's more emotional for the audience ... what they sort of think you are . " He states that one of his motivations is " ideally to induce states of meditation and ecstasy , as well as to make people think " .
The author notes Van Morrison 's dislike of conformity , and quotes him as saying : " I hate organizations . " Of his period in his life of experimentation , Van Morrison comments : " I 'm not searching for anything in particular . I 'm just groping in the dark ... for a bit more light . That 's it really . " Turner notes how musical styles including rhythm and blues and Motown influenced the musician . Van Morrison 's exploration of spirituality is discussed in the book , including his experiences with mysticism , Christianity , and Dianetics . In the last chapter of the book , Turner comments on Van Morrison 's experiences in religion , writing : " His development of religion as a normal topic of discourse in popular song may turn out to be his most lasting contribution . "
= = Reception = =
The book was selected as " Editor 's Choice " in the Sunday Age , where Michael Gordon wrote : " This is not the whole story , but it is a well @-@ researched and superbly presented summary of the story so far – a kind of companion to the John Lennon book , ' Imagine ' – including the temper tantrums . Fans may , however , disagree with the closing assessment that Morrison may be running out of themes and ideas to express . " Publishers Weekly was critical of the book 's tone , commenting : " Turner is more adulatory than probing . " The review noted : " A complete discography makes this book a necessity for fans of the Irish Rover . " Writing for The Boston Globe , Thomas C. Palmer Jr. called the book " a coffee @-@ table biography that fills an extensive void , both for those hungry for gossip and for those who have wondered at the source of the creativity in this prolific producer of often stunningly original – if difficult to categorize – music " . Palmer commented on the book 's value : " The value of the book is that it has at its heart the same subjects that most of Morrison 's music has featured , subtly or otherwise ( but never as blatantly as Dylan in his " Saved " period ) : religion and spirituality . " Robert Sandall reviewed the book for The Sunday Times , and wrote : " Steve Turner has performed his task as a biographer diligently enough in Too Late To Stop Now , but the really interesting story here is told by the photographs . " Sandall commented : " Thirty years of constant rowing with anybody who has ever tried to get close to him , and a fitful and irritable hankering after religion ( any religion ) have left him looking bloated , sad and , as Turner has the courage and decency to point out , not as great a musician now as his current reputation would suggest . It 's all there in the pictures . "
Bernard Perusse of The Gazette described the book as " more superficial but more positive " than the 2006 biography Van Morrison : No Surrender by Johnny Rogan . In a review of the book for The Palm Beach Post , Lisa McDonough wrote " Steve Turner 's Van Morrison : Too Late To Stop Now is not the final answer on Morrison – only Morrison could give that – but he does provide insights and updates as well as a solid background on Morrison 's early life . " Writing for The Irish Times , John Boland was critical of the book 's text but wrote positively of its images : " Steve Turner 's Van Morrison : Too Late to Stop Now , has a trite , fanzine style text and isn 't very informative about the great man , but it has some splendid pictures and in its coffee table format is well worth the asking price " . A review in the Herald Sun was critical : " Too Late To Stop Now is more suited to the coffee table than a library shelf . It is browsing material , fleshed with snapshots , album covers , PR shots , posters and prints . The words are mere stitches , there to hold the pictures in place . " The Herald Sun noted that the author left out critical quotes from individuals that knew Van Morrison , and questioned Turner 's objectivity .
= Music of Chrono Cross =
The Chrono series is a video game franchise developed and published by Square Enix ( formerly Square ) . It began in 1995 with the time travel role @-@ playing video game Chrono Trigger , which spawned two continuations , Radical Dreamers and Chrono Cross . The music of Chrono Cross was composed by Yasunori Mitsuda , the main composer of Chrono Trigger and Radical Dreamers . Chrono Cross has sparked a soundtrack album , released in 1999 by DigiCube and re @-@ released in 2005 by Square Enix , and a greatest hits mini @-@ album , published in 2000 by Square along with the North American release of the game . Radical Dreamers , the music of which heavily inspired the soundtrack of Chrono Cross , has not sparked any albums , though some songs from its soundtrack were reused in Chrono Cross . An album of arrangements of Chrono Cross songs was first announced by Mitsuda in 2005 , and later intended to be released to coincide with the tenth anniversary of the game in 2009 ; its release data was pushed back several times since then . In 2015 , Mitsuda via Square Enix released an album of arranged music from Chrono Trigger and Chrono Cross entitled To Far Away Times to commemorate the 20 @-@ year anniversary of Chrono Trigger .
