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Who got to no.1 with ‘The Sun Ain’t Gonna Shine Anymore’ in 1966? | The Sun Ain't Gonna Shine (Anymore) - Walker Brothers - YouTube
The Sun Ain't Gonna Shine (Anymore) - Walker Brothers
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Uploaded on Nov 28, 2007
From "Ready Steady Go" - Rediffusion 1966.
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| Walker Brothers |
In which city will you find the Jacques Cartier Bridge? | John Walker: Singer with the Walker Brothers, whose fame briefly rivalled the Beatles’ | The Independent
Monday 9 May 2011 23:00 BST
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In 1964 three unrelated Americans, Scott Engel, John Maus and Gary Leeds became the Walker Brothers, and once settled in London had No 1 hits with "Make It Easy On Yourself" and "The Sun Ain't Gonna Shine Anymore". Their slow, cavernous, heavily orchestrated recordings were highly distinctive and Scott and John's voices merged together well. In 1965-66, Walkermania was not far behind Beatlemania.
John Maus was born into a Catholic household in New York City on 12 November 1943. His parents, both born in America, came from immigrant families – German on his father's side and Czech on his mother's. Shortly after the family moved to California in 1947, the young boy climbed on to a roof and fell off, cutting his chin open and leading to a permanent scar, but it didn't detract from his good looks.
As a teenager, Maus was acting and singing in TV plays. Indeed, he met Scott Engel when they had both small parts in Playhouse 90. Maus was featured in an Ovaltine commercial and acted in The Eddy Duchin Story (1956) and Missouri Traveller (1958).
When Maus was incapacitated with a sporting injury, his parents bought him a guitar and he practised every day. He formed a duo with his sister, Judy, and they recorded a single, "Who's To Say", in 1958. Following this, Maus recorded his own songs for a number of different labels, and his friend Ritchie Valens encouraged him to form his own band. Maus also gave guitar lessons to Carl Wilson from the Beach Boys and he joined the Stringalongs for a while, although he was disillusioned that a hit group should be backing strippers.
As Maus was under 21, he thought it would be useful to have a fake ID for when he was working in clubs. He went to Mexico for one and called himself John Paul Walker. Maus formed a band with Scott Engel, then playing bass for the Routers. When some session musicians had a hit with "Wipe Out" as the Surfaris, Maus and Walker knew there was no such band and toured under their name.
In 1964, Maus and Engel and a drummer Tiny Schneider backed Donnie Brooks who had had a hit with "Mission Bell" and they called themselves the Walker Brothers Trio. In 1964, Maus and Engel recorded "Pretty Girls Everywhere" for Nick Venet as the Walker Brothers and they appeared on Jack Good's US TV show, Shindig. Good was taken by the fact that they had long hair like the British groups: indeed, Maus was once arrested because the police thought he was Brian Jones from the Rolling Stones.
Good had arranged for an American singer, PJ Proby, to be launched in Britain and Gary Leeds accompanied him as his drummer. When Leeds returned to the States, he told Maus and Engel that everything was happening in London and he was confident they could make it there.
Just before they went to London, Maus and Engel made a second single for Nick Venet, which was a romantic ballad from the Brill Building, "Love Her". Venet wanted Engel, who had the deeper voice, to take the lead. This became the template for the Walker Brothers' sound and hiring Jack Nitzsche as the arranger indicated the debt owed to Phil Spector.
"Love Her" was released in the UK by Philips in April 1965 and it became a Top 20 hit. The Philips producer, Johnny Franz, set about developing this sound and he liked Maus's suggestion that they should sing a Burt Bacharach and Hal David song, "Make It Easy On Yourself", which had been recorded by Jerry Butler. This was followed by "My Ship Is Coming In" (on which Maus is scarcely featured) and a best-selling album, Take It Easy With The Walker Brothers, which included solo tracks from both Engel and Maus (notably "Dancing In The Street").
Gary Leeds was scarcely featured on the recordings but he was an important component in the look of the band. "It never bothered Gary," Maus told me in 2002, "He was always happy and he had a great fan following."
In 1963, Maus had met Kathy Young, who had a US hit with "A Thousand Stars", and they married two years later. They settled in London and the marriage was soon public knowledge. Their relationship was often strained as Maus found that many fans were competing for his attention.
In 1966, the Walker Brothers took "The Sun Ain't Gonna Shine Anymore" to No 1. It was originally recorded by Frankie Valli and Maus commented, "Frankie Valli made a good record, but he didn't see what it could have been. It was a wonderful song but because of its range, it really needed two vocalists. Scott sang lead on the verses and then swapped to harmony for the chorus." The record became infamous as it was playing on the jukebox when Ronnie Kray burst into The Blind Beggar to shoot George Cornell.
When their work permits expired, the Walker Brothers had to leave the UK. They had had two moderate hits in America and the obvious move would have been to head home for TV and tour dates. However, Engel felt that he might be drafted to Vietnam and so they toured Europe instead.
They made two further albums,Portrait (1966) and Images (1967), but Maus felt that Johnny Franz was trying to split the group. He had encouraged Dusty Springfield to leave the Springfields and he wanted to make solo records with Scott Walker. Indeed, one of the best-selling EPs in 1966 was Solo John, Solo Scott on which John sings an excellent "Come Rain Or Come Shine".
In 1967, the Walker Brothers toured the UK in an unlikely but highly successful package that featured Jimi Hendrix and Engelbert Humperdinck. However, the Walker Brothers were winding down, and apart from tour dates in Japan in 1968 it was all but over. Maus had a solo hit with "Annabella", written by Graham Nash, and although they weren't successful, he recorded a couple of singles, produced by Engel. He released the solo albums If You Go Away (1967) and This Is John Walker (1969).
In 1975 the Walker Brothers reformed for Dick Leahy at GTO Records and Leahy suggested that that they gave their big treatment to Tom Rush's song, "No Regrets". It worked perfectly and they made three albums, No Regrets, Lines and Nite Flights. However, it was clear that they were moving from the commercial mainstream.
Maus was divorced in 1968 but he had a son with his second marriage and a daughter from his third. In 1986, at the request of Dave Dee, he began singing the Walker Brothers' hits on oldies shows. In time, he became an important component of the Solid Silver Sixties tours and although he was effectively singing Engel's parts, he was doing it extremely well. Assisted by his fourth wife, Cynthia, he sold his solo albums, You (2000) and Just For You (2007) at shows, but of course record stores preferred to stock the latest hits compilation from the Walker Brothers.
In 2009, he and Gary Leeds wrote The Walker Brothers – No Regrets:Our Story and despite the clumsy title it was a well-written book about life in the '60s. Maus comes over as a good-natured, humorous man, and this was confirmed whenever I met him back stage.
John Joseph Maus (John Walker), singer and guitarist: born New York City 12 November 1943; married four times (one son, one daughter); died Los Angeles 7 May 2011.
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Mount Narodnaya is the highest peak in which mountain range? | Mount Narodnaya | mountain, Russia | Britannica.com
Mount Narodnaya
Mont Blanc
Mount Narodnaya, Russian Gora Narodnaya, (“People’s Mountain”), peak of the Nether-Polar section of the Ural Mountains in west-central Russia . Rising to 6,217 feet (1,895 m), it is the highest mountain in the Urals range. Several small glaciers are found on the slopes of Narodnaya and nearby mountains. Coniferous forests lie on the lower slopes of the mountain, giving way fairly quickly to tundra higher up. The gentler slopes are used as reindeer pasture in summer.
Mount Narodnaya in the Ural Mountains, west-central Russia.
© mcseem/Shutterstock.com
in Russia: The Ural Mountains
...that consists of two large islands and several smaller ones. Although the Urals form the traditional boundary between Europe and Asia, they do not significantly impede movement. The highest peak, Mount Narodnaya, reaches 6,217 feet (1,895 metres), but the system is largely composed of a series of broken, parallel ridges with summits generally between 3,000 and 5,000 feet (900 and 1,500...
in Europe (continent): Elevations
...uplifted and faulted massifs survive from the Hercynian orogeny, a late Paleozoic period of mountain formation. The worn-down Ural Mountains also belong in that category, and their highest point, Mount Narodnaya (6,217 feet [1,895 metres]), corresponds approximately to that of the Massif Central in south-central France. Elevations in those areas are mainly between about 500 and 2,000 feet...
in Ural Mountains: Physiography
...(1,472 metres). The next stretch, the Nether-Polar Urals, extends for more than 140 miles (225 km) south to the Shchugor River. This section contains the highest peaks of the entire range, including Mount Narodnaya (6,217 feet [1,895 metres]) and Mount Karpinsk (6,161 feet [1,878 metres]). These first two sections are typically Alpine and are strewn with glaciers and heavily marked by...
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Date Published: August 19, 2011
URL: https://www.britannica.com/place/Mount-Narodnaya
Access Date: January 19, 2017
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Born in 1942, who had her greatest chart successes when a member of Blue Mink? | IMDb: Most Popular People With Biographies Matching "mink"
Most Popular People With Biographies Matching "mink"
30 names.
Fred MacMurray
Fred MacMurray was likely the most underrated actor of his generation. True, his earliest work is mostly dismissed as pedestrian, but no other actor working in the 1940s and 50s was able to score so supremely whenever cast against type.
Frederick Martin MacMurray was born in Kankakee, Illinois, to Maleta Martin and Frederick MacMurray. His father had Scottish ancestry and his mother's family was German. His father's sister was vaudeville performer and actress Fay Holderness . When MacMurray was five years old, the family moved to Beaver Dam in Wisconsin, his parents' birth state. He graduated from Beaver Dam High School (later the site of Beaver Dam Middle School), where he was a three-sport star in football, baseball, and basketball. Fred retained a special place in his heart for his small-town Wisconsin upbringing, referring at any opportunity in magazine articles or interviews to the lifelong friends and cherished memories of Beaver Dam, even including mementos of his childhood in several of his films. In "Pardon my Past", Fred and fellow GI William Demarest are moving to Beaver Dam, WI to start a mink farm.
MacMurray earned a full scholarship to attend Carroll College in Waukesha, Wisconsin and had ambitions to become a musician. In college, MacMurray participated in numerous local bands, playing the saxophone. In 1930, he played saxophone in the Gus Arnheim and his Coconut Grove Orchestra when Bing Crosby was the lead vocalist and Russ Columbo was in the violin section. MacMurray recorded a vocal with Arnheim's orchestra "All I Want Is Just One Girl" -- Victor 22384, 3/20/30. He appeared on Broadway in the 1930 hit production of "Three's a Crowd" starring Sydney Greenstreet , Clifton Webb and Libby Holman . He next worked alongside Bob Hope in the 1933 production of "Roberta" before he signed on with Paramount Pictures in 1934 for the then-standard 7-year contract (the hit show made Bob Hope a star and he was also signed by Paramount). MacMurray married Lillian Lamont (D: June 22, 1953) on June 20, 1936, and they adopted two children.
Although his early film work is largely overlooked by film historians and critics today, he rose steadily within the ranks of Paramount's contract stars, working with some of Hollywood's greatest talents, including wunderkind writer-director Preston Sturges (whom he intensely disliked) and actors Humphrey Bogart and Marlene Dietrich . Although the majority of his films of the 30's can largely be dismissed as standard fare there are exceptions: he played opposite Claudette Colbert in seven films, beginning with The Gilded Lily . He also co-starred with Katharine Hepburn in the classic, Alice Adams , and with Carole Lombard in Hands Across the Table , The Trail of the Lonesome Pine -- an ambitious early outdoor 3-strip Technicolor hit, co-starring with Henry Fonda and Sylvia Sidney directed by Henry Hathaway -- The Princess Comes Across , and True Confession . MacMurray spent the decade learning his craft and developing a reputation as a solid actor. In an interesting sidebar, artist C.C. Beck used MacMurray as the initial model for a superhero character who would become Fawcett Comics' Captain Marvel in 1939.
The 1940s gave him his chance to shine. He proved himself in melodramas such as Above Suspicion and musicals ( Where Do We Go from Here? ), somewhat ironically becoming one of Hollywood's highest-paid actors by 1943, when his salary reached $420,000. He scored a huge hit with the thoroughly entertaining The Egg and I , again teamed with Ms. Colbert and today largely remembered for launching the long-running Ma and Pa Kettle franchise. In 1941, MacMurray purchased a large parcel of land in Sonoma County, California and began a winery/cattle ranch. He raised his family on the ranch and it became the home to his second wife, June Haver after their marriage in 1954. The winery remains in operation today in the capable hands of their daughter, Kate MacMurray. Despite being habitually typecast as a "nice guy", MacMurray often said that his best roles were when he was cast against type by Billy Wilder . In 1944, he played the role of "Walter Neff", an insurance salesman (numerous other actors had turned the role down) who plots with a greedy wife Barbara Stanwyck to murder her husband in Double Indemnity -- inarguably the greatest role of his entire career. Indeed, anyone today having any doubts as to his potential depth as an actor should watch this film. He did another stellar turn in the "not so nice" category, playing the cynical, spineless "Lieutenant Thomas Keefer" in the 1954 production of The Caine Mutiny , directed by Edward Dmytryk . He gave another superb dramatic performance cast against type as a hard-boiled crooked cop in Pushover .
Despite these and other successes, his career waned considerably by the late 1950s and he finished out the decade working in a handful of non-descript westerns. MacMurray's career got its second wind beginning in 1959 when he was cast as the dog-hating father figure (well, he was a retired mailman) in the first Walt Disney live-action comedy, The Shaggy Dog . The film was an enormous hit and Uncle Walt green lighted several projects around his middle-aged star. Billy Wilder came calling again and he did a masterful turn in the role of Jeff Sheldrake, a two-timing corporate executive in Wilder's Oscar-winning comedy-drama The Apartment , with Shirley MacLaine and Jack Lemmon -- arguably his second greatest role and the last one to really challenge him as an actor. Although this role would ultimately be remembered as his last great performance, he continued with the lightweight Disney comedies while pulling double duty, thanks to an exceptionally generous contract, on TV.
MacMurray was cast in 1961 as Professor Ned Brainerd in Disney's The Absent Minded Professor and in its superior sequel, Son of Flubber . These hit Disney comedies raised his late-career profile considerably and producer Don Fedderson beckoned with My Three Sons debuting in 1960 on ABC. The gentle sitcom staple remained on the air for 12 seasons (380 episodes). Concerned about his work load and time away from his ranch and family, Fred played hardball with his series contract. In addition to his generous salary, the "Sons" contract was written so that all the scenes requiring his presence to be shot first, requiring him to work only 65 days per season on the show (the contract was reportedly used as an example by Dean Martin when negotiating the wildly generous terms contained in his later variety show contract). This requirement meant the series actors had to work with stand-ins and posed wardrobe continuity issues. The series moved without a hitch to CBS in the fall of 1965 in color after ABC, then still an also-ran network with its eyes peeled on the bottom line, refused to increase the budget required for color production (color became a U.S. industry standard in the 1968 season). This freed him to pursue his film work, family, ranch, and his principal hobby, golf.
Politically very conservative, MacMurray was a staunch supporter of the Republican Party; he joined his old friend Bob Hope and James Stewart in campaigning for Richard Nixon in 1968. He was also widely known one of the most -- to be polite -- frugal actors in the business. Stories floated around the industry in the 60s regarding famous hard-boiled egg brown bag lunches and stingy tips. After the cancellation of My Three Sons in 1972, MacMurray made only a few more film appearances before retiring to his ranch in 1978. As a result of a long battle with leukemia, MacMurray died of pneumonia at the age of eighty-three in Santa Monica on November 5, 1991. He was buried in the Holy Cross Cemetery in Culver City.
Mink Stole
Part of the original motley crew of cast players in underground shock master John Waters ' bare-bones 8mm, 16mm and 35mm cult perversions during the late 60s and early 70s, Mink Stole was born Nancy Stoll in the late 1940s in Baltimore, Maryland. Waters took her under his wing in 1966 wherein she started "acting out" a number of his deviant creations for gross-out effect alongside other outré members that included transvestite actor Divine , Mary Vivian Pearce , David Lochary , Cookie Mueller and the not-to-be-believed grande dame Edith Massey . Calling themselves the Dreamland Players, Stole would become known as both the hysterical foil and vengeful nemesis of "leading lady" Divine, playing her annoying repulsive characters as pure evil incarnate. Her role in the infamous Pink Flamingos as Connie Marble, the carrot-domed villain complete with outlandish cats-eye glasses and seedy fur coat, set the tone for her subsequent gallery of grotesques, including the tantrum-throwing girl-child Taffy Davenport in Female Trouble , murderous housewife-on-the-lam Peggy Gravel in Desperate Living , and corn-rowed hussy Sandra Sullivan in Polyester , which was the first Waters film to star a legit actor -- Tab Hunter . Stole's movie time in Waters' campfests would grow less and less as his movies/parodies grew more and more mainstream, but she remained an altruistic player for Waters nevertheless, appearing in nearly every one of his films. In 1994, she did bits in his wide releases of Hairspray , Cry-Baby , Serial Mom , Cecil B. DeMented , and, his most recent, A Dirty Shame .