The original soundtrack album has been hailed as an excellent video game music album , while the Chrono Cross Music Selection mini @-@ album has garnered little attention . Songs from the soundtrack have been played at various orchestral concerts , such as the personal arrangements by Mitsuda for the Play ! A Video Game Symphony concert series . Chrono Cross music has also been extensively remixed by fans , and such remixes have been included in both official and unofficial albums .
= = Creation and development = =
Mitsuda returned as the lead composer for 1999 's Chrono Cross after composing its predecessor , Chrono Trigger . After being contacted to compose the score by the game 's director Masato Kato , Mitsuda decided to center his work around old world cultural influences , including Mediterranean , Fado , Celtic , and percussive African music . To complement the theme of parallel worlds , he gave the songs for the two worlds of the game , Another and Home , respectively dark and bright moods . Mitsuda was happy to accomplish even half of what he envisioned . Once production concluded , Mitsuda played Chrono Cross to record his impressions and observe how the tracks intermingled with scenes .
Radical Dreamers was a 1996 text @-@ based Visual Novel set as a gaiden , or side story , to Chrono Trigger . It was released to complement its predecessor 's plot , and later served as inspiration for Chrono Cross . The music of Radical Dreamers was written by Yasunori Mitsuda . The soundtrack includes several ambient pieces , including the sound of water running in a fountain and wind accompanied by strings . Players can listen to the game 's 15 songs by accessing a hidden menu in one of the game 's scenarios . The soundtrack has never been released as a separate album .
Several themes and musical patterns from Radical Dreamers were later adapted for Chrono Cross on the suggestion of Masato Kato ; many appear unchanged except for new instrumentation . Appearing in Chrono Cross are " Gale " , " Frozen Flame " , " Viper Manor " , " Far Promise ~ Dream Shore " ( as part of " On the Beach of Dreams - Another World " and " The Dream that Time Dreams " ) , " The Girl who Stole the Stars " , and " Epilogue ~ Dream Shore " ( as part of " Jellyfish Sea " ) . Other entries in the soundtrack contain leitmotifs from Chrono Trigger and Radical Dreamers . The melody of " Far Promise ~ Dream Shore " features prominently in " The Dream That Time Dreams " and " Voyage - Another World " .
= = Albums = =
= = = Chrono Cross Original Soundtrack = = =
The Chrono Cross Original Soundtrack is a soundtrack of the music from Chrono Cross , composed by Yasunori Mitsuda . The soundtrack spans three discs and 67 tracks , covering a duration of 3 hours . It was published by DigiCube on December 18 , 1999 , and reprinted by Square Enix on June 29 , 2005 .
Xenogears contributor Tomohiko Kira played guitar on the beginning and ending themes . Noriko Mitose , selected for the role by Masato Kato , sang the ending song " Radical Dreamers ~ Unstolen Jewel ~ " . Ryo Yamazaki , a synthesizer programmer for Square Enix , helped Mitsuda transfer his ideas to the PlayStation 's sound capabilities . The soundtrack has been described as having " some of the most haunting melodies known to man " . The " Home World " tracks from the soundtrack have been termed " emotional " , " driving " and " striking " , while the " Another World " tracks are described as " slower " , " dreamier " , and more " serene " than their counterparts .
The soundtrack won the Gold Prize for Sony 's PlayStation Awards of 2000 . It reached # 72 on the Japan Oricon charts on its first print and # 174 when reprinted . It was praised by reviewers such as Patrick Gann of RPGFan , who called it his favorite video game music soundtrack of all time and especially praised the vocals in " Radical Dreamers ~ Unstolen Jewel ~ " . This high opinion was echoed by Don Kotowski of Square Enix Music Online , who called it " one of Mitsuda 's best , both in and out of [ the ] context " of the game and said that it " surpasses his Chrono Trigger soundtrack " . He singled out " Scars of Time " and " Radical Dreamers " as especially worthy of praise . IGN , in their review of the game , termed the soundtrack " a brilliant score " that " does wonders in stirring the emotional strings of the players as they 're playing through the game " . IGN praised the technical sound quality of the soundtrack as well , though they did comment that for them no specific tracks stood out as especially memorable . In a separate piece about Japanese RPG composers , however , IGN called " Scars of Time " and " Arni Village - Home World " as two of Mitsuda 's most memorable tracks in naming him the second best out of ten behind Nobuo Uematsu .
Track listing
= = = Chrono Cross Music Selection = = =
Chrono Cross Music Selection is a mini @-@ album of Chrono Cross music that was released in North America exclusively as a bonus for pre @-@ ordering Chrono Cross . The five @-@ track disc was composed by Yasunori Mitsuda , has a length of 15 : 47 and was published by Square along with the game on August 15 , 2000 . Although the release of the album sparked rumors that it would be followed by a North American release of the full soundtrack album , Square Enix has not to date published Chrono Cross OST outside Japan .
Patrick Gann enjoyed the album , calling it a " little American gem of VG music " , but noted that there is no reason to purchase it now that the full soundtrack is just as easy to obtain , especially given its short length . The five tracks on this album were released on the " Original Soundtrack " with three of the tracks renamed .
= = = To Far Away Times : Chrono Trigger & Chrono Cross Arrangement Album = = =
In 2005 , Mitsuda announced a new arranged album of Chrono Cross music was scheduled for release in July of that year . It did not materialize , though at a Play ! A Video Game Symphony concert in May 2006 , he revealed it would be out " within the year " and would feature acoustic music . Later in 2006 , Mitsuda alleged that the album would actually be released in 2007 . In 2008 , Yasunori Mitsuda posted a streaming sample of a track from the upcoming Chrono Cross arranged album . Though no official release date was announced , Mitsuda more than once stated that the album would be planned to coincide with the 10th anniversary of the game 's original release in 2009 . Mitsuda claimed that the album was " nearly done " , but that it may not be possible to release it before the year was out .
On a live performance at the Tokyo Dome in July 2015 commemorating the 20 @-@ year anniversary of Chrono Trigger , Mitsuda announced that the long requested Chrono series arrangement album , entitled To Far Away Times : Chrono Trigger & Chrono Cross Arrangement Album would be released . This was eventually released by Square Enix Music on October 14 , 2015 . The album was released on the Square Enix website . A number of the tracks had vocalists to go on top of the score . All tracks were composed by Yasunori Mitsuda .
= = Legacy = =
Mitsuda has personally arranged versions of music from Chrono Cross for Play ! A Video Game Symphony video game music concerts in 2006 . Music from the game has also been performed in other video game concert tours such as the Video Games Live concert series and in concerts by the Eminence Orchestra . Music from Chrono Trigger and Cross made up one fourth of the music in the Symphonic Fantasies concerts in Leipzig in September 2009 which were produced by the creators of the Symphonic Game Music Concert series and conducted by Arnie Roth . The concerts featured a suite of music from both games interspersed together with the songs from Cross comprising " Scars of Time " , " Gale " , " Brink of Death " , and " Prisoners of Fate " . A suite comprising music from Chrono Trigger and Cross was performed at the Press Start -Symphony of Games- 2008 concerts in Tokyo and Shanghai . " Scars of Time " was played at the Fantasy Comes Alive concert in Singapore on April 30 , 2010 . Sheet music for Chrono Cross tracks arranged for both solo guitar and guitar duets has been released by Procyon Studio .