She appeared in numerous tongue-in-cheek cameos for other dubious directing talents as well with tacky, tawdry titles that begged for straight-to-video release. Over the years, Stole has made the rounds on the experimental stage. She played Van Helsing in a production of "Dracula" and the title papal role in "Sister Mary Ignatius Explains It All for You," not to mention bizarre, contemporary treatments of the Bard's "A Midsummer Night's Dream" and "A Winter's Tale." She recently attracted some attention in the play "Sleeping with Straight Men" which was seen on both coasts from 2002-2004. On the sly she has written an advice column, of all things, called "Think Mink" for a Baltimore newspaper. Mink Stole continues to reign as a prime film outlaw, having just completed a role in Another Gay Movie playing a character named Sloppi Seconds. Need I say more?
Barbara Nichols
She was the archetypal brassy, bosomy, Brooklynesque bimbo with a highly distinctive scratchy voice. Barbara Nichols started life as Barbara Marie Nickerauer in Queens, New York on December 10, 1928, and grew up on Long Island. Graduating from Woodrow Wilson High School, the dame with the shapely frame changed her reddish-brown hair to platinum blonde and drew whistles as a post-war model and burlesque dancer. As a beauty contestant, she won the "Miss Long Island" title as well as the dubious crowns of "Miss Dill Pickle", "Miss Mink of 1953" and "Miss Welder of 1953", and also became a GI pin-up favorite. She began to draw early attention on stage (particularly in the musical "Pal Joey") and in television drama.
Hardly leading lady material, Barbara found herself stealing focus in small, wisecracking roles, managing at times to draw both humor and pathos out of her cheesy, dim-witted characters -- sometimes simultaneously. She seemed consigned for the long haul to playing strippers, gold-diggers, barflies, gun molls and other floozy types named Lola, Candy or even Poopsie. Barbara made the best of her stereotype, taking full advantage of the not-so-bad films that came her way. While most of them, of course, emphasized her physical endowments, she could be very, very funny when let loose. By far the best of her lot came out in one year: Pal Joey , Sweet Smell of Success and The Pajama Game . By the decade's end, though, her film career had hit the skids and she turned more and more to television, appearing on The Beverly Hillbillies , Adam-12 , The Twilight Zone (the classic "Twenty-Two" episode), The Untouchables and Batman , to name a few.
Barbara landed only one regular series role in her career, the very short-lived situation comedy Love That Jill starring husband-and-wife team Anne Jeffreys and Robert Sterling . Barbara played a model named "Ginger". She also co-starred on Broadway with George Gobel and Sam Levene in the musical "Let It Ride" in 1961 and scraped up a few low-budget movies from time to time, including the campy prison drama House of Women and the science fiction film The Human Duplicators starring George Nader and Richard Kiel , who played "Jaws" in the James Bond film series.
A serious Long Island car accident in July 1957 led to the loss of her spleen, and another serious car accident in Southern California in the 1960s led to a torn liver. Complications would set in over a decade later and she was forced to slow down her career. Barbara eventually developed a life-threatening liver disease and her health deteriorated. In summer 1976, she was taken to Cedars-Sinai Medical Center in Los Angeles, California, where she went into a coma. She awoke for a few days just before Labor Day, but sank back shortly after. She died at age 47 of liver failure on October 5 and was survived by her parents, George and Julia Nickerauer. She was interred at Pinelawn Memorial Park in Farmingdale, New York.
Looking back, you have to hand it to Barbara Nichols. As the song from "Gypsy" emphasizes, "You gotta have a gimmick". Barbara did -- and she worked it. Like such other platinum blonde bombshells as Jayne Mansfield , Mamie Van Doren , Joi Lansing , Barbara Payton , Cleo Moore , Beverly Michaels and Diana Dors , she rolled with the punches. Unlike those others, she had genuine talent.
Rhashan Stone
Rhashan was born 3 November, 1969 in Elizabeth New Jersey. His mother, Joanne, was a singer who relocated to London, England to be with her then husband Russell Stone. They formed the singing duo R& J Stone, best known for their hit "We Do It" in 1977. Other members of his family enjoyed musical success. His aunt, Madeline Bell, was the lead singer of Blue Mink, best known for their hit single "Melting Pot".
Rhashan Trained at Mountview Theatre School, London.
As well as his numerous television appearances, Rhashan is also an accomplished stage actor. His first job came before he had even graduated from drama school, when he was chosen to appear in the award winning production of "Five Guys Named Moe" in London's West End. He has worked consistently ever since. He has performed in numerous productions for The Royal Shakespeare Company, The National Theatre, The Royal Court and in London's West End. From the heroic soldier Claudio in Much Ado About Nothing to the drag queen Sanzo in Trance. From the all singing, all dancing Hero in the Sondheim musical A Funny Thing Happened On The Way To The Forum to Shakespeare's doomed brother Clarence in Richard III.
Despite an abundance of classical work, his proudest moment was playing the Harlem Everyman Jesse B. Semple in the West End hit show Simply Heavenly. Stone described the effect that its author Langstone Hughes had on him as "life changing".
Rhashan is married to the actress Olivia Williams. They have two children Esmé Ruby and Roxana May.
Lenore Aubert
Lenore Aubert was born in present-day Slovenia, at the time still connected to the Austro-Hungarian Empire (her French name was pure Hollywood hokum, designed to make her background more exotic - though she did live for some time in Paris). Eleanore Maria Leisner was the daughter of an Austrian general and spent her formative years in Vienna where she studied acting and appeared in a few movies as an extra. Her marriage to a Jewish boy obliged her to leave Austria after the 'Anschluss' and the couple emigrated to the United States via France. In New York, Lenore found work as a model and was eventually offered a lucrative stage role as Lorraine Sheldon in "The Man Who Came to Dinner" at the La Jolla Playhouse in San Diego. Determined to get the part, Lenore crossed the U.S. by bus.
Once settled in California, Lenore was 'discovered' twice. The first time, she was spotted by an agent for Samuel Goldwyn and signed to appear as the alluring Nazi spy trying to tempt Bob Hope in They Got Me Covered . Though Dorothy Lamour wryly commented on Lenore's sexy walk, there was not enough screen time for the newcomer to seriously challenge the established star in the popularity stakes. After that, Lenore went into Action in Arabia opposite George Sanders . This picture did not make much of a splash either, but attracted the attention of Republic studio boss Herbert J. Yates , who was still desperately searching to find a replacement for his failed star Vera Ralston . Lenore was consequently cast in the period thriller The Catman of Paris which was launched with a (for Republic) bigger-then-average publicity campaign and went on to be exhibited at the better cinemas. Unfortunately, in the course of the 65 minutes, sets and cinematography were the real stars. Though the cast tried hard, they failed to overcome the deficiencies of lacklustre direction,a silly script and the even sillier makeup for the not very scary top- hatted 'werecat' monster. Needless to say, that 'Catman' did nothing for the careers of any involved.
During the next few years, Lenore appeared in a number of B-movies, such as The Return of the Whistler and Barbary Pirate . Her own favourite among her screen roles was that of Viennese singer/actress Fritzi Scheff (1879-1954) in I Wonder Who's Kissing Her Now . Several times she had screen-tested, unsuccessfully, for A-grade productions. These included Saratoga Trunk and For Whom the Bell Tolls , but on both occasions she lost out to Ingrid Bergman . Lenore's greatest success in film was probably retrospectively, due to the popularity and later cult status enjoyed by two films starring her with Abbott and Costello, made back-to-back: Abbott and Costello Meet Frankenstein (generally regarded as the duo's best) and Abbott and Costello Meet the Killer, Boris Karloff . A story goes, that, during production of the former, Lenore (attired all in mink) walked actor Glenn Strange -- in full make-up as the Frankenstein monster -- on a leash up and down the studio lot in full view of visiting tourists arriving on the tour tram (nothing beats good publicity !).
In the 1950's, Lenore joined her husband who was in the garment business in New York. The business succeeded, the marriage did not. With the exception of a couple of minor European films, Lenore's acting career was effectively over. She devoted much of her remaining life to charitable causes, doing work for the United Nations and the Museum of Natural History in New York.
Nadia Gray
Born Nadia Kujnir-Herescu in Bucharest, Romania, on November 23, 1923, to a Russian father and a Bessarabian mother, the future actress Nadia Gray was raised there. She met first husband Constantin Cantacuzino (1905-1958), a Romanian aviator and noted WWII fighter ace, while she was a passenger on one of his commercial air flights. She couple fled the country during the Communist takeover of Romania in the late 1940s and emigrated to Paris. There Nadia enjoyed a vast international career as a Cosmopolitan lead and second lead on stage and in films. The couple eventually settled in Spain.
She made her film debut in a leading role as a young waitress who yearns to be a star in the French-Austrian co-production of L'inconnu d'un soir and went on to essay a number of more mature, sophisticated, glamorous patricians in European films, often a continental jetsetter or bourgeoisie type. Earlier roles that led to European stardom included her countess in Monsignor , the woman in love with a thief in The Spider and the Fly , and the role of Cristina Versini in the Italian technicolor biopic of the composer _Puccini (1952)_. Her roster of continental male co-stars went on to include such legendary stalwarts as Marcello Mastroianni , 'Vittorio de Sica', Rossano Brazzi , Errol Flynn , Maurice Ronet and Gabriele Ferzetti . Among her scattered appearances in English-speaking productions were a mixture of adventures, dramas, comedies and horrors including Valley of the Eagles with John McCallum and Jack Warner , Night Without Stars opposite David Farrar , The Captain's Table starring John Gregson and Donald Sinden , I Like Money starring Peter Sellers , Maniac co-starring Kerwin Mathews , The Naked Runner starring Frank Sinatra and a supporting role in the classic Albert Finney / Audrey Hepburn romance Two for the Road . Nadia is most famous, however, for her cameo role toward the end of Federico Fellini 's masterpiece La Dolce Vita as a bored and wealthy socialite who celebrates her divorce by performing a memorable mink-coated striptease during a jaded party sequence in her home.
Following the death of her first husband in Spain in 1958 (he was only 52), Nadia continued to film and settled permanently in America in the late 60s after meeting and marrying second husband Herbert Silverman, a New York lawyer. She retired from films completely in 1976 and began headlining as a singing cabaret star. The trend-setting Russian-Romanian beauty died of a stroke in Manhattan on June 13, 1994 at age 70 and was survived by her second husband and two stepchildren.
Sarah Adams
Sarah Adams is a Dallas born and Denton based actress, improviser, producer and Twilight Zone fanatic.
Though she's always been a performer (just ask her parents) her acting career began in earnest in 2011, and since then, she's been featured in numerous national television commercials including Capital One, Doritos, Verizon, and Progressive. She's also appeared in a number of independent films including the award winning short film The Mink Catcher (2016 Telluride Film Festival, SXSW 2016, DIFF 2016) .
In addition to her work on the screen, Sarah takes the stage weekly at Dallas Comedy House performing with the house troupe - Photobomb.
While Sarah's time is spent either performing, teaching, or hanging out at the Dallas Comedy House, she's also producing her own work. Teaming up with her comedy partner in crime, Maggie Rieth Austin, they produce original work for the stage and screen under the comedy umbrella 'The Monthly Junk'.
In addition, her original digital series that she created, produced, starred in, "Supporting Roles", was an Official Selection at the 2015 Austin Film Festival and the 2016 HollyWeb Festival, and is currently streaming its completed first season.
Her dogs think she is hilarious.
mink
mink was born in London, England. He moved to Los Angeles with his parents when he was eight. He attended local high school in Los Angeles and then went on to photography school in Santa Barbara. Upon graduation from college he returned to Los Angeles and got a job as a runner at the Disney Studios. On the weekends he would shoot music videos and EPKs. He worked various production jobs at Disney for a few years. In the late nineties he joined a well known music video director's company and would shoot 2nd unit for them on some of the biggest music videos in the business. Then in 2002 he joined Lawrence Bender's/Quentin Tarantino's A Band Apart Films as a director. Since then he has been shooting videos and commercials as well as developing projects with Lawrence and other companies. In addition his love of comic books and short stories has him currently writing two comic books for two different major publishers.
Michael Steck
Michael Steck aka Pandora Boxx has been internationally entertaining the masses for more than a decade. Pandora most recently appeared as a contestant on the smash hit RuPaul's Drag Race (Season 2) on the LGBT network Logo. The show garnered the highest ratings ever for the cable network. Despite not winning, Pandora proved to be the break-out star and was named by Entertainment Weekly "as their America's Next Drag Superstar." EW.com also called Pandora's "the most controversial elimination of the season." That popularity lead to becoming a drag professor on the spin-off show called RuPaul's Drag U which airing Monday nights at 9pm on Logo. Pandora will also be the host of the Dragtastic: NYC Stand Up Comedy Special, also to be aired on Logo.
Pandora's alter-ego Michael Steck is also the creator, writer and star of his own public access/internet show The GAY (means happy) SHOW! which will be returning in 2011! Michael's credits run the gamut of media, including stage (Steel Magnolias in the role of Annelle), screen (A Voice from the Lantern in the role of Marvelous Marvin) and television (VH1s drag documentary Boys Will Be Girls) as well as his work being featured in several film festivals like the ImageOut Gay & Lesbian Film Festival and the Berkeley Film and Video Festival (receiving two honorable mentions). His writing credits stem back from early childhood when he wrote and produced his first play for his elementary school. His award-winning written works have been published in several collegiate publications as well as various LGBT publications. His published celebrity interviews include, Cyndi Lauper, Julie Brown, Mink Stole and RuPaul.
His most recent work is the hit play "The Lipstick Massacre." A comedic murder mystery in which he also starred. The play premiered at Rochester's MUCCC to four sold out shows which prompted its return several months later to the prestigious Geva Theatre Center, also in Rochester. The show was a huge success and may continue its life in NYC very soon.
Pandora continues touring the nation from the success of RuPaul's Drag Race.
Sarah Moliski
"If I see someone I know from the Hamptons, it just feels like a family," says actor/comedian Sarah Moliski, who recently relocated to Los Angeles for her career. "You have that strong foundation together." For Moliski, some of those connections were forged at Stages, A Children's Theater Workshop, where she studied and performed for many years. "It was the most important thing in my life growing up," she recalls. "It instilled so much in me as a young actor, which I still use to this day." After graduating from East Hampton High School, Moliski studied film, media, and theater at Hunter College. These days, she acts (including a starring role in the upcoming independent film Out of State: A Gothic Romance), is the host of a television show on Viceland, appears regularly on a Japanese talk show, and has performed stand-up comedy in venues like the Comedy Cellar, Broadway Comedy Club, and the Upright Citizens Brigade. "I was always the class clown and outgoing," she says. "I actually got voted class clown in our [East Hampton High School] yearbook. It's 100 percent accurate for me." - Hampton's Magazine "Creative Direction" by Rachel Fedler July 29th, 2016. Vol. 38 . Issue 4 .page 107
Actress Sarah Moliski has used Backstage to get cast in too many parts to count, ranging from feature films to commercials to television gigs. However, for her recent role in "Out of State," a gothic feature film, Moliski found that she still had learning to do.
"I learn something new every day," says Moliski of her time shooting "Out of State." "I try to take in as much as I possibly can from every department. I think it is very important to be understanding and aware of everyone's job on set."
After training at Maggie Flanigan Studio in Manhattan, Moliski's understanding of what it means to be an actor drastically changed. She now looks for roles that allow her to "find out a lot more about myself because I am not playing a character; the character is alive in me." Moliski depends on Backstage to help find those roles. "I trust Backstage," she concludes.
That trust extends to her creative colleagues. "When you work under such intense conditions with so many different personalities and succeed in creating a work of art, it completely bonds everyone," she says. "The amount of knowledge I have been able to acquire from these experiences is utterly irreplaceable." - Backstage "#IGotCast" by Casey Mink 9.15.16 Vol 57, No 37. Page 11
Samantha Dorman
Tall (5' 10"), buxom and voluptuous brunette looker Samantha Leah Dorman was born on March 21, 1968 in Lakeland, Florida. Samantha attended Keswick Christian High School in St. Petersburg, Florida. Dorman began modeling after she was discovered on the popcorn line at a local movie theater by a representative for a Tampa, Florida modeling agency. Samantha has not only modeled everything from skis to mink coats, but also has worked for the prestigious Wilhelmina Agency in New York and has appeared in several TV commercials. Dorman graced the cover of the July, 1991 issue of "Playboy." She was the Playmate of the Month in the September, 1991 issue of the famous men's magazine. Samantha was featured in numerous "Playboy" videos and posed for many "Playboy" newsstand special editions. Moreover, she made guest appearances on episodes of the comedy TV shows "Seinfeld" and "The Fresh Prince of Bel-Air."