Chrono Cross 's soundtrack has been heavily remixed by fans , sparking several albums . These include the officially licensed Time & Space - A Tribute to Yasunori Mitsuda , released by OneUp Studios on October 7 , 2001 and containing 18 remixes over a span of 1 : 00 : 58 , with a second version of the album released on June 17 , 2003 . A related popular album release was Radical Dreamers : Thieves of Fate , an unofficial download @-@ only album release by the remix website OverClocked ReMix on January 5 , 2008 containing 15 remixes of the soundtrack to Radical Dreamers , including remixes of the tracks that later appeared in Chrono Cross . Selections of remixes also appear on dōjin remix albums , and on English remixing websites such as OverClocked Remix . " Time 's Scar " was featured by NPR in a program about classically arranged video game scores in December 2012 .
= M @-@ 47 ( Michigan highway ) =
M @-@ 47 is a north – south state trunkline highway in the US state of Michigan . It runs near Saginaw and Midland in the Tri @-@ Cities area of the Lower Peninsula . The highway runs through suburban and agricultural areas to connect the two cities with the airport in the area . The northernmost section of M @-@ 47 runs along a freeway to the terminus at US Highway 10 ( US 10 ) . M @-@ 47 runs for 14 @.@ 328 miles ( 23 @.@ 059 km ) , all of which has been listed as a part of the National Highway System .
First designated by July 1 , 1919 along a different routing , M @-@ 47 was extended several times in both directions through the 1920s and 1930s . Two of these extensions replaced sections of M @-@ 111 in the Bay City area . At the apex of its length in the 1950s , M @-@ 47 stretched from Webberville in the south to Bay City State Park in the north . Since Interstate 75 ( I @-@ 75 ) opened in the Tri @-@ Cities area , the northern section of M @-@ 47 was rerouted and truncated as a result of related changes to other highways . The southern end was moved after I @-@ 96 opened in the Lansing area . Further changes into the 1970s shortened M @-@ 47 more , producing the routing in use today .
= = Route description = =
M @-@ 47 starts at M @-@ 46 ( Gratiot Road ) east of Shields next to the Oakwood Cemetery . M @-@ 47 is known as Midland Road as it runs slightly northwest to intersect with M @-@ 58 ( State Road ) in Saginaw Charter Township running parallel to the Tittabawassee River . This area is the western edge of Saginaw 's suburbs . Along the road towards Freeland , there are periodic small farms in between small residential subdivisions . In the community of Freeland , M @-@ 47 runs near the MBS International Airport off Freeland Road . North of town , M @-@ 47 leaves Midland Road and becomes a freeway near Tittabawassee Park . The freeway section of M @-@ 47 runs through rural farm land . There is a diamond interchange with Salzburg Road before the terminal interchange at US 10 .
As part of its maintenance duties , the Michigan Department of Transportation ( MDOT ) tracks the volume of traffic on the highways it maintains . This number is expressed in terms of annual average daily traffic ( AADT ) , a calculation of the average traffic for a segment of roadway on any average day of the year . In 2009 , the department measured a peak of 19 @,@ 719 vehicles daily on the stretch north of Tittabawasee Road . The section south of the US 10 interchange had the lowest traffic level at 9 @,@ 315 vehicles AADT . Additionally , entire route of M @-@ 47 has been listed on the National Highway System , a network of roads important to the country 's economy , defense , and mobility .
= = History = =
The original designation of M @-@ 47 was routed from the Shiawassee – Ingham county line north to St. Charles and then east along M @-@ 46 into Saginaw . A southern extension into Ingham County to end at M @-@ 16 in Williamston was transferred and completed in 1924 . A northern extension to Bay City replaced a section of M @-@ 111 in 1929 , and extended farther to Bay City State Park in 1933 . M @-@ 47 replaced the remainder of M @-@ 111 and extended southward from the park to Bay City in 1938 , creating a " U @-@ turn " in the routing . The southern terminus was moved again in late 1951 or early 1952 to Webberville , although still ending on US 16 .
At its greatest extent in the 1950s , the highway extended north from Webberville through Owosso and St. Charles to a junction with M @-@ 46 between Hemlock and Shields . M @-@ 47 turned east along M @-@ 46 , running concurrently with that highway to Saginaw Township . There M @-@ 47 turned north independently to a junction with US 10 , and then ran concurrently with US 10 into Saginaw . Once in the city , M @-@ 47 turned north along Bay Street out of town toward Bay City . M @-@ 47 joined US 23 and followed it north of town . M @-@ 47 then ran separately to the state park before turning south and back into downtown Bay City , ending at the US 23 business loop .
Major changes to the routing of M @-@ 47 started in December 1960 when the I @-@ 75 / US 10 / US 23 freeway opened between Saginaw and Bay City . US 10 was rerouted east of Midland to Bay City along the M @-@ 20 freeway . M @-@ 47 was rerouted along the former US 10 from Saginaw to east of Midland using a connector expressway from Freeland north to the US 10 freeway . M @-@ 81 was extended over State Street in Saginaw , and the former routing of M @-@ 47 between Saginaw and Bay City was redesignated as M @-@ 84 . M @-@ 13 also replaced the former US 23 / M @-@ 47 when US 23 was moved to freeways as well . The southern end of M @-@ 47 was changed in 1962 with the completion of I @-@ 96 in the Lansing area . US 16 was replaced by M @-@ 43 , and the southern terminus of M @-@ 47 was moved to exit 122 along I @-@ 96 . This segment of M @-@ 47 south of M @-@ 46 became an extension of M @-@ 52 in 1969 , truncating M @-@ 47 to Hemlock . The interchange at Salzburg Road north of Freeland opened in 1970 , and the expressway segment was upgraded to a full freeway . At the same time , M @-@ 47 was truncated to its current routing , resulting in the elimination of the M @-@ 46 / M @-@ 47 concurrency near Shields . In the end , only about a mile and a half ( 2 @.@ 4 km ) of roadway still bears the M @-@ 47 from before the changes made starting in 1960 , along a section of road that was not originally part of the highway in 1919 .
In June 2014 , a construction project began on the interchange with US 10 at the route 's northern terminus . This construction consisted of bridge replacement over US 10 , as well as a new ramp connecting northbound M @-@ 47 to westbound US 10 that , unlike the old ramp , does not conflict with westbound traffic exiting onto southbound M @-@ 47 .
= = = M @-@ 111 = = =
In 1928 , M @-@ 111 was assigned to a route connecting M @-@ 13 ( later signed as US 23 for a time ) north of Bay City to Bay City State Park on Saginaw Bay . The original route consisted of what is today Euclid Avenue . In the early 1930s , a return leg towards Bay City was added to the east of the original route along what is now State Park Road , giving the route an upside @-@ down @-@ U shape.In 1933 , the western leg along Euclid Avenue from Midland Road to Beaver Road was designated as M @-@ 47 . In 1938 , all of M @-@ 111 was re @-@ designated as M @-@ 47 — thus making M @-@ 47 double back to Bay City .
= = Major intersections = =
All exits are unnumbered .
= The Convict ( 1910 film ) =
The Convict is a 1910 American silent short comedy produced by the Thanhouser Company . The film begins with a convict walking down the road , he is spotted and it begins a wild chase with more people becoming involved in the pursuit as it continues . The convict gets in a carriage and leaps away , successfully eluding all the pursuers except for a little girl . The convict then runs to the water and takes a boat from another accomplice and the chase continues in water and on land . The convict gets ashore and escapes , taking a car and flees to town . The police are notified and set a trap , but the convict avoids the growing crowd of pursuers until he arrives at the theater . There " the convict " takes a pose under an advertisement and the pursuers understand it was all an advertising ploy , they purchase tickets and go to see the film . The film was released on September 23 , 1910 , it was the first part of a split @-@ reel production that included A Husband 's Jealous Wife . The film was met with positive reviews though the film is presumed lost .