Susanna Foster
Susanna Foster was brought to Hollywood at the age of 12 by MGM, who sent her to school and groomed her for a singing and acting career.Two of her classmates in school were Mickey Rooney and Judy Garland . Oddly enough, MGM never used her, and she was signed by Paramount in 1939, where she made The Great Victor Herbert . William Randolph Hearst was so impressed with her, after seeing her in that film, that he had her flown out to his mansion for a private recital for him and Marion Davies . She signed with Universal in 1941, and was used basically as leverage against Deanna Durbin , to keep her in line. Reportedly, Phantom of the Opera , Susanna's most famous role, was a Durbin reject.As such, her roles kept going downhill, even though she was immensely popular at that time. After That Night with You , she'd had it. She made her last film for Universal in 1945, but was still under contract. She went overseas to study voice for three years, paid for by Universal. When she quit Universal in 1948, she sold her mink stole and used the money to move to the east coast, where she eventually met and married Wilbur Evans , who was 20 years her senior. The Evans' did a lot of stage work, doing operettas and musicals of the time, touring quite extensively. In between all of this, Susanna miscarried her first child, but went on to have two sons; Phillip and Michael. Susanna had tired of show business and wanted a more 'normal' life, so when she and Evans divorced in 1956, she quit performing altogether and got jobs to support her and her children. With the children raised (Phillip passed away) she set back out to California, and lived in her car for a while until she got established. Sadly, any dream of making a comeback was hampered by several health problems.
Sheila Redgate
Sheila was inspired by her great aunt, Movie Star Louise Latimer, at the age of five.
Louise would dress Shelia up in mink stoles, and false eyelashes, and give her lines to recite at family holiday parties.
Sheila was also inspired to be an actress by her aunt Virginia McGuire who studied at Carnegie Tech and Yale Drama School.
Virginia won a contest put on by Photoplay magazine in which judges that included Bette Davis, William Holden, and Joseph Mankiewicz
chose her out of 50,000 girls.
Sheila was born and raised in Connecticut. She started acting classes at Fairfield University with Doug Taylor. After doing many Connecticut regional theatrical productions,
Sheila went to NYC and studied in the American Academy of Dramatic Arts summer program and took other classes in between. Shelia decided to move to Hollywood California,
where she got an agent and enrolled at the Stella Adler Conservatory for three years. One of Sheila's stage performances received the following review in Nitelife Today:
"Redgate was a delight in act two. She brings the energy, and the playfulness to the stage that should set the standard for the rest of the cast, and the production as a whole."
Sheila has been in over twenty independent films, commercials for Canal Street Jean Company, Dodge Trucks, and Fashion Showcase; as well as a national Discover Card commercial
that aired on Super Bowl Sunday. In 2009 Sheila got the part of Cheryl Ann Sutcliffe in La Funcionaria Asesina aka The Slayer Bureaucrat. In 2010 Sheila is cast in the lead role in
Sergio Kardenas' next film Café 65, which will be out in the summer of 2011.
Alisa Maria
Whether it's Monaco, Paris, Los Angeles or New York City, Alisa Maria is a global renaissance woman of outstanding style and a distinguished taste maker. Blessed with grace and talent, Alisa has emerged herself into the global marketplace and is striving for pole positioning in the fast lane of the world's rank and file of elite designers and stylists.
Alisa scours the globe for the finest raw materials and exotic skins to create signature fashion forward accessories for women, men and favored pets. She has quickly learned and honed her craft on this long and arduous journey to arrive on the international fashion map catching notice by influential industry insiders, digital bloggers and exclusive retailers alike.
Alisa Maria's versatility as a mother, savvy entrepreneur, multi-millionaire housewife, celebrity and professional athlete stylist,image consultant and active philanthropist, is an impressive juggling act. Alisa Maria's unequivocal love for fashion has not only been a stress reliever, but a fulfilling hobby that has her peers and fans alike taking notice.
Alisa Maria's seeds of influence are derived from her fashion forward community, partly due to the vast diversity of cultures present, beautiful settings, action-packed offerings of the big city, coupled with the intrigue of Main Street USA and fused with the mystic of the global marketplace. Drawing inspiration from her love of the Golden Era of Hollywood and a desire to be an influence in a thriving fashion industry, Alisa has endeavored to create a worldwide platform for herself, thus spanning the birth of The Alisa Maria Collection.
The Alisa Maria Collection debuted for NY Fashion Week 2011 to rave reviews. The private label offers an array of fine luxury mink and chinchilla furs, while consumers can also consider python and crocodile purses. Other exclusive items in the collection range from baby bags, pet carriers and ipad covers.
Alisa has been feverishly marketing her product line, product placing and styling for the likes of Paris Hilton, Rihanna and Nicki Minaj. Casting directors and producers have quickly taken notice of Alisa's camera presence with recent evidence of her reoccurring appearances,as herself, on many top rated television programs such as "Bravo's Million Dollar Listings" and"Housewives of New Jersey". Other notable appearances and product placements have been on VH1's most popular shows "For Love And Hip Hop" and "Mob Wives".
Global Real Estate Power Broker Josh Altman of Hilton & Hyland Hyman raves over his monogrammed signature python briefcase and stated,
"The Alisa Maria Briefcase is a "Must Have" when closing multi-million dollar deals!"
But no matter how successful, Alisa believes her greatest achievements are her wonderful family and giving back to society. Her countless hours of community outreach and fund raising to help charities raise awareness and funds, will always play an important role in her life.
Alisa's distinctive footprint in the marketplace is no surprise. She is gorgeous, sophisticated, versatile and passionate about everything she does. Alisa Maria has the innate ability to perform and create with style and grace.
Alisa Maria's talent and creativity is limitless, but it is her ideal that, "Everyone, no matter who they are, deserves a red carpet moment."
Mike Moran
Mike Moran began his musical career studying at the Royal College of Music in London, England. An accomplished pianist, Mike has been a member of various groups including Blue Mink, Gillan and Stone The Crows. Over the last 30 years he has worked with such well known artists as Cliff Richard , Paul McCartney , Freddie Mercury , Stevie Wonder , Lynsey de Paul , Joe Cocker , Paul Simon , Kate Bush , Roger Glover and George Harrison . More recently he has also ventured into the world of opera with 'Monserat Caballe', 'Placido Domingo' and 'Jose Carreras'. He has composed music for a number of films including Time Bandits , Death Wish 3 , Betrayal and Whoops Apocalypse . He is also prolific in writing music for TV productions, most memorably "Taggart" (for which he received the TRIC Award for TV theme music in 1994) and "Harry's Game".
Ron Leach
Ron Leach began his career over twenty years ago as a talent agent with Canada's largest talent agency, The Characters Talent Agency, Limited representing a stellar roster of young and established stars. For the past ten years, Ron has worked as a casting director, casting the independent feature films THE HIGHWAYMAN, GRIZZLY FALLS, THE THREE HUNDRED AND NINETY-FIRST, BLACK HEART, PALE SAINTS, MEN WITH GUNS and TC 2000, Roger Spottiswood's Emmy and Gemini award-winning docu-drama HIROSHIMA,, the controversial drama GANG IN BLUE, produced and directed by Hollywood legends Melvin and Mario Van Peebles, the shocking true-life story DELICATE CUTTING, and the first Chinese/Canadian television series co-production DASHAN & HIS FRIENDS. Ron co-ordinated the talent for the internationally acclaimed television talk, variety show "TABLE FOR TWO," and assumed the role of Producer as well as casting director on the show. He was co-casting director of the Canadian Film Center productions NIGHT OF THE LIVING, HOCKEY CARDS and STRANDS. As a casting consultant with Clare Walker Casting he worked on the series TOP COPS, DOGHOUSE, SWEATING BULLETS, FOREVER NIGHT, FAST TRACK, PSI FACTOR, EARTH FINAL CONFLICT, THE RAVEN, CRUEL INTENTIONS, TWICE IN A LIFETIME, SOUL FOOD, DOC, and numerous films and films-for-television including the movies-for-television THE JAMES MINK STORY, AT THE MIDNIGHT HOUR, EVIDENCE OF BLOOD, CAGNEY & LACEY III & IV, MURDER IN A SMALL TOWN, MURDER SHE PURRED, DEAD AHEAD, THE LADY IN QUESTION, THE UNCONCERNED, and the feature films: Mary Harron's AMERICAN PSYCHO, Rose Troché's THE SAFETY OF OBJECTS, and Sir Richard Attenborough's LOVE & WAR. Mr. Leach is currently casting the DOGMA feature film projects "INVISIBLE DARKNESS," based upon Steven Williams' best selling chronicle of Paul Bernardo and Karla Homolka's horrific relationship; DARKNESS FALLING, a gripping true crime story; and "CALL ME IRRESPONSIBLE," a light-hearted look at classic movie musicals, for Toronto's NORSTAR Filmed Entertainment. He is the Producer of the acclaimed documentary film "SHURTLEFF " on the famed author, teacher, and casting director Michael Shurtleff, for the CBC, BRAVO and PBS; "AUDITION", a four part instructional series on the teachings of Michael Shurtleff for TV Ontario; "ECO-TV" a half-hour children's program commissioned by Earthday Canada. Ron was commissioned by Creature Features Inc (Hong Kong) to write the children's television series bible "CREATURELAND" in 1992; has written the screenplay "EQUINOX": and through his production company in Los Angeles and Toronto (Spectacle Entertainment), is producing the feature films "BLESSED BE THE CHILD," "THE LOCKSMAN," and "SHOTGUN HIGHWAY.". Ron Leach is the founder and past president of The Talent Representatives Association Of Canada (3 terms); past Chairman of the Board of the Canadian International Animation Festival (2 terms) and retired as the President of the Board of Directors of Toronto's award-winning ACME Theatre Company.
Steve Young
Steve Young is a multi-talented, award-winning writer who refuses let himself be limited by any medium or arena. In film, he wrote and directed the scathing, but on the money satire, "My Dinner With Ovitz." On TV his credits include ABC's "Boy Meets World", CBS's "Cybill," HBO Family's "Crashbox", the WB's "Family Affair" or Disney's "The Smart Guy", for which he was recently acknowledged for his "creation of entertainment that also enriches life," with the Prism Award and a Humanitas nomination. He's authored the inspiring book "Great Failures Of The Extremely Successful" (Tallfellow Press, Fall 2002) where he was able to get the greats of many different fields to share their remarkable stories of adversity. Of "Great Failures...", Jack Canfield, co-creator of "Chicken Soup For The Soul" said, "When you finish reading this amazing book, you will never let failure or fear of failure stand in your way again." Steve has more than shown his grasp of creating stories and characters that both entertain and enlighten (without it being jammed down our children's throats) in his children's picture book series, "What If There Were No...?" (Smallfellow, 2003) and his first novel, "The 130 Tales of Winchell Mink" (Harper Collins, 2003). This former stand-up comedian's social and political satire has been recognized as some of the funniest, yet still poignant, with his stories regularly gracing the Oped pages of major newspapers across the country and his tongue-in-cheek punditing seen on CNN and Fox News. As contributing editor at the Writer Guild Of America's "Written By" magazine, Steve's reputation has given him serious entrance to the best writers and producers in the industry while also allowing him one more outlet to lampoon the entertainment business he so cares about. With boundless energy and enthusiasm, we can expect to see the name of Steve Young appearing on an ever-growing amount of books lining the shelves of countless bookstores. And if anyone catches Steve putting his name on these books would you please report it to your local authorities. He must be stopped!
Lynn Vega
Lynn Vega was born June 15, 1983 in New Jersey. She started her adult entertainment career in 2013 as a webcam model after moving to Las Vegas for unrelated reasons. Vega, choicely named after the city that started her career, began camming out of a desire to connect with other people and explore fantasies. A supporter of pornography and what she calls "sex positive" environments, Vega attended the 2015 Adult Entertainment Expo (AEE) and Awards as a fan. During the expo she was approached by producers of lesbian adult video company, Girlfriends Films for her girl next door appeal and positive attitude. She was given an opportunity to appear in upcoming features. Filmed the very next month, Vega made her porn debut opposite Mindi Mink in Women Seeking Women 118 and Scarlet Red in Wet for Women 2. Since her introduction to the adult entertainment industry Vega has been seen in a number of independent features produced by Little Dragon Pictures and has been a regular extra in the Brazzers Studio.
Matthew T. Weiner
Recently Executive in Charge of all Television and Feature Film Production for Chung King Studios, New York (2005-2010) filmmaker Matthew T. Weiner has been pursuing his passion for his craft for over 29 years. He has had the privilege to work with a long list of iconic directors, such as Sidney Lumet ("Q & A"), Brian De Palma ("Bonfire of the Vanities"), Alan Pakula ("Presumed Innocent"), Robert Benton ("Billy Bathgate"), Ron Howard ("Parenthood"), Leonard Nimoy ("Funny About Love"), Woody Allen ("Crimes and Misdemeanors", "Alice", "Shadows and Fog"), Gary Marshall ("Frankie and Johnnie"), Joe Dante ("Gremlins II"), John Badham ("The Hardway"), Bill Murray ("Quick Change"), Andrew Bergman ("The Freshman") and Damien Harris ("Deceived"). Weiner credits the diverse set of skills he brings to table to the three-years he spent working on high-end commercial productions and in the episodic television arena on such shows as "The Equalizer", "NY Undercover", "The Cosby Murder Mysteries" and Leonard Nimoy's "Dangerous Games".
Films/TV - Producer: "Equity" (Directed by Meera Menon, Produced by Alysia Reiner, Sarah Thomas, Brian David Cange starring-Anna Gunn, James Purefoy, Nate Corddry, Craig Bierko, James Naughton)
"Big Stone Gap" (Directed by Adriana Trigiani, Produced by Donna Gigliotti starring-Ashley Judd, Whoopie Goldberg, Jenna Elfman, John Benjamin Hickey, Chris Sarandon, Jane Krakowski, Jasmine Guy, Anthony Lapaglia, Justih Ivey, Patrick Wilson)
"Stephen King's-A Good Marriage" (Directed By Pester Askin starring-Joan Allen, Anthony LaPaglia, Stephen Lang, Cara Buono)
"An Evening Of Grace - A Concert for Children" / 50-year anniversary for the charity, Childhelp broad casted on Centric. (David Foster, Patti LaBelle, Brian McKnight, Ruben Studdard, Omalie and other special guests.)
-"El Cielo Es Azul" (Directed by Andrew Fierberg starring-Osvaldo, Benavides, Miguel Rodarte, Stephanie Sigmund, Reg Rogers, Barbara Sukowa)
-"Genius On Hold" a crime documentary. (Narrated by Frank Langella. Music by Jack Douglas. Written and Directed by Gregory Marquette)
-"Box" (Directed by Chris Dolman Starring-Mink Stole, Lou Liberatore, Dylan Chalfy)
- "Loose Women" (Directed by Paul Bernard, starring Charlie Sheen, Keith David, Melissa Erico, Giancarlo Espositio, Tom Verrico, and Stephen Lang.)
- "Puppet" (Directed by Felix Limardo and starring Rebecca Gayheart, Artie Lang, Frederick Weller)
- "Undercurrents" (Directed by Gregory Marquette, starring Keith David and Marie Chambers.)
- "Innocents" aka "Dark Summer" (Directed by Gregory Marquette, starring Mia Kirshner, Connie Nielsen, Jean-Hugues Anglade, Anne Archer, Frank Langella, Keith David and Robert Culp. The film was premiered at the 2001 Sarasota Film Festival and was in competition at the Brussels Film Festival, The Newport Beach Festival and the Melbourne Film Festival, The Milan Film Festival and The Moscow Film Festival
- "Season Of The Hunted" for ShowTime (Directed by Ron Sperling and starring Muse Watson, Timothy Gibbs, Raynor Scheine and Matthew Cowles.)
- The 2003 Land Rover G4 Challenge (east coast), a global high tech adventure challenge spanning four continents.
-"Taylor Made" (Disney pilot starring Eric Estrada, Adrienne Bailon and Candace Bailey).
-Untitled Musical Reality Show (In partnership with John King +Chung King Music Recording Studios)
Feature Film & Television- Assistant Director -"Ride" (Directed by Helen Hunt) -"In Between Men" (Directed by Jennifer Gelfer, Show Runner-Quincy Morris) -"The Death & Life Of Bobby Z" (Directed John Herzfeld & starring Paul Walker) - "Wisteria" (Directed Scott Flynn & starring Patrick Bauchau) - "Helen Of Troy" for USA Films, (Directed by John Kent Harrison) -"Pledge This!!" (Directed by William Heins & starring Paris Hilton) -"Hope Floats" (Directed by Forest Whitaker and Produced by Sandra Bullock) -"Fallen" (Director, Gregory Hoblitt) - "seaQuest" (Director/Exec Producer, Steven Spielberg) - "The Nutty Professor" (Director, Tom Shadyac) - "Dangerous Games"-Exec Prod Leonard Nimoy - "NY Undercover" Produced by Dick Wolf - "Crisis in the Hot Zone" (Director, Ridley Scott) - "Junior", "Space Jam" (Director, Ivan Reitman) - "Missing Persons" (Director, Mario Van Pepples) - "Stephen King's-The Stand" (Director, Mick Garris) - "Queen-Roots III" (Director, John Erman) - "Prelude to a Kiss" (Director, Norman Rene) - "Tribeca-The Anthology" (Produced by Robert DeNiro) -"Home Alone II" (Director, Chris Columbus) -"The Cosby Murder Mysteries" (Exec Prod Bill Cosby) - "Used People" (Director, Beeban Kidron, with Marcello Mastrianni, Jessica Tandy, Shirley McClaine and Kathy Bates.
Multi-Camera Music Credits - Production coordinator/Production Supervisor: - "The Grateful Dead"(5 summer tours) - "Ozzy Osbourne" (Metal Madness) - "Billy Joel" (River Of Dreams) - "Bruce Hornsby" (And friends) - "Pearl Jam" (Rocking New Years for ABC) - "Keith Richards and the Expensive Winos"(Rocking New Years for ABC) - "Robert Cray"(Rocking New Years for ABC) -"Michael McDonald" - "Tori Amos" - "Songs for Drella with Lou Reed and John Cale" - "Pat Metheny" - "Donald Fagen" (NY Blues Soul Review) - "Peter, Paul & Mary" (Last reunion for PBS) - "The Three Tenors" (The very first one in Los Angeles) - "Pete Townsend" (Psychoderelict) - "Elton John's 60th Birthday Celebration"
Music Videos - Producer: - The Ruff Ryder's ("Eve", "Drag-On", "DMX", "High & Mighty", "Strings") - Interscope Records ("the Lox", "Mos Def") - Rawkus Records ("Shabaam Shadeeq", "Hip Hop for respect featuring Mos Def and De
Kiesha Wright
Kiesha Wright who has been a Tina Turner impersonator for several years, started out from the church. She is an organist, keyboardist plus percussionist. She is a graduate of San Francisco State University in music and a minor in dance. She is also a Professional Model. Kiesha worked with Tina Turner as a Back Up Dancer and Singer for four months. She learned her moves and her foot work from Tina Turner herself. also with the push and help of her Mother who was her Manger believed that she could make it through with the help of God .
Kiesha then continued college and while performing in a small night club, and a agent by the name of Gig Xifaras approached her and said "would you like to be a Tina Turner impersonator? ", she was stunned; she did not understand what he meant. "These are famous people, " he said. Well, she followed through with it and the rest was history. Her first performance was at Cal Neva Lake Tahoe with the Blues Brothers, the Reno Hilton which is now called Flamingo Hilton in a show called Flash. Then she also approached by the producer John Stuart of Legends in Concert in Las Vegas NV about being in the show called Legends, Who made her the first Tina Turner impersonator to perform in the Legends in Concert series. But thanks to Gig Xifaras for getting me there my Original Agent for getting her there. Kiesha is appearing in the upcoming film "Paradise Club" (2016) with Eric Roberts and other actors and actresses. Kiesha is nominated for " Northern California Entertainer of the Year 2016 " .
Kiesha Wright is now on her own doing her on tribute shows . Corporate Events
MOVIES Magic of Lassie with Jimmy Stewart, Mickey Rooney and the Mike Curb Congregation Kids The Wiz - played one of the Munchkins She's Got the Look Next Best Thing: A Tina Turner Lookalike Show Paradise Club: Kiesha sits in the audience with a white mink coat... Starring Eric Roberts
YTB, Hp, corporate. AT&T Corporate, Somarts event., NAACP event , Orange County Children Hospital,
Troy Mink
Troy grew up in Lexington, KY to Charles Mink, "Machine Operator" at IBM during the "typewriter years" & Ruby Mink who worked as a Junior High Cafeteria Worker at Brian Station Junior High School for almost 25 years. He has 2 older brothers & is single, never having married. Troy went to Bryan Station High School where he was active in Chorus & did not have his Actor debut until his Senior year where he portrayed "Henry Gibson", (The Poet) from a scripted, live version of the 1960's show "Laugh-In". The part consisted of him coming out alone & performing poems originally written by the performer/actor Henry Gibson. Because Troy had never seen the actual actor he portrayed the role with a "John Houseman" dialect & mannerisms. The role was carried over to his years in college at Anderson University where he began to write his own original poems for the character to perform along with other original characters & sketches for a monthly variety show called, "Cheap Thrills." Troy continues to be active as a comic improviser in Seattle, where he now resides. He learned about improvisational theater initially from Roberta McGuire in 1993 who worked with such comedy greats as Del Close, John Belushi, & Harold Ramis & went on to perform & occasionally teach developing original improv characters at Unexpected Productions, Artistic Director Randy Dixon. Joel McCale performed & was in the same class with Troy from 1993 - 1996. In 1997 a character named "Carlotta Philpott" emerged from a live variety show called "Insomniacts." Carlotta eventually began her own live interview show called "Carlotta's Late Night Wing Ding" (for 10 years) with Mike Daisey being the first Co-Host of the show. It became so popular it has been scouted by HBO & Comedy Central during its run. In 2001 Stage Direct approached Troy to do a professional taping of his live solo show, "The Haint" which can be viewed on Amazon Prime & Netflix. As of September 2016 Troy is working on new material after having dealt with some serious health issues & can still be seen around town performing & teaching original character work. Carlotta has her own channel on YouTube where she has several videos available for viewing.
Matt North
Matt North grew up in Champaign, Illinois and now works in Nashville, TN as a songwriter, drummer, and session musician. He starred opposite James Woods in "Dirty Pictures," winner of the Golden Globe Best TV Movie Award (2001), directed by Frank Pierson (writer of "Cool Hand Luke," "Dog Day Afternoon") and soon after became a recurring character on HBO's "Curb Your Enthusiasm" as the William Morris Agent, Jay Schneider.
An award winning screenwriter, his original screenplay "Best Western" (also titled Jokerman) received many honors.
From 94-97, North lived in San Francisco's Haight-Ashbury moonlighting as a drummer in various garage rock bands, working in theater/film, and producing the Mother Jones Magazine anti-gun violence compilation CD,"You Are What You Shoot," featuring Freakwater, The Mekons, and the late Jay Bennett of Wilco. As a drummer, Matt attended the highly acclaimed University of North Texas School of Music on full scholarship. He toured Russia and the Ukraine with the 1991 University of Illinois Jazz Band, lived in Los Angeles from 1997-2010, and now lives in Nashville, TN with his wife, actress Laurel Green. He has performed and recorded with Andy Prieboy, Jesse DeNatale, Brutal Jooks, Maria McKee, Gina Villalobos, Viktor Krauss, Rob Kendt, Mink Stole of John Waters fame.
Brian To
Brian To, a graduate from UCLA Film/TV school, has been working as a model, actor, photographer, and director since 1990. Brian To started as a photographer working together with Greg Gorman, David LaChapelle, Douglas Kirkland, and Steven Meisel, who photographed him for the L'Uomo Vogue, CK One campaign, and the Italian Vogue Cover. One of To's first assignments was photographing Antonio Sabato Jr. for his book No Excuse - Workout for Life.
Aside from several magazine covers and fashion editorials, Brian To has shot advertising campaigns for Pure Beauty, Johnson & Johnson, Walgreens, and The WB and CW shows such as Starlet starring Faye Dunaway and Vivica A. Fox, The Closer starring Kyra Sedgwick, the pilot TRUE starring Anne Heche, and the reality series Beauty and the Geek 2, which won a 2006 Promax/BDA Silver Award for outdoor print campaigns.
Brian To, a member of Cinematographer's Guild Local 600, also did still photography for several of Randal Kleiser's films including Lovewrecked, starring Amanda Bynes, Chris Carmack, Jaimie-Lynn DiScala, and Jonathan Bennett, Red Riding Hood featuring Lainie Kazan, Debi Mazar, and Joey Fatone, and It's My Party where Brian To photographed Eric Roberts, Bruce Davison, Marlee Matlin, Olivia Newton-John, George Segal, Lee Grant, and Roddy McDowall.
In addition, Brian To shot both the poster and stills for the producers Gina Goff and Laura Kellum's independent, award-winning movies Girl Play starring Dom DeLuise and Mink Stole and Out at the Wedding starring Andrea Marcellus, Desi Lydic, Mike Farrell, Reginald VelJohnson, and Charlie Schlatter.
Photographing director Bryan Singer (Superman Returns, X-Men) and the late Academy award-winning director John Schlesinger (Midnight Cowboy, Marathon Man) inspired Brian To to direct his first film Audit starring Sally Kirkland, Alexis Arquette, and Judy Greer which premiered at the IFP West / L.A. Film Festival. In addition, Audit won Best Short Film at the WIN Femme Film Festival as well as Best Short and Best Actress for Judy Greer at Dublin Film Festival. After Filmmaker Magazine 2002, named Brian To No. 5 to watch in its list of "25 New Faces of Indie Film," Audit was released as part of a DVD/home video compilation called Boxer Shorts, played on The Independent Film Channel, and played on Here! TV.
As a service to the community, Brian To directed Public Service Announcements benefiting homeless families, battered women and children, and victims of human trafficking. Additionally, Brian To directed the educational documentary Children of Incarcerated Parents and The Virtual Sex Project, three USC interactive videos intended to reduce high risk sexual behavior in young adults. He most recently directed a PSA for the L.A. Metro Task Force on Human Trafficking.
Brian To exhibited two solo shows of his art photography and has appeared in several group exhibitions.
Roger Cook
Born Roger Frederick Cook in Bristol, England, U.K. and veteran of the U.K. and U.S. music scenes. A long-standing songwriting partnership was forged with Roger Greenaway when they met as members of the group, the Kestrels in the 1960s. This prolific musical partnership has produced many memorable songs, including "You Got Your Troubles" (performed by the UK group the Fortunes and Andy Williams among others), "Something's Gotten Hold of My Heart", "Something Old, Something New", "Doctor's Orders" and "Talking in Your Sleep". They also wrote the Coke Cola jingles "I'd Like to Teach the World to Sing" and Hello Summertime". In the late sixties/early seventies, as a member of the group "Blue Mink" he scored 7 UK chart hits, including "Melting Pot" "Stay With Me" and "Banner Man". Together with Hugh Cornwell and Andy West, he became a member of CCW in 1992.
Chris Mink
Christopher Alan Mink was born in Atlanta, Georgia on April 25, 1992! He was born to Teresa and Charles Mink! Since he was born he was always making people laugh with his different accents, witty comments and celebrity portrayals! Everyone Chris met knew he would make it big someday in the entertainment business or something to do with making people laugh such as a comedian. He was always involved in play's/musicals when he was in elementary school, Jr. High and High School! He was determined to make a name for himself! When he was in 8th grade he and his mom left everything they knew behind and headed out to L.A to chase his dream; becoming a Hollywood celebrity!
Lily Ayers
Talented and innovative stripper/dancer, performed in nightclubs and theaters across U.S. during 1950s and 1960s. Lily also reportedly sang well and hoped to move into musical comedy, but only known film appearances are two burlesque actualities. Hazel-eyed bleached blonde, wore red lip paint noticeable for its low gloss. Only liability was a changeling face; on film she resembles from moment to moment Monroe, Bardot, Jayne Mansfield, Kim Novak, but leaves no unique imprint of her own. Acts included: The B-Girl Ballet, The Striptease Story, The Serpent and the Girl, a dance in mink fur, stripping in a large bass drum, and a singing reverse strip.
Most accounts have Lily born in Norfolk, Virginia circa 1930. Of European and Polynesian ancestry, her father was a sailor, her mother a fashion model. Lily quit high school to work at the Carolyn Leonetti modeling agency in Los Angeles, then went to Las Vegas for a year as a showgirl after being discovered by the Flamingo's Maxine Lewis. She returned to Los Angeles and began stripping in 1950 at the Follies Theater (Third and Main) under the guidance of Lillian Hunt, choreographer. Hobbies included swimming and horseback riding, reportedly won equestrian events.
Lily had four known stage names: Icel Condon (1951), Exotic Lily or just Lily (1952), Lorali (1953-1954), Lily Ayers (1955 and thereafter). In addition she was credited as Rochelle in the 1950 movie "Everybody's Girl."
Marat Oyvetsky
Marat Oyvetsky was born on 30th, June 1972 in Mink, Belarus and immigrated to the United States when he was 5 years old with his parents. His mother was a mathematician and his father danced ballet professionally all over the world. Having studied math and science, Marat still found an avenue to perform on stage and model in his spare time. Upon moving to California, Marat continued to act on stage and added television and film to his resume. Marat found that he had a talent to play character actors and was immediately cast in a plethora of roles. He was cast on the spot to play a tortured prisoner on the hit series Alias (2005) and a tough Chicago mobster in the CW series Veronica Mars (2005) opposite Enrico Colantoni. Marat's breakout role came on 24 (Day 5, 2006) where he played a terrorist opposite Julian Sands. Marat also starred in the hit series Desire: Table for Three (2006) as Sammy, the smooth talking agent for hire.
Benjamin-Lew Klon
Born 1983 in Dusseldorf, Germany. He began acting as a child at the Dusseldorfer Schauspielhaus. He worked from 1991 until 1998 with the following directors: W. Minks, W. Schroeter, J. Lux, F.-X. Kroetz, D. Altenbeck (lead as "John" in "Das Kryptogram" by David Mamet). From 2002 on he studied media and cultural studies (MA) at the Heinrich Heine University, made short films and founded the first film festival in Dusseldorf. After finishing his bachelor thesis on Wong Kar-Wai and Gilles Deleuze in 2006 he went to New York City and worked as a production assistant for the feature film "Funny Games U.S." by Michael Haneke and a year later for "My Blueberry Nights" by Wong Kar-Wai. From 2008-2010 he studied theatre direction at the Academy of Performing Arts Baden-Wuerttemberg in Ludwigsburg, Germany where Luk Perceval is responsible for the actors and directors training. Since 2010 he studies acting for stage and camera there. During this year he made an internship at Robert Wilson's "Kata Kabanova" in Prague, Czech Republic he went to Vienna, Austria to play a part in the production "Der Jaeger Gracchus" an adaptation of Kafkas short story and in the contemporary opera "Flaschenpost" by Georges Aperghis, both directed by Helga Utz. As a theatre director he created a performance at the State Gallery Stuttgart to celebrate the 100th anniversary of the futurist manifesto. He created the short film "Reduktion 22" and the piece "Deine Hoffnungen mein Herz wie Furien" after "Kabale und Liebe" by Friedrich Schiller. He also created a performance for the state theatre Stuttgart to commemorate the tragical and cryptic death of Pier Paolo Pasolini. As an actor he participated in various short films and plays at the academy in Ludwigsburg. Most influential for his development where the workshops of Luk Perceval, Hilde Stark, Ted Stoffer and Gennadij Bogdanov. He is part of two independent theatre groups: "Wunschmaschinen" and "Shane Drinion". Benjamin-Lew Klon is a guest actor at the Thalia Theater in Hamburg since 2012. He speaks German, English and Polish fluently.
Steven C. Ward
A graduate from the Grady School of Journalism, his Film Production major and professional experience as Radio Announcer on Public radio WUOG-FM, there was always the drive for hard work and productive efforts.
After leaving Athen, GA, Steve headed to Chicago while working for independent record label, Wax Trax Records!, where he worked alongside of artists, such as Ministry, My Life With the Thrill Kill Kult.
As his passion for film making became greater, he had befriended, actress Mink Stole who suggested he leave it all to take a chance and seize the opportunity to become a Production Assistant in Atlanta, GA.
Once a foot in the door, he knew this would be a career for me. He enjoyed the riggers and efforts made in film production. As it took me all over the map and to many locations he will never forget, it was only after many big budget, low-budget and no budget film projects did he decide to set up something different with a directing partner, Natalie Barandes.
Both were partners in, get it...pictures, a television/film production company specializing in marketing-driven laughs where he was Executive Producer and oversaw all production within the company. As a partner, he was also the company's Chief Financial Officer.
After many fun-filled years involving many talented individuals, he concluded his Hollywood venture with the short-film, As Virgins Fall. It was like a cherry on top for him as he delivered one of his last productions.
Once leaving production, he translated his skills in real estate and is working in Los Angeles specializing in Mid-Century Modern estate sales.
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A cordwainer used to make what sort of items? | IMDb: Most Popular People With Biographies Matching "Rubi"
Most Popular People With Biographies Matching "Rubi"
1-50 of 336 names.
Renée Zellweger
Renée Kathleen Zellweger was born on April 25, 1969, in Katy, Texas, USA. Her mother, Kjellfrid Irene (Andreassen), is a Norwegian-born former nurse and midwife, of Norwegian, Kven (Finnish), and Swedish descent. Her father, Emil Erich Zellweger, is a Swiss-born engineer. The two married in 1963. Renée has a brother named Drew Zellweger, a marketing executive born on February 15, 1967. Renée got interested in acting in high school while working on the drama club. She also took an acting class at the University of Texas (Austin), where she began looking towards acting as a career. After graduation, she wanted to continue acting, but Hollywood is a tough town to break into, so Renée decided to stay in Texas, and auditioned for roles around Houston, where she managed to grab roles in such films as Reality Bites and Empire Records .
While on the set for the sequel, Texas Chainsaw Massacre: The Next Generation , she befriended Matthew McConaughey , another Hollywood up-and-comer. He was working on a project at the time that Renée was interested in, auditioned for, and won the role in the film Love and a .45 , which earned her enough critical praise that she decided to move to Los Angeles. Another role in The Whole Wide World followed which led to her big break. Cameron Crowe was busy casting his next film, Jerry Maguire , starring Tom Cruise . Crowe was considering such actresses as Cameron Diaz , Bridget Fonda , Winona Ryder , and Marisa Tomei , when he heard of Zellweger's performance in The Whole Wide World . He auditioned Zellweger and was sure he'd found his Dorothy Boyd.
Renée followed her huge success with a few small independent films and after receiving further critical praise, she felt confident enough to reenter the world of big-budget Hollywood films. She starred opposite Meryl Streep in the tear-jerker One True Thing . She also took a role in Me, Myself & Irene , opposite Jim Carrey , and soon after began dating Carrey. The two denied their relationship at first, but finally gave in and admitted it; today they are no longer together. Also in 2000, she starred in the title role in Nurse Betty , where she won a Golden Globe for Best Actress in a Comedy/Musical. In 2001, she received even more critical and commercial success in the title role in Bridget Jones's Diary . She received her first Academy Award nomination for her role, which was followed by her second Oscar-nominated role in the musical Chicago . She then again wowed audiences with her fierce yet warm portrayal of Ruby Thewes in the film adaptation of Cold Mountain , which won Zellweger an Oscar for Best Supporting Actress, which was her first Academy Award.
Alexa PenaVega
Alexa Ellesse PenaVega née Vega; born August 27, 1988 is an American actress and singer. She is known for her role as Carmen Cortez in the Spy Kids film series and Shilo Wallace in the film Repo! The Genetic Opera (2008). In 2009, she starred as the title character Ruby Gallagher in the ABC Family series Ruby & The Rockits.
Ellen Latzen
Ellen's career had a serendipitous start to it. In 1986, her mother read an article in the paper about an an open casting call for a new untitled Adrian Lyne film. They were looking for girls ages six to eight, and prior acting experience wasn't required. Ellen's family had never considered getting her into the business, but she was just about six at the time, and it sounded like a fun thing to try. She competed against over a thousand other girls, and despite not having the "look", Ellen's natural talent won her the part of Michael Douglas and Anne Archer's daughter in Fatal Attraction.
After Fatal Attraction was released, Ellen's career started to take off. She appeared in numerous movies, TV shows, and even on Broadway. But possibly her most memorable role was as Randy Quaid's daughter "Ruby Sue" in National Lampoon's Christmas Vacation. Considered one of the greatest Christmas movies of all-time, this film still captures the hearts and funny bones of millions around the globe. Ellen won over audiences with her classic scene where she mistakes Chevy Chase for Santa Claus, uttering the now infamous line "Shittin' bricks".
At age 15, Ellen left her hometown in New York for boarding school in Vermont, which inadvertently ended her career. After graduation, she decided to keep the door closed on her acting and pursue a normal life. Ellen moved to the San Francisco Bay Area to attend the California College of Arts and Crafts, and eventually started working. She worked in various fields, such as hospitality, travel, advertising, publishing, and startups. But her passion for entertainment never went away.
Today, Ellen is living in Los Angeles and producing a podcast about her experiences as a child star, as well as those of her peers. Her show "Watched" is a look behind the curtain of the child acting industry, delving deep into the realities of a childhood lived in front of the camera.
Andy Serkis
Andrew Clement G. Serkis was born April 20, 1964, in Ruislip Manor, West London, England. He has three sisters and a brother. His father, Clement Serkis, an ethnic Armenian whose original family surname was "Serkissian", was a Medical Doctor working abroad, in Iraq; the Serkis family spent a lot of time traveling around the Middle East. For the first ten years of his life, Andy Serkis used to go backwards and forwards between Baghdad and London. His mother, Lylie (Weech), who is British-born, was busy working as a special education teacher of handicapped children, so Andy and his four siblings were raised with au pairs in the house. Young Andy Serkis wanted to be an artist; he was fond of painting and drawing, and visualized himself working behind the scenes in productions. He attended St. Benedict's School, a Roman Catholic School for boys at the Benedictine Abbey in London. Serkis studied visual arts at Lancaster University in the north-west of England. There, he became involved in mechanical aspects of the theatre and did stage design and set building for theatrical productions. Then, Serkis was asked to play a role in a student production, and made his stage debut in Barrie Keeffe 's play, "Gotcha"; thereafter, he switched from stage design to acting, which was a real calling that transformed his life.
Instead of going to an acting college, Serkis, in 1985, began his professional acting career at the Duke's Playhouse in Lancaster, where he was given an Equity card and performed in fourteen plays, one after another, as an apprentice of Jonathan Petherbridge. After that, he worked in touring theatre companies, doing it for no money, fueled by a sense of enthusiasm, moving to a new town every week. He has thus appeared in a host of popular plays and on almost every renowned British stage. In 1989, he appeared in a stage production of William Shakespeare 's "Macbeth", so beginning his long association with the Royal Exchange Theatre, Manchester, where he would return many times, to appear in "She Stoops to Conquer", "Your Home in the West" and the "True Nature of Love", among other plays. In the 1990s, Serkis began to make his mark on the London stage, appearing at the Royal Court Theatre as "The Fool" in "King Lear", making his interpretation of "The Fool" as the woman that "Lear", a widower, could relate to - a man, in drag, as a Victorian musician. He also appeared as "Potts" in the hit play, "Mojo", playing in front of full houses and earning huge critical success. In 1987, Serkis made his debut on television, and he acted in several major British TV miniseries throughout the 1990s.
In 1999, Andy Serkis landed the prize role of "Gollum" in Peter Jackson 's epic film trilogy based on J.R.R. Tolkien 's saga, "The Lord of the Rings". He spent four years in the part and received awards and nominations for his performance as "Gollum", a computer-generated character in The Lord of the Rings: The Return of the King , which won 11 Oscars. "Gollum" was the collaborative team's effort around Serkis's work in performance capture - an art form based on CGI-assisted acting. Serkis's work was an interactive performance in a skin-tight CGI suit with markers allowing cameras to track and register 3D position for each marker. Serkis' every nuance was picked up by several cameras positioned at precisely calculated angles to allow for the software to see enough information to process the image. The images of Serkis' performances were translated into the digital format by animators at Weta Digital studio in New Zealand. There, his image was key-frame animated and then edited into the movie, Serkis did have one scene in "The Return of the King" showing how he originally had the ring, killing another hobbit to posses it after they found it during a fishing trip. He drew from his three cats clearing fur balls out of their throats to develop the constricted voice he produced for "Gollum" and "Sméagol", and it was also enhanced by sound editing in post-production.
Serkis spent almost two years in New Zealand and away from his family, and much of 2002 and 2003 in post-production studios for large periods of time, due to complexity of the creative process of bringing the character of "Gollum" to the screen. Serkis had to shoot two versions for every scene; one version was with him on camera, acting with (chiefly) Elijah Wood and Sean Astin , which served both to show Wood and Astin the moves so that they could precisely interact with the movements of "Gollum", and to provide the CGI artists the subtleties of Gollum's physical movements and facial expressions for their manual finishing of the animated images. In the other version, he'd do the voice off-camera, as Wood and Astin repeated their movements as though "Gollum" were there with them; that take would be the basis for inserting the CGI Gollum used in the released movie. In post-production, Serkis was doing motion-capture wearing a skintight motion capture suit with CGI gear while acting as a virtual puppeteer redoing every single scene in the studio. Additional CGI rotomation was done by animators using the human eye instead of the computer to capture the subtleties of Serkis' performance. Serkis also used this art form in his performance as "Kong" in King Kong , which won him a Toronto Film Critics Association Award (2005) for his unprecedented work helping to realize the main character in "King Kong", and a Visual Effects Society Award (2006) for Outstanding Animated Character in a Live Action Motion Picture.
Apart from his line of CGI-driven characters, Serkis continued with traditional acting in several leading and supporting roles, such as his appearances as "Richard Kneeland" opposite Jennifer Garner in 13 Going on 30 , and "Alley" opposite David Bowie in The Prestige , among other film performances. On television, he starred as 'Vincent Van Gogh' in the sixth episode of Simon Schama's Power of Art , the BBC2 series about artists. Serkis is billed as "Capricorn" in the upcoming adventure film, Inkheart . At the same time, he continued the development of performance capture while expanding his career into computer games. He starred as "King Bothan" in the martial arts drama, Heavenly Sword , a Playstation 3 title, for which he provided a basis for his in-game face and also acts as a dramatic director on the project.
Andy Serkis married actress and singer Lorraine Ashbourne , and the couple have three children: daughter Ruby Serkis (born in 1998), and two sons Sonny Serkis (born in 2000) and Louis George Serkis (born on 19 June 2004). Away from acting, Andy Serkis is an accomplished amateur painter. Since his school years at Lancaster, being so close to the Lake District, Serkis developed his other passion in life: mountaineering. He is pescetarian. Serkis has been active in charitable causes, such as The Hope Foundation, which provides essential life-saving medical aid for children suffering from Leukemia and children from countries devastated by war. In October 2006, he was a presenter at the first annual British Academy Video Games Awards at the Roundhouse, London. Andy Serkis lives with his family in North London, England.
Mischa Barton
Born in London and raised in New York. From humble beginnings in New York Theater in 1994 where she trained with such esteemed director/writers as James Lapine ("Twelve Dreams" at Lincoln Center with Donna Murphy ), Tony Kushner ("Slavs!" at New York Theater Workshop with Marisa Tomei ), and Naomi Wallace ("One Flea Spare" at the Public Theatre with Dianne Wiest ), she went on to work side by side with modern-day screen icons including Julia Roberts and Hugh Grant on Notting Hill , Bruce Willis and Toni Collette on The Sixth Sense and Sam Rockwell in her Sundance critically-lauded feature film debut Lawn Dogs produced by Duncan Kenworthy in 1998.
Yet, despite this early success in theater and film, what really catapulted Mischa to the next level and made her a household name is her small screen performance as the irrepressible and irresistible "Marisa" on the popular Fox television show, The O.C. (2003 to 2007). The show fast became a global cult phenomenon and has earned many awards including a Television Critics Association Award nomination for "Outstanding New Program of the Year".
Established as one of the most sought after young actresses of her generation Mischa was named "It Girl" by Entertainment Weekly, she was also Hollywood Life's "Breakthrough Actress of the Year", she won several American Teen Choice Awards for the show, and also Cosmopolitan's "Fun Fearless Female Award" for "Knockout Ingenue" and Glamour's "Women of the Year". She has been ranked as one of People magazine's "50 Most Beautiful People" for 5 consecutive years. She was awarded the VIPer Award in 2008 for "Style Icon 2007" by Mr. Karl Lagerfeld . In 2008, she played opposite Shirley MacLaine & Christopher Plummer in Sir Richard Attenborough 's Closing the Ring , with Hayden Christensen in the Dino De Laurentiis film Virgin Territory , and starred opposite Bruce Willis in Assassination of a High School President for the Yari Production Company. In 2007, she filmed Walled In for the French production company "Canal Plus", and she starred in and produced the film Homecoming .
In 2012 Mischa went back to her Theatrical roots and starred in a production of "Steel Magnolias" at the Gaiety Theatre in Dublin.
Mischa has the following Films slated for release this year, 2013. "Bhopal: A Prayer for Rain" opposite Martin Sheen, "A Resurrection" starring the late Michael Clarke Duncan and Devon Sawa "Apartment 1303 3D" with Rebecca De Mornay, "I Will Follow You Into the Dark" opposite Ryan Eggold and "Beauty and the Least: The Misadventures of Ben Banks".
She has just completed "Mining for Ruby" Directed by Zoe Quist, "Beyond Justice" with Danny Trejo and Vinnie Jones and will star opposite Billy Zane in "Elephant's Graveyard" and with Christopher Plummer and Timothy Hutton in "Butterfly Love" 2014.
Mischa has also made a major impression in the fashion and beauty world. She has already graced the covers of countless international magazines and has become the face of numerous advertising campaigns.
She has developed her own Brand, her successful Handbag line having launched in 2008, together with Accessories, Clothing and Beauty products and her Flagship Boutique opened in Fashionable Shoreditch London in 2012.
This commercial and theatrical success has given the young woman an opportunity to take an extremely influential role in the global community. She became the spokesperson for "Climate Star", an organization that fights global warming through social and legislative activism. She serves as an "Entertainment Industry Foundation" ambassador teaming up with QVC to spread awareness and raise funds for women's cancer research through the "Fashion Footwear Association" of New York "Shoes on Sale Initiative" and is also involved in the "SAFE" campaign for skin cancer awareness. She is an ambassador for "Save the Children" and the "One Water" campaign which brings water to remote locations in Africa, and is on the board of the "Lupus Research Committee" in Los Angeles.
Ruby Modine
Actress and singer Ruby Modine currently co-stars in the seventh season of Showtime's critically acclaimed television series Shameless. She is also in production on the Blumhouse feature film Half to Death and has completed production on the indie horror feature Central Park. Earlier this year, she starred in and recorded music for the short film Super Sex, which premiered at the Tribeca Film Festival.
Interested in acting at a young age, Modine began taking drama and music classes before appearing as a child in the short film Smoking, written by David Sedaris. Since then, she has also co-starred in Rabbit Bandini's "A Visit from the Goonsquad," directed by Shandor Garison and produced by James Franco. This past spring, she re-teamed with Franco, co-starring in the film Memoria.
Singing in her down time, Modine has recorded a bevy of original songs and covers. She currently resides in Los Angeles.
Barbara Stanwyck
Today Barbara Stanwyck is remembered primarily as the matriarch of the family known as the Barkleys on the TV western The Big Valley , wherein she played Victoria, and from the hit drama The Colbys . But she was known to millions of other fans for her movie career, which spanned the period from 1927 until 1964, after which she appeared on television until 1986. It was a career that lasted for 59 years.
Barbara Stanwyck was born Ruby Catherine Stevens on July 16, 1907, in Brooklyn, New York, to working class parents Catherine Ann (McPhee) and Byron E. Stevens. Her father, from Massachusetts, had English ancestry, and her Canadian mother, from Nova Scotia, was of Scottish and Irish descent. Stanwyck went to work at the local telephone company for fourteen dollars a week, but she had the urge (a dream--that was all it was) somehow to enter show business. When not working, she pounded the pavement in search of dancing jobs. The persistence paid off. Barbara was hired as a chorus girl for the princely sum of $40 a week, much better than the wages she was getting from the phone company. She was seventeen, and was going to make the most of the opportunity that had been given her.
In 1928 Barbara moved to Hollywood, where she was to start one of the most lucrative careers filmdom had ever seen. She was an extremely versatile actress who could adapt to any role. Barbara was equally at home in all genres, from melodramas, such as Forbidden and Stella Dallas , to thrillers, such as Double Indemnity , one of her best films, also starring Fred MacMurray (as you have never seen him before). She also excelled in comedies such as Remember the Night and The Lady Eve . Another genre she excelled in was westerns, Union Pacific being one of her first and TV's The Big Valley (her most memorable role) being her last. In 1983, she played in the ABC hit mini-series The Thorn Birds , which did much to keep her in the eye of the public. She turned in an outstanding performance as Mary Carson.
Barbara was considered a gem to work with for her serious but easygoing attitude on the set. She worked hard at being an actress, and she never allowed her star quality to go to her head. She was nominated for four Academy Awards, though she never won. She turned in magnificent performances for all the roles she was nominated for, but the "powers that be" always awarded the Oscar to someone else. However, in 1982 she was awarded an honorary Academy Award for "superlative creativity and unique contribution to the art of screen acting." Sadly, Barbara died on January 20, 1990, leaving 93 movies and a host of TV appearances as her legacy to us.
Tobey Maguire
Tobias Vincent Maguire was born in Santa Monica, California. His parents were 18 and 20, and not yet married, when he was born. His mother, Wendy (Brown), did advertising, publicity, and acting in Hollywood for years as she coached and managed Tobey. His father, Vincent Maguire, was a cook and sometimes a construction worker. Tobey did not finish high school in order to pursue and focus on acting roles, but he did end up getting his GED. He did several commercials (he was a model dancer for Nordstrom by age six), and he had some roles on various TV shows before landing a starring role on the Fox comedy Great Scott! . That role lasted nine weeks before the show was canceled. Fox-made series were not doing well in general at the time. He avoids drugs and alcohol, and his best friend is Leonardo DiCaprio. Tobey is a vegan and studies yoga. He now has two beautiful children with his wife Jennifer Meyer Maguire. Their names are Ruby Sweetheart and Otis Tobias Maguire. Another little known fact is that his two half-brothers, Jopaul and Weston Epp, were the child actors who handed Tobey (Peter Parker) his mask after the train scene in Spider-Man 2.
Arthur Darvill
Thomas Arthur Darvill, known professionally as Arthur Darvill, is an English actor and musician. He is perhaps most recognized as Rory Williams, one of the Eleventh Doctor's companions in Doctor Who , and as Rev. Paul Coates in Broadchurch . In 2013-2014 he appeared in the lead role in the theatre musical Once in the West End and on Broadway. Darvill's mother Ellie is an actress and during Arthur's early childhood she worked with masks, puppets and live acting as a member of Cannon Hill Theatre, which was based at Midlands Arts Centre, and toured Britain and the world. She is also known as the puppeteer and voice behind Why Bird from Playdays. Prior to the birth of his sister, Darvill went on some of the tours, helping with the setting up of the shows. His father Nigel played the Hammond organ for artists including Edwin Starr, Ruby Turner, Fine Young Cannibals and UB40. Darvill attended Bromsgrove School in Worcestershire from 1993 to 2000.
Regina Hall
Regina Hall was born December 12, 1970 in Washington, D.C., to Ruby, a teacher, and Odie Hall, a contractor. She graduated from Fordham University in 1992, and went on to earn a master's degree in journalism from New York University before shifting to an acting career. In 1997 at age 26, she began appearing in commercials, and then made the giant leap into movies. Her fame came with her role in the comedy-horror spoof Scary Movie, Regina Hall has frequented the big screen in roles that far from betrayed her age. Her recurring role in Scary Movie and the sequel Scary Movie 2 exhibited the 30-year-old's ability to maintain her youthful appearance, as she portrayed the high-school-aged Brenda Meeks. However, her first film role was in the 1999 film The Best Man. The following year, she made many other film appearances, including her starring role in Scary Movie in 2000. She first had a role in the movie Love and Basketball which also starred close friend Sanaa Lathan. In 2001, Hall's list of credits grew to include her first television role, as Corretta Lipp on the prime-time drama Ally McBeal, which was a recurring role for several episodes. Furthermore, in 2001 Scary Movie 2 was released, in addition to the Mandel Holland comedy The Other Brother, featuring Hall as Vicki. One year later, she starred in the action-drama Paid in Full, directed by Charles Stone III. She would later on start in other films such as;Malibu's Most Wanted, Scary Movie 3, The Honeymooners, and First Sunday.
Hattie Morahan
Hattie Morahan was born in London in 1978. Her father, Christopher Morahan , is a television and stage director, who is perhaps best known for his television adaptation of The Jewel in the Crown . Her mother, Anna Carteret , is an actress whose most high profile role was that of Inspector Kate Longton, whom she played in the BBC police drama series Juliet Bravo between 1983 and 1985. Hattie was educated at the Frensham Heights School. Whilst she was at school people would recognize her mother because they had seen Anna on TV in Juliet Bravo. Hattie has said in interviews that for a long time she thought that Manchester was in India because her father was working for Granada but he kept going away to India. In 1995, when she was sixteen years old, her father cast her as Una Gwithiam in a television adaptation of The Peacock Spring , which was broadcast on British television on 1st January 1996.
Hattie studied English Literature at New Hall, Cambridge between 1997 and 2000. This Cambridge University college has since been renamed Murray Edwards College. Whilst she was at Cambridge, she acted in several student drama productions. Hattie played Snowball, the pig based on Trotsky, in a stage adaptation of George Orwell 's novel, 'Animal Farm', at the ADC Theatre in Cambridge from 18th to 22nd November 1997. She returned to the ADC Theatre in February 1998 as part of the cast of 'Ticklebang', a new comedy written by Dylan Ritson , and she was part of the cast when the play was put on at the Edinburgh Fringe Festival in August 1998. In November 1998 Hattie decided to switch for the time being from acting to direction, and directed 'The Suicide', a play by Nikolay Erdman , at the ADC in Cambridge, with Blake Ritson , the brother of Dylan, as her assistant director.
Hattie played the part of Catherine in Phillip Breen's production of Arthur Miller's modern classic, 'A View from the Bridge', at the ADC from 9th to 13th February, 1999. This production was re-staged at the National Student Drama Festival at Scarborough in April 1999 and Hattie won the best actress award at the festival. In July 1999 she played Cecily Cardew in an outdoor production of Oscar Wilde's classic comedy of manners, 'The Importance of being Earnest', with Phillip Breen as director and Blake Ritson in the role of Jack Worthing. This played at a number of outdoor venues in and around Cambridge. It was later staged at the ADC in Cambridge from 11th to 13th October 1999.
Towards the end of her time at Cambridge, Hattie played Isabel in Pedro Calderon De la Barca's play, 'The Mayor of Zalamea', at the Cambridge Arts Theatre in the summer of 2000, and in that summer she graduated with a degree in English from Cambridge University. At this point, she was clear that she wanted to pursue a career in acting. Her parents recommended that she enroll at drama school. However, Hattie was eager to get started on her professional acting career. She made a deal with her parents that if she did not get much work in the next twelve months, she would follow their advice and go to drama school.
As it turned out within a few months Hattie had won a contract with the Royal Shakespeare Company (RSC), and whilst she was there she was able to take advantage of the technical classes and voice coaching to improve her acting technique. Her first professional engagement was as one of the players in a production of 'Hamlet' directed by Steven Pimlott. This was staged first at the Swan Theatre in Stratford upon Avon from 31st March to 13th October 2001 and then at the Barbican Theatre in London from 6th December 2001 to 2nd April 2002. As well as her part as one of the players, Hattie also understudied the role of Ophelia. She was with the RSC for over a year and her other roles for the company included the part of Lucy in 'Love in a Wood', a Restoration comedy by William Wycherley which was staged at the Swan Theatre in Stratford between 12th April and 12th October 2001; Emela in 'The Prisoner's Dilemma' by David Edgar , which was performed at the Other Place in Stratford from 11th July to 13th October 2001; and Tracy, the hotel receptionist, in 'Night of the Soul', a new play written and directed by David Farr, which ran at the Barbican Pit in London from 19th April to 11th May 2002.
After she had completed her time with the RSC, Hattie played the part of Elizabeth in a revival of Somerset Maugham's play 'The Circle' directed by Mark Rosenblatt. This production went on a tour of English regional theaters in the autumn of 2002 starting at the Malvern Theatre, (27th to 31st August), and finishing at the Arts Theatre in Cambridge, (21st to 26th October). In 2003 she played Elaine Harper in 'Arsenic and Old Lace' for Katharine Dore Management at the Strand Theatre in London from 14th February to 31st May, and Louise De la Valliere in 'Power', a new play written by Nick Dear, at the National Theatre in London from 3rd July to 29th October. In 2004 she played Ruby in Peter Flannery 's play 'Singer' at the Tricycle Theatre in Kilburn from 10th March to 10th April. She appeared as Totty Vogel Downing, an expert on art fraud seconded to the unsolved case squad in one episode of New Tricks , the popular BBC1 crime drama series, and she took part in a presentation of Eve Ensler 's play, 'Necessary Targets', directed by Anna Carteret at the Arts Theatre in London on Sunday 10th October 2004 .
Also in 2004, Hattie took part in a rehearsed reading of 'Othello' at the Globe Theatre in London and she played the part of a receptionist in 'Out of Time', a short film written by Dylan Ritson and directed by his brother Blake. However, Hattie's breakthrough as a stage actress was probably her performance in the title role in a 2004 revival of Euripides ' play, 'Iphigenia at Aulis'. This was staged at the National Theatre in London and ran from 12th June to 7th September 2004. The play's director, Katie Mitchell , is a controversial figure in contemporary British theatre, but Hattie is an admirer of her work, and as it turned out 'Iphigenia at Aulis' was the start of a long running collaboration between the two women.
In 2005 she played Beth Lucas, a regular character in the second season of the BBC3 medical drama, Bodies , and she made a guest appearance in the radio version of Trevor's World of Sport . She played Carrie, a media studies graduate interested in a career in talent management, who goes on a work placement at TS Sports Stars. The episode was entitled 'Work Experience' and it was broadcast by BBC Radio 4 on 29th November 2005. In the autumn she played Viola in a well received production of William Shakespeare 's play 'Twelfth Night' at the West Yorkshire Playhouse in Leeds. This production ran from 17th September to 22nd October 2005. In 2006 she played Penelope Toop in 'See How They Run' for ACT Productions in a tour of regional theaters starting at the Theatre Royal, Plymouth, (15th to 18th February 2006) and finishing at the Malvern Theatre, (4th to 8th April 2006). 'See How They Run' was directed by Douglas Hodge , a good friend of Hattie's fiancé, Blake Ritson . Also in 2006 she played Alice in a BBC Radio 4 production of David Hare's play, 'Plenty', broadcast on 30th September 2006, and in the summer of 2006 Hattie was reunited with Katie Mitchell , who directed her in Anton Chekhov's play 'The Seagull' at the National Theatre. The play ran from 17th June to 23rd September and Hattie won an Ian Charleston award for her performance as Nina in this play.
Hattie was part of the cast in 'Asylum Monologues', an event organized by Actors for Human Rights, at Cambridge University on 18th October 2007. She was also busy filming various television and film projects in 2007. She played the part of Sister Clara in New Line Cinema's film of The Golden Compass , which went on general release in Great Britain on 5th December 2007, as well as playing Gale Benson, the daughter of a Conservative member of parliament who becomes involved with the black power movement, in Roger Donaldson 's film, The Bank Job . The Bank Job went on general release in Britain on 29th February 2008. On television she was in two comedies made by Hat Trick productions, namely Outnumbered and Bike Squad . She won widespread acclaim for her performance as Elinor Dashwood in Andrew Davies ' adaptation of Jane Austen 's novel, Sense & Sensibility . This was broadcast on BBC1 between 1st and 13th January 2008. This television adaptation was inevitably compared with the 1995 Columbia Tristar film of the same book in which Emma Thompson had played Elinor, although in her preparation for the role Hattie had deliberately avoided watching the film again and decided not to think about Emma Thompson. Hattie won the best actress award at the Shanghai Television Festival for her performance as Elinor Dashwood.
She appeared in several radio dramas in the first quarter of 2008, including 'What I think of my Husband', a radio play by Stephen Wakelam about Thomas Hardy 's relationship with his second wife, Florence Dugdale. This was broadcast on BBC Radio 4 between 31st March and 4th April 2008, and featured excellent performances from both Nigel Anthony as Hardy and Hattie as Florence. She also played the part of Constance in a radio adaptation of Alfred Hitchcock 's 1945 film Spellbound . This was broadcast on BBC Radio 4 on Saturday 16th February 2008. Her co-star in this radio play was Benedict Cumberbatch , with whom she appeared in Martin Crimp 's play, 'The City'. This play opened at the Royal Court Theatre in London on Thursday 24th April 2008 and ran until Saturday 7th June 2008. It was directed by Katie Mitchell , who also directed Hattie in 'Some Trace of Her', an experimental stage version of Fyodor Dostoevsky 's novel, 'The Idiot'. This opened at the Cottesloe stage of the National Theatre in London on Wednesday 23rd July and ran until Tuesday 21st October 2008. She was also in the cast of A Pocket Full of Rye , an Agatha Christie TV drama starring Julia McKenzie as Miss Marple, in which Hattie played Elaine Fortescue, the daughter of a murdered businessman.
In the autumn of 2008 Hattie played the role of Jane again in the second series of the BBC1 situation comedy Outnumbered . On Sunday 2nd November 2008 she returned to Cambridge University, where she gave a talk on her acting career at the Judith E. Wilson Drama Studio. She was one of the readers for 'Active Resistance to Propaganda' by Vivienne Westwood , the Royal Shakespeare Company's Alternative Christmas lecture, which was staged at Wilton's Music Hall in London on Sunday 16th December 2008. She also played the part of Mary in a revival of the T.S. Eliot play 'Family Reunion' at the Donmar Warehouse in London. This play opened on Thursday 20th November 2008 and ran until Saturday 10th January 2009. The play was in a very real sense a family reunion for Hattie since the cast included Hattie's mother Anna Carteret .
In 2009 Hattie played Claire in 'Love Hate'. This was a short film about a charity worker who falls in love with a mysterious woman. It was written and directed by the Ritson brothers, and the cast also included Ben Whishaw , with whom Hattie had previously co-starred in stage productions of 'The Seagull' in 2006 and 'Some Trace of Her' in 2008. In the spring of 2009 Hattie returned to the National Theatre in London to play Kay Conway in 'Time and the Conways' by J.B.Priestley. The play opened on Tuesday 28th April 2009 and completed its run on Sunday 16th August 2009. Hattie played Elizabeth in Meredith Oakes' unusually entitled social comedy, 'Alex Tripped on my fairy', which was broadcast by BBC Radio 3 on Saturday 21st March 2009. She was one of the readers for an edition of the BBC Radio 3 show, 'Words and Music', which went out on Sunday 29th March 2009, and she also narrated a ten part dramatization of 'Lady Audley's Secret' by Mary Elizabeth Braddon . This was broadcast by BBC Radio 4 between Monday 20th April 2009 and Friday 1st May 2009.
Hermione Baddeley
A brash character actress who specialized in cinema, television, and theater, Hermione Youlanda Ruby Clinton-Baddeley was born on November 13, 1906 in Broseley, Shropshire. She was the youngest of four sisters - including Angela Baddeley , also an actress - and her half-brother, Very Rev William Baddeley, was a Church of England Minister.
Not much is known about Baddeley's early life. She made her stage debut in 1918, and became popular in London stage comedies and revues prior to World War II, known for her dancing talent and natural comic ability. She memorably performed several times with Hermione Gingold . Baddeley made her film debut in 1927, with a role in the extremely obscure silent comedy A Daughter in Revolt , but didn't come to attention until twenty years later, when she portrayed the affable but blowzy Ida in the film noir Brighton Rock .
Jenifer Lewis
Jenifer Lewis Jenifer Lewis is one of Hollywood's most familiar faces, with more than 300 appearances in film and television. Dubbed a "national treasure" by TV Guide.com, Jenifer currently stars on the hit show Black-ish (ABC), where her hilarious portrayal of "Ruby Johnson" earned her a nomination for the 2016 Critics Choice Award. Jenifer's most recent movies include The Wedding Ringer, Think Like A Man, Think Like A Man Too and Baggage Claim. She delivered legendary performances as Tina Turner's mother in What's Love Got to Do With It and in The Preacher's Wife as the mother of Whitney Houston's character. Jenifer starred opposite Matt Damon in Clint Eastwood's Hereafter and for director Tyler Perry, Jenifer created unforgettable characters in Madea's Family Reunion and Meet the Browns. In the movie Castaway, Jenifer portrayed Tom Hanks' boss. In animated films, Jenifer's uniquely recognizable voice is adored by Disney fans worldwide in roles such as "Flo" in Cars and Cars 2 and as "Mama Odie" in The Princess and the Frog. Jenifer's TV roles have ranged from regular appearances as "Aunt Helen" on The Fresh Prince of Bel-Air to guest star roles on Friends, Boston Legal and Girlfriends. For six seasons, Jenifer portrayed "Lana Hawkins" on Lifetime's hit series Strong Medicine. Although best known for her Hollywood success, Jenifer has enjoyed a wide-ranging and varied career in music and theater. Jenifer has performed in four Broadway shows, including Hairspray in the role of "Motormouth Mable." In 2014, she received an electrifying standing ovation at Carnegie Hall when she sang with the New York Pops orchestra. All told, Jenifer has presented more than 200 concerts, performing in 49 states and on four continents. Jenifer was born and raised in Kinloch, Missouri. Her accomplishments as an entertainer and community activist have been recognized with an honorary doctorate from her alma mater, Webster University in St. Louis and by the American Black Film Festival's Career Achievement Award.
Gloria DeHaven
Vaudeville headliners Carter and Flora DeHaven made sure their daughter would be educated at the very best private schools. They also indulged her ambition to be in show business by packing her off to the Mar-Ken Professional School in Hollywood (1940-42). Diminutive of stature and dark-haired, budding musical star Gloria (her nickname then was "Glo") enjoyed collecting perfume, reading (her favorite book being Daphne Du Maurier ) and listening to the big bands (particularly Tommy Dorsey ). With her father's help (who was assistant director and a friend of Charles Chaplin ), she finagled her first movie appearance -- an uncredited bit part in Modern Times . Her first visible role was in the George Cukor -directed Susan and God . A contemporary newspaper article quipped that the winsome lass was "a backstage baby, never a child star".
In the first place, Gloria concentrated on her singing career. Over the years she developed her own nightclub act and also enjoyed considerable success as a solo vocalist with the orchestras of Bob Crosby , Jan Savitt and Muzzy Marcellino . It was her singing which prompted Metro-Goldwyn-Mayer to sign her under contract in 1940. During the following decade, she made decent strides as a soubrette and was regularly featured as second lead in cheerful light musicals. The pick of the bunch were Thousands Cheer , Step Lively (on loan to RKO, giving Frank Sinatra his first screen kiss), Two Girls and a Sailor , Summer Stock (a typical role, as sister to the nominal star, in this case Judy Garland ) and Three Little Words (in which she played her own mother, Flora Parker DeHaven , singing the Ruby & Kalmar standard "Who's Sorry Now?"). New York Times critic Bosley Crowther commented in in June 1944: "It's a toss-up between June Allyson and Gloria DeHaven as to which is the lovelier girl. Both sing and dance with springtime crispness and have such form and grace as are divine". Always a popular pin-up with American servicemen in World War II, Gloria was featured on the cover of 'Yank' magazine that very same month.
Gloria never quite managed to get first tier assignments and her career waned as musicals ceased to be a bankable commodity. In the early 50's, she attempted stronger dramatic roles but with only moderate success. By 1955 she had wisely turned to the stage for occasional appearances on Broadway. As late as 1989, she sang in cabaret at the Rainbow & Stars in New York. There was also a screen comeback of sorts with recurring roles in the TV soaps Mary Hartman, Mary Hartman and Ryan's Hope . Add to this frequent guest spots across diverse genres, from Gunsmoke and Mannix to Murder, She Wrote .
Gloria Mildred DeHaven was awarded a star on the Hollywood Walk of Fame in 1960. One of her four husbands (from 1944 to 1951) was the actor John Payne .
Ruby Rose Turner
Ruby Rose Turner was born October 16, 2005 in Los Angeles, California. Ruby is an actress, dancer, singer and model who began her professional career at the age of 7 as a dancer on an episode of Univision Miami's longest running hit TV show, "Sabado Gigante." Ruby was a competitive dancer for four years winning several small group National Champion award titles prior to working professionally in the entertainment industry. She has appeared on ABC's "Dancing With The Stars" in a special live performance promoting the modern day "Annie" movie alongside child actress Quvenazhane Wallis. Ruby has also appeared in numerous National and International Television Commercials. Ruby appeared in Guest Starring roles on ABC's "Black-ish", Nickelodeon's hit show "Game Shakers" and Co-Stars on Season 2 of "Fuller House" as Phyllis Gladstone. Ruby has a true passion for theatre and performed at The Pasadena Playhouse with Lythgoe Family Productions and their American Panto Productions of Aladdin and Sleeping Beauty. Ruby has modeled for Wells Fargo, Under Armour, Isobella and Chloe, and numerous other tween clothing labels. Ruby has danced and modeled on the runway at Otis Parsons annual Fashion benefit show at the Beverly Hilton Hotel. Ruby is the second oldest of four children.
Rena Owen
Rena is an international award-winning actor and is one of only 6 actors in the world to have worked with both George Lucas and Stephen Spielberg during her illustrious career that spans 3 decades.
One of 9 children, she was born and bred in the Bay of Islands, New Zealand to a Maori/Welsh Father and a European Mother. She was first published at 8 when she won a national children's poetry contest, and throughout her youth, Owen was active in the Maori Culture Club, High School Musical productions, and Community Stage Plays. Despite knowing her talents were in creativity, upon graduating, the Arts were not considered a viable career.
At 18, she moved to Auckland to pursue a Nursing Career and 3 years later qualified as a General & Obstetric Nurse (RGN). In 1983, she went on her OE (overseas experience), a common Kiwi pursuit, and landed in London. Awed by the huge city and the bright lights of the entertainment world, the temptations that came with it easily seduced the naive 21 year old. But this life changing period led her back to a creative career.
She trained at the Actors Institute of London in the mid-1980s. During her formative years she worked in all aspects of the Theater. The first stage play she wrote, The River That Ran Away was produced by Clean Break and directed by the reputable award winning British actress Ann Mitchell with Rena in the lead role. It enjoyed a successful London tour and was later published by NZ Playmarket (1991). Other UK highlights include, Voices from Prison for the Royal Shakespeare Company, and award winning play, Outside In that debuted at the Edinburgh Festival.
Upon her return to NZ in 1989, Rena acted in two one-hour dramas for Television NZ's Series, E Tipu E Rea. A first of its' kind; the series was written, acted, directed and produced by Maori. In constant pursuit of learning and honing her craft, she continued to work extensively in theatre; acting, writing, directing, working as a dramaturgy, and was a founding member of Taki Rua Theatre.
She wrote and recorded short stories for Radio NZ, wrote and starred in the critically acclaimed stage play, Daddy's Girl whilst playing reoccurring roles in two NZ TV Series, Betty's Bunch, and Shark in the Park. Rena was a rare recipient of a Dame Te Atairangikaahu (the Maori Queen) Literary Award & Scholarship.
Rena's first feature film was a supporting role in the Kevin Reynolds/Kevin Costner film, Rapa Nui (1993), followed by the leading role in the cult-classic NZ film, Once Were Warriors. Her electrifying performance garnered her universal rave reviews. David Denby declared, "Owen's performance is classic!" Roger Ebert proclaimed, "You don't often see acting like this in the movies. The two leads bring the Academy Awards into perspective." Ruby Rich called her "The Bette Davis from Down Under", while Thelma Adams wrote, "Owen has the looks of Jeanne Moreau, the raw emotional power of Anna Magnani and a slim athleticism all her own".
The film was voted one of Time Magazine's top 10 films in 1994, it garnered over 30 International Awards, and screened in 66 countries. Rena won Best Actress awards at the Montreal, Oporto, Seattle, and San Diego Film Festivals, as well as the Cannes Film Festival's Spirit Award. While in NZ, she was awarded the Benny Award for Excellence in Film and the Toast Masters Communicator of the Year Award.
Rena returned to the Theater to act in two Stephen Berkoff plays, East West and Kvetch. She guest starred and earned a Best Supporting Actress nomination for her role in the NZ TV Series, Coverstory. She then played a leading role in the Australian Network 10 TV Drama Series, Medivac (1996-1998), a leading role in Garth Maxwell's feature film, When Love Comes, and a supporting role in Rolf De Heer's critically acclaimed, Dance Me To My Song that was in competition at the 1999 Cannes Film Festival and earned her an Australian Film Institute (AFI) Best Supporting Actress nomination.
In 2000, Rena set up a base in Los Angeles to learn more about filmmaking. She played beloved Taun We in George Lucas' Star Wars: Attack of the Clones, followed by a cameo role in Steven Spielberg's A.I. Whilst developing two screenplays, she played a reoccurring role in WB's Angel. Lucas cast her again as Nee Alavar in Star Wars: Revenge of the Sith. Rena went on to play supporting and cameo roles in multiple international films. Highlights include; Lions Gate's NZ/Canadian co-production Nemesis Game, Vincent Ward's acclaimed Rain Of The Children, NZ TV film A Piece Of My Heart, and USA thriller, Alyce Kills.
In 2010, Rena played a 3 month role on NZ's longest running TV series; Shortland Street and won the Best Supporting Actress Award at the 2011 Aotearoa Film and Television Awards (AFTA). A reoccurring role in the award-winning Australian TV series, East West 101 earned her a Best Supporting Actress nomination at the Australian Academy of Cinema & Television Arts (AACTA), and a Best Actress nomination at the Monte Carlo International Television Festival in 2012.
In her latest TV Series as a series regular, Rena played the Matriarch opposite Brian Cox's Patriarch of a multi-ethnic crime family set in the Torres Strait Islands for an ABC TV Series fondly nick-named, 'The Sopranos In Thongs!' The Hollywood Reporter voted The Straits as one of the 'Top 10 Series' to binge watch on Hulu in 2013.
Theatre credits throughout the past 15 years include leading roles in the classic NZ plays; Haruru Mai and The Pohutukawa Tree, and in the USA; multiple Stage Readings for Native Voices at the Autry in LA and La Jolla Playhouse in San Diego, Charity Stage Readings for the City of West Hollywood, and a leading role in a Hawaiian play called Fine Dancing. Rena adapted and directed Toa Fraser's play, Bare for the Asian American Theatre Company (AATC) in San Francisco.
2014, Once Were Warriors was voted the number one film of all time in New Zealand. Rena played a pivotal role in a documentary celebrating the film's 20th Anniversary, Where Are They Now? Her last USA independent feature film, The Well premiered at the LA Film Festival and she was cast in reoccurring roles for A&E's TV Series, Longmire and Sundance's TV Series, The Red Road. Her last NZ film, The Dead Lands enjoyed a Special Presentation Premiere at the Toronto Film Festival, garnered rave reviews, and sold to multiple territories. To close out 2014, Rena played the supporting role of Glaeser in The Last Witch Hunter directed by Breck Eisner, starring Vin Diesel.
Todd Field
William Todd Field was born in Pomona, California, and began acting after graduating from high school in Portland, Oregon, where he was raised. A budding jazz musician as well, he skipped college in favor of a move east to New York to study acting. Once there, he began performing with the Ark Theatre Company as both an actor and musician.
Field subsequently won a role in Woody Allen 's nostalgic Radio Days . Then had an independent Spirit Award-nominated turn in'Victor Nunez (I)''s Sundance Film Festival Grand jury Prize-winner Ruby in Paradise . He also starred in Nicole Holofcener 's_Walking and Talking (1996)_ which won the Grand Special Prize at the Deauville Film Festival. Other credits include Scott Ziehl 's_Broken Vessels (1998)_ in which Field starred and produced, and'Stanley Kubrick''s final masterpiece, Eyes Wide Shut in which he played the mysterious "Nick Nightingale".
In 1999, Kevin Thomas of the Los Angeles Times wrote, "Field has a deceptive facade of all-American clean-cut looks that allows him to suggest a wide range of emotions and thoughts behind such a regular-guy appearance; in "Ruby in Paradise" he expressed such uncommon decency and intelligence you had to wonder how Ashley Judd's hardscrabble Ruby could ever have considered letting him get away. In "Eyes Wide Shut" he's the likable med school dropout turned saloon piano player, and in Broken Vessels he's an increasingly raging sociopath. In all these roles Field has the precious gift of being able to surprise you and to command your attention on screen."
However, it was precisely at this point in his career that Field decided to leave acting behind and try instead to make a name for himself as a writer/director.
His first film When I Was a Boy was selected by the Film Society of Lincoln Center as part of their New Directors/New Films series and was shown at the Museum of Modern Art.
His next film, Nonnie & Alex received both the Special Jury Award at the Sundance Film Festival and the Best Film prize at the Aspen Film Festival. The film was honored with a special citation from the Academy of Television Arts & Sciences and Field was honored with the Franklin J. Schaffner Award for Excellence from the AFI, one of the highest honors the institute ever bestows upon a filmmaker.
In 2001, Field made his feature writing/directing debut with In the Bedroom , an intensely emotional portrayal of the repercussions of family tragedy on a New England couple. The film received five Academy Award nominations, three Golden Globe nominations, and Field was named both Screenwriter and Director of the year by the National Board of Review. Internationally acclaimed by critics, the film was named Best Picture of the Year by The New York Times, The New Yorker, The Wall Street Journal, New York Magazine, The New York Observer, and the Los Angeles Film Critics Association.
In 2006, Field co-wrote and directed Little Children . The film, starring Kate Winslet and Patrick Wilson , won numerous awards from the nation's top critics associations including writing awards for Field and Perrotta. The movie received three Golden Globe nominations including Best Picture of the Year, and was nominated for three Academy Awards.
Mike Wolfe
Mike Wolfe, creator and star of History Channel's hit TV show "American Pickers," has became a household name by dominating the world of "picking," a place where treasure is mined in old barns, crumbling sheds and dilapidated warehouses that line America's back roads and main streets. Today, he's at the top of his field, operating as a major voice in the world of interiors and collectibles, not to mention a personal empire that includes retails stores, books, product lines, endorsement deals, and an upcoming CBS sitcom pilot that he developed based on his life as America's foremost professional scavenger. Mike will also serve as the show's executive producer.
Before taking on Hollywood, Mike made his name as a professional treasure hunter, road tripping across the country in search of what he calls "rusty gold" to buy and sell in one of his two Antique Archaeology stores. Located in Le Claire, Iowa, and Nashville, Tennessee, the stores feature actual vintage and antique treasures Mike has picked up on the road as well as official merchandise associated with his Antique Archaeology brand.
Born in Joliet, Illinois, Mike is the second of three children raised by a single mother. Though he began picking at the tender age of six, pulling old bicycles out of his neighbor's trash in Bettendorf, Iowa, Mike has been working as a professional picker for over 20 years. (He logged time as a competitive bicycle racer and owned two bike shops before settling into his picking career). For most of those two-plus decades, Mike went about his business with little fanfare, putting some 60,000 miles on his cargo van each year as he traversed the country in search of cool finds. His anonymity ended in January of 2010, with the debut of "American Pickers," a TV concept he pitched to various networks for almost five years before it was picked up by The History Channel.
A certified hit, the show attracted 3.1 viewers for its first episode, making it the highest rated History Channel debut in three years. (Mike is credited as the creator, executive producer and co-host of the series.) That first season, as many as 5.4 million viewers tuned in each week, making it cable TV's highest rated new non-fiction program of 2010 among adults 25-54 - and Mike a bona fide American idol.
Now entering its fifth season, "American Pickers" continues to pull in 4.7 million viewers for new episodes. The success of "Pickers" allowed Mike to expand his retail business (the Nashville store opened in 2011) and buy a house near Leiper's Fork, Tennessee, a quirky little country town about a half hour south of Nashville, where he lives with his wife Jodi and daughter Charlie, and two beloved Australian blue heelers, Ruby and Scout. The couple also has a home in Le Claire.
In 2012, Mike expanded his personal business empire, announcing several new side businesses. Rustorations is a collection of lighting that "gives new life to old fixtures and vintage lighting parts by forging them into functional, one-of-a-kind furniture for your home or office." Pieces are available for sale in the Nashville Antique Archaeology store. Kid Pickers is an online community that gives kids aged 7 to 13 a forum to share their own picks. A Kid Pickers book - a how-to guide to picking written with children's specific needs in mind - will be published by Macmillan (Feiwel and Friends) in spring 2013; it will be Mike's second book, following 2011's "American Pickers Guide to Picking."
Mike's success has allowed him to expand his reach as a humanitarian. He routinely hosts event and encourages fund raising projects that benefit St. Jude's Children's Hospital, Operation Smile, the ASCPA, and animal shelters.
A longtime music lover with a special affinity for Americana and old school country, he's co-produced an album called Music to Pick By, a mix of picking-compatible tunes complied by legendary Nashville producer Brian Ahern. The record will feature three new songs composed and recorded by Mike and country singer/songwriter Dale Watson. The release date is TBD.
In September of 2012, CBS announced it had purchased Mike's latest TV project, a scripted, multi-camera workplace comedy set in an antiques and collectibles shop. The show, which will be directed by actor-turned-director Fred Savage, will be based on Mike's life and experiences as a picker. Mike is one of the executive producers. Mike recently signed an endorsement deal with Indian Motorcycle, a brand he loves and rides.
Antoinette Kalaj
Antoinette Kalaj was born and raised in the Bronx, New York, the eldest of four children to Albanian immigrant parents.
At 11 years old, her dad's construction business moved the family to Detroit, Michigan, where she first discovered her passion for performing. She was classically trained in Opera, and also has a strong passion for music.
Antoinette began modeling as a teen before starting college in the studies of law and medicine. She landed her first modeling campaign at the age of 17 for "The Limited" Clothing brand and numerous campaigns followed. With her love of acting, and performing tugging at her heartstrings, Kalaj soon traded higher education in favor of pursuing her dreams of becoming an actress.
When enticing film incentives started in Michigan, she scored the lead in a big budget Sci-Fi thriller. She also became both a skilled marksman and proficient in Krav Maga self-defense, which she mastered in seven months while training with The Detroit SWAT team to prepare for the lead role. Although the production shut down because of the film incentives being cut. Kalaj was hooked and continued her training in Martial Arts and Acting and made her way to Los Angeles.
In addition to her thriving acting career, Kalaj had an affinity for custom cars. As a previous owner of Auto Body Customs Shops in Detroit. She spent countless hours modifying cars for players from the Detroit Pistons, Detroit Lions and other local celebrities. Some of her designs have been profiled in the esteemed DUB Shows and Auto Shows across the US.
Antoinette's role as a mermaid in "Pirates of the Caribbean: On Stranger Tides", essentially got her noticed by talent management company Innovative Artists and upon signing with them, she then moved to L.A. permanently in February 2012 to pursue acting full time.
She quickly booked her first acting role in Los Angeles for the hit CW show, "Gossip Girl" as a co-star alongside Elizabeth Hurley, Chace Crawford and Blake Lively. Soon after she booked national commercials for M&M's, Carl's Jr., Progressive, WSOP, Miller Lite, and many more. She has also booked national Modeling campaigns for Gillette, Coors Light, Crocs, Sports Illustrated for Dodge Laramie, Bare Minerals, Carl's Jr., and Ray Ban, to name a few.
In 2013, she landed her next role in the highly anticipated film "Don Jon" with Joseph Gordon Levitt and "Riddick" starring Vin Diesel. In 2014, Kalaj played the lead alongside Billy Zane in the Indie-Film "Mining for Ruby", and then landed an action packed role in "Ninja Apocalypse", in which she performed the majority of her own stunts. Not long after, she booked the lead in the Indie-Film La Migra alongside Michael Copon, and Marco Rodriguez.
Antoinette's latest projects include the new "Teenage Mutant Ninja Turtles 2" starring Megan Fox and Tyler Perry, and "Chronically Metropolitan" starring Shiloh Fernandez, Ashley Benson, and Chris Noth.
Frank Gorshin
Frank John Gorshin Jr. was born on April 5, 1933 in Pittsburgh, Pennsylvania. His father, Frank John Sr., was a railroad worker and his mother, Frances, was a seamstress. While in high school, Frank worked as an usher at the Sheridan Square Theatre and began doing impressions of some of his screen idols: Al Jolson , James Cagney , Cary Grant and Edward G. Robinson . At age 17, he won a local talent contest. The prize was a one-week engagement at Jackie Heller's Carousel nightclub, where Alan King was headlining. It was Frank's first paid job as an entertainer and launched his show business career. Frank attended Carnegie-Mellon Tech School of Drama and did plays and performed in nightclubs in Pittsburgh in his spare time.
In 1953, at age 19, he was drafted into the United States Army and was posted in Germany. Frank served for two years as an entertainer attached to Special Services. In the Army, Frank met Maurice Bergman, who would introduce Frank to a Hollywood agent when his hitch with Uncle Sam was up. Frank quickly landed a role in The Proud and Profane and other roles in television dramas followed. In 1957, while visiting his folks in Pittsburgh, his agent phoned him to rush back to Hollywood for an audition for Run Silent Run Deep . For some odd reason, instead of catching a plane, Frank decided to drive his car to Los Angeles. Driving 39 consecutive hours, he fell asleep at the wheel, crashed, suffered a fractured skull and woke up in the hospital four days later. To add insult to injury, an Los Angeles newspaper reported he was killed, and the plum movie role of Officer Ruby went to Don Rickles .
Frank appeared in a number of lovable B-movies for American-International Pictures: Hot Rod Girl and Dragstrip Girl , and everybody's favorite, Invasion of the Saucer Men . Frank finally got a substantial role in the A-movie Bells Are Ringing with Dean Martin and Judy Holliday . He did a thinly-disguised Marlon Brando impression. Frank also appeared in Hollywood nightclubs including the Purple Onion. He also did Las Vegas engagements, opening for Bobby Darin at The Flamingo. On television, Frank appeared on The Steve Allen Plymouth Show and had a dozen guest shots on The Ed Sullivan Show . In 1966, Frank gave his breakout performance, performing what has become his best-known role: The Riddler on Batman for which he received an Emmy nomination. He also played the Riddler in the movie Batman: The Movie based on the television series. "I could feel the impact overnight", Frank recalled later. Because of his nationwide recognition, he was given headliner status in Las Vegas at the MGM Grand, Sahara and Aladdin Hotels. He received more good reviews for his thought-provoking performance as Commissioner Bele in the 1969 Star Trek episode "Let That Be Your Last Battlefield", for which he received another Emmy nomination.
In 1970, Frank made his Broadway debut as the star of "Jimmy", for which he got rave reviews. He also starred in many touring company productions such as "Promises, Promises", "Peter Pan", "Prisoner of Second Street" and "Guys and Dolls". In the 1980s, Frank served as Honorary Chairman, Entertainment Division, for the American Heart Association. Perhaps recalling his early AIP films, Frank has worked recently with the legendary Roger Corman , appearing as Clockwise on the television series Black Scorpion and on Corman's The Phantom Eye . He had appeared in over 70 movies and made over 40 guest appearances in television series. Frank Gorshin died at age 72 of lung cancer, emphysema and pneumonia in Burbank, California on May 17, 2005.
Dorothy Dandridge
Dorothy Jean Dandridge was born on November 9, 1922 in Cleveland, Ohio, to Ruby Dandridge (née Ruby Jean Butler), an entertainer, and Cyril H. Dandridge, a cabinet maker and minister. Under the prodding of her mother, Dorothy and her sister Vivian Dandridge began performing publicly, usually in black Baptist churches throughout the country. Her mother would often join her daughters on stage. As the depression worsened, Dorothy and her family picked up and moved to Los Angeles where they had hopes of finding better work, perhaps in film. Her first film was in the Marx Brothers comedy, A Day at the Races . It was only a bit part but Dorothy had hopes that it would blossom into something better. But because she was a black woman in a very prejudiced society, she didn't land the roles that were readily available to her white counterparts. She did not appear in another film until 1940 in Four Shall Die . The role was nothing great other than to establish the fact that she was very beautiful and talented. Her next few roles in the early forties included films such as Bahama Passage , Drums of the Congo and Hit Parade of 1943 . There were others in between, of course, but they were the usual black stereotypical films for women such as Dorothy. Not only was she a talented actress but she could also sing which was evident in films such as Atlantic City and Pillow to Post . This helped to showcase her talents as a singer and brought her headline acts in the nation's finest hotel nightclubs in New York, Miami, Chicago and Las Vegas. She may have been allowed to sing in these fine hotels but, because of racism, she couldn't stay there. It was reported that one hotel drained its swimming pool to keep her from enjoying that little amenity. In 1954, Dorothy appeared in the all-black production of Carmen Jones in the title role. She was so superb in that picture that she garnered an Academy Award nomination but lost out to Grace Kelly in The Country Girl . Despite the nomination for her performance, Dorothy did not get another movie until she appeared in Tamango , which was an Italian film. She was to make six more motion pictures, of which Island in the Sun and Porgy and Bess were worthy of mention. Once again, she was a standout. The last movie she would ever play would be in 1961's The Murder Men . Dorothy faded quickly after that with a poor second marriage to Jack Denison (her first was to Harold Nicholas ), poor investments, other financial woes, and a problem with alcohol. She was found dead in her West Hollywood apartment on September 8, 1965, the victim of a barbiturate poisoning. She was only 42. Had she been born 20 years later, Dorothy Dandridge would no doubt be one of the most well-known actresses in film history.
Michael McGreevey
Michael McGreevey began his professional career at the age of seven, appearing in The Girl Most Likely with Jane Powell , the first of 18 films he would act in over the next 20 years. A successful child actor, Michael also appeared in over 100 television shows, including stints as a series regular on Riverboat ( Burt Reynolds ' first show) and guest-star appearances on such acclaimed series as Naked City , Route 66 and three two-part specials for Walt Disney's Wonderful World of Color . At 18 years of age he enrolled in classes at UCLA while continuing his professional acting career, starring opposite Kirk Douglas , Robert Mitchum and Sally Field in The Way West (Field's first film), with David Niven in The Impossible Years and alongside Richard Widmark and Lena Horne in Death of a Gunfighter , as well as guest-starring in numerous television shows ( Mod Squad , Love, American Style ) and made-for-TV movies (including If Tomorrow Comes with Patty Duke ).
Graduating from UCLA Film School with honors, he continued to work as an actor, but set his sights on one day moving behind the camera and trying his hand at writing, directing, and producing. While co-starring opposite Kurt Russell in a series of very successful movies for Disney ( The Computer Wore Tennis Shoes , Now You See Him, Now You Don't , Snowball Express and The Strongest Man in the World ) and making guest-star appearances on acclaimed television series like The Waltons , Michael began writing. He was lucky enough to get his first professional writing assignment collaborating with his father, John McGreevey (Emmy Award; WGA Laurel Award) developing a three-hour movie for television about the Kennedy assassination entitled Ruby and Oswald . A truly monumental television event, "Ruby and Oswald" was a ratings winner as well as a critical success. Michael continued writing on his own, branching out into series television, working on such shows as "The Waltons" with creator Earl Hamner Jr. , Palmerstown, U.S.A. with Alex Haley and Norman Lear , Quincy M.E. and many others. Michael was nominated for an Emmy award for his teleplay of the ABC Afterschool Special, The Celebrity and the Arcade Kid . What started out as a freelance assignment writing one episode of Fame , the NBC series based on the popular film, turned into three seasons (72 episodes) as writer, story editor and eventually producer. Having written more episodes than anyone else, Michael was the obvious choice to write the last "Fame" show, effectively closing the door on the School of the Arts and bringing the award-winning series to an end. After "Fame", Michael decided he needed a break from the grind of series television, and returned to writing long-form television, developing movies and mini-series for all the networks, including NBC's highest rated movie of the '194 season, Bonanza: The Return . Michael returned to series television as the Supervising Producer of High Tide for the '95-'96 season and then assumed the same duties on the syndicated series, Tarzan: The Epic Adventures , completing 22 episodes for the '96-'97 season. He realized another life-long dream by directing one of the "Tarzan" episodes. Having been bitten by the directing bug, Michael immediately took on another assignment, helming three episodes of the Fox Network's children series, Mowgli: The New Adventures of the Jungle Book . The producers (Alliance, Kushner-Locke) were so pleased with his work on this demanding action/adventure series that they asked him to direct an independent feature based on the Kipling books, Jungle Book: Lost Treasure , starring Gary Collins and Michael Beck . Immediately after completing the film, McGreevey returned to television, executive-producing (as well as writing and directing) 26 one-hour episodes of the syndicated series Born Free (a continuation of the very popular movie based on Joy Adamson 's extraordinary work with the lioness, Elsa, in Africa). Since finishing the series, Michael has co-written an action\thriller television movie and series pilot, "Endangered," and co-wrote the script for a big-budget adaptation of the L. Frank Baum classic, "The Life and Adventures of Santa Claus." He is presently developing an original screenplay, "13 Weeks," a romantic comedy about working in series television, and shooting three documentaries entitled "Aging Without Symptoms," "Welcome to Eden," and "The Face of America."
Deborah Van Valkenburgh
Deborah Van Valkenburgh is a Los Angeles-based Actress, Singer, Artist and Writer working in all manner of media including TV, Film and Theatre across the globe.
Deborah graduated from Pratt Institute in Brooklyn, N.Y. with a BFA in Painting & Drawing. However, performing has always been an integral facet of her creative repertoire. As a teen in Upstate New York she performed in coffee houses with the folk band Spur Of The Moment and during college she sang locally in a duo popularly known as The Myrtle Avenue Watermelon.
She made her professional debut on Broadway in the revival of HAIR. This was swiftly followed by Deborah's memorable performance as "Mercy" in Walter Hill's cult classic The Warriors then 5 years as "Jackie Rush" on the hit TV sitcom Too Close For Comfort.
Extensive Film and Television credits also include Rob Zombie's The Devil's Rejects, The Trials Of Cate McCall (opposite Kate Beckinsale), the award winning short film Broken Hart, Albert Pyun's Road To Hell (for which Deborah won the 2012 PollyGrind Festival Award for Best Supporting Actress), Walter Hill's Streets Of Fire, William Friedkin's Rampage, Criminal (with John C. Reilly & Diego Luna), Free Enterprise (opposite William Shatner), Mean Guns, Brainsmasher: A Love Story, A Bunny's Tale (starring Kirstie Alley), the Sci Fi Channel miniseries Firestarter 2: Rekindled (with Malcolm McDowell), horror anthology series Monsters, and a mélange of guest-starring roles on such shows as Touch (with Kiefer Sutherland), Castle, The Event, Law & Order: Los Angeles, Ghost Whisperer, Criminal Minds, The Unit, Without A Trace, Cold Case, The Shield, ER, Mystery Woman, and Star Trek: Deep Space Nine.
Throughout her career, Deborah has appeared on a wide array of stages across the country performing in such notable venues as TOSOS, Geva Theatre Center, Manhattan Theatre Club, San Diego REP, The Old Globe Theatre, South Coast REP, The Blank Theatre Company, The Matrix, The Odyssey Theatre Ensemble, LATC, Arizona Theatre Company and Portland Center Stage. Acclaimed Productions include Amy and David Sedaris' The Book Of Liz, Steve Martin's Picasso At The Lapin Agile, the World Premiere of Ruby's Bucket O' Blood, The Beauty Queen Of Leenane, Dancing At Lughnasa, Burn This, The Goat, Company, Tamara, The Heidi Chronicles, Pump Boys & Dinettes, and Livin' Dolls by Marc Shaiman & Scott Wittman. Deborah continued her musical escapades in the early 90's as a featured vocalist for Peter Tork: A Likely Story and acoustic band DB House at a variety of legendary clubs like The Roxy, At My Place and Coconut Teaszer.
Deborah recently completed work on Shirlyn Wong's short film Love's Routine as part of Kevin Spacey and Trigger Street Productions' Jameson First Shot Screenwriting Competition starring Willem Dafoe. Love's Routine will premiere online June 2013.
Kenny Rogers
Born in Texas, the fourth of eight children, singer Kenny Rogers grew up in a poor area of Houston where his father worked in a shipyard and his mother in a hospital. He became the first member of his family to graduate from high school. He took an interest in singing while quite young and as a teenager joined a doo-wop recording group who called themselves "The Scholars". At age 19, Kenny recorded "That Crazy Feeling" for a small Houston label, Carlton Records, and his career was off and running. Kenny joined the "New Christy Minstrels" in the mid-1960s, then splintered off with others in the popular group to form "The First Edition". Their first big soft-rock hit, "Ruby, Don't Take Your Love to Town" hit #6 on the US charts, while later successes included "Something's Burning", "Just Dropped In", "Tell It All Brother" and "Reuben James". The husky-framed singer's ingratiating personality and sensual gravel tones soon took center stage and the group eventually renamed themselves "Kenny Rogers and the First Edition". They hosted a syndicated TV variety series from 1971 to 1973 called Rollin' on the River but the pressures of taping a weekly show caused extreme friction within the group and eventually took its toll. After a couple of years of producing non-hit songs, the group disbanded in the mid-70s. Solo stardom seemed to be inevitable for Kenny and he began chalking up a string of country-tinged 'top 20' pop hits with "Lucille" (#5), "Don't Fall in Love With a Dreamer" (#4, with Kim Carnes ), "Through the Years" (#13), "We've Got Tonight" (#6, with Sheena Easton ) and his two #1 hit sellers "Islands in the Stream" (with Dolly Parton ) and "Lady". By the late 1970s, he had sold over $100 million worth of records. The 1980s would tell a different story. Normally considered an easygoing talent, he was unflatteringly dubbed the "overweight lightweight" by Rolling Stone Magazine, and the silvery-maned Kenny soon experienced a major slump. After charting lower and lower, he wisely branched off into other successful areas. In 1980, he touched off a modest, but appealing acting career with the TV-movie Kenny Rogers as The Gambler , based on his 1979 song hit. This led to four equally popular sequels. He also became a perennial star or co-star of TV seasonal specials. In addition, he published several books on photography and opened a rotisserie-chicken fast-food franchise. Less and less visible in the ensuing years, Kenny produced the 1999 album "She Rides Wild