= = Plot = =
Though the film is presumed lost , a synopsis survives in The Moving Picture World from September 24 , 1910 . It states : " The convict is discovered stealing along a country road , glancing about for signs of danger . His stripes are discernible on that portion of his breast and on that portion of his trousers ' leg not covered by the long coat he wears - which cannot conceal the stripes that tell all ; hence his keen watch for passersby . Still , he does not spy a nearby farmer until too late ; the cry ' prisoner loose ' is raised , and a dozen rustics make after the unfortunate . Convict meets accomplice who is waiting with carriage ; jumps in the carriage and the pair drives off . Baffled pursuers come up , sight a wagon , all pile within and resume pursuit . Convict jumps from carriage and drops behind boulder , accomplice driving straight on with the wagon hot after him ; when the wagon has passed him by , convict comes from behind boulder , crosses road and disappears on other side - but has been seen crossing the road by a small girl who kept out of sight until the convict had disappeared , but who now rushes off to tell of her discovery . Put back on the trail by the little girl , pursuers follow their quarry to the waterside , where a second accomplice awaits the convict with a rowboat , and into which he jumps and pulls for the other side . Another rowboat sets out in pursuit . One of the pursuers telephones constables on the other side of the water to catch convict when he tries to land . "
" Race of the rowboats . Nearing shore the convict finds himself hemmed in - pursuers on water and constables on land . Luckily for him , pursuers in their efforts to grab his boat overturn their own ; he gets to shore , where [ the ] accomplice is caught though [ the convict ] escapes . Constable and pursuer chase him to town road , where third accomplice awaits with auto ; they speed off . An automobile too happens along , allows pursuers to use his auto to chase convict 's , and all enter except constable who rushes off to ' phone town police of convict 's coming . Receiving the message , chief of police leaves with coppers for town end of road , across which they stretch rope and await convict 's auto . As the convict dashes down Main Street new pursuers spring up at every step . Yet when he reaches the opera house he calmly walks into the entrance and , facing his pursuers , takes a dignified stand beside the billboard on which is printed : ' Latest Moving Picture - Today 's Feature - STUNG ! or The Convict 's Escape - A Roaring Comedy Now Showing . ' "
= = Production = =
The writer of the scenario is unknown , but it was most likely Lloyd Lonergan . He was an experienced newspaperman employed by The New York Evening World while writing scripts for the Thanhouser productions . The plot is a clever advertising scheme employed by a theatre manager to draw patrons and using an elaborate series of events in order to accomplish that effect . Once " the convict " is identified and the chase begins , he receives assistance in prolonging the chase until arriving at the theatre where the crowd purchases tickets for the show . The film director is unknown , but it may have been Barry O 'Neil . Film historian Q. David Bowers does not attribute a cameraman for this production , but at least two possible candidates exist . Blair Smith was the first cameraman of the Thanhouser company , but he was soon joined by Carl Louis Gregory who had years of experience as a still and motion picture photographer . The role of the cameraman was uncredited in 1910 productions . The only role in the cast which is known is for Marie Eline as the little girl . The other cast credits are unknown , but many 1910 Thanhouser productions are fragmentary . A surviving film still gives the possibility of identifying two actors .
= = Release and reception = =
The split @-@ reel comedy , approximately 1000 feet long with A Husband 's Jealous Wife included , was released on September 23 , 1910 . Advertising for the film was a bit mixed as to whether or not it was a comedy or a drama , stating , " You have no idea as to how marvelously a Thanhouser can twist a story until you see this gripping dra - well , perhaps , it isn 't a drama at that - or a comedy even . We hate to tip you off as to WHAT it is . When you see the picture , with its totally unlooked @-@ for climax , you 'll know why ! " Bowers would later term this as more of the slapstick comedy that Edwin Thanhouser said the company would not produce . The film likely had a wide national release , known advertising theatres include Indiana , and Kansas . The film was also shown in Vancouver , Canada . One theater advertisement may have confused this film with another because it lists this film as a western film .
Reviews for the film were positive and focused on the novel methods used to attract the audience to the theater . The Moving Picture World stated , " A burlesque picture which becomes more thrilling as it proceeds . The convict is supposed to have escaped and the way he is chased and surrounded bodes no good for him . But somehow he manages to elude the steadily increasing army of pursuers until they are gathered around him , when he calmly shows a motion picture announcement , and the reason for all this melee , in which the whole countryside took part , becomes apparent . " The requirement that the fleeing " convict " be continually assisted as a part of the plot may have been lost on The New York Dramatic Mirror reviewer . The reviewer writes , " Perhaps , in real life , things might not happen so luckily for the convict unless the carriage , the boat and the automobile were previously arranged for him . Even then , Fate might conceivably have some disagreeable card up her sleeve . In the film , at any rate , everybody bit nicely . They pursued the escaped convict in increasing crowds until he led them to the theatre he was advertising . There they all obligingly bought tickets to the show and , no doubt , enjoyed it hugely . They did if it was as good as the film is . The least interesting sections of the film are the telephone messages exchanged by agitated police officials ; but they set off the livelier adventures of the convict with agreeable contrast . " Walton of The Moving Picture News identified the set up and assistance to " the convict " and states , " In spite of the Thanhouser folk joining in the racket and the peculiar readiness of carriage and automobile and boat to help the gentleman in a costume , not used in this state for some two years , the audience did not ' catch on . ' When the revelation came , at the door of the New Rochelle picture show , the theatre rang with laughter . We were all ' stung ' and we enjoyed it . "
= Max Mosley =
Max Rufus Mosley ( born 13 April 1940 ) is the former president of the Fédération Internationale de l 'Automobile ( FIA ) , a non @-@ profit association that represents the interests of motoring organisations and car users worldwide . The FIA is also the governing body for Formula One and other international motorsports .
A qualified barrister and former amateur racing driver , Mosley was a founder and co @-@ owner of March Engineering , a successful racing car constructor and Formula One racing team . He dealt with legal and commercial matters for the company between 1969 and 1977 and became its representative at the Formula One Constructors ' Association ( FOCA ) , the body that represents Formula One constructors . Together with Bernie Ecclestone , he represented FOCA at the FIA and in its dealings with race organisers . In 1978 , Mosley became the official legal adviser to FOCA . In this role he and Marco Piccinini negotiated the first version of the Concorde Agreement , which settled a long @-@ standing dispute between FOCA and the Fédération Internationale du Sport Automobile ( FISA ) , a commission of the FIA and the then governing body of Formula One . Mosley was elected president of FISA in 1991 and became president of the FIA , FISA 's parent body , in 1993 . Mosley identified his major achievement as FIA President as the promotion of the European New Car Assessment Programme ( Euro NCAP or Encap ) . He has also promoted increased safety and the use of green technologies in motor racing . In 2008 , stories about his sex life appeared in the British press , along with unfounded allegations regarding Nazi connotations . Mosley successfully sued the newspaper that published the allegations and maintained his position as FIA president . He stood down at the end of his term in 2009 and was replaced by his preferred successor , Jean Todt .
Mosley is the youngest son of Sir Oswald Mosley , former leader of the British Union of Fascists ( BUF ) , and Diana Mitford . He was educated in France , Germany and Britain before going on to attend university at Christ Church , Oxford , where he graduated with a degree in physics . He then changed to law and was called to the Bar in 1964 . In his teens and early twenties Mosley was involved with his father 's post @-@ war political party , the Union Movement ( UM ) . He has said that the association of his surname with fascism stopped him from developing his interest in politics further , although he briefly worked for the Conservative Party in the early 1980s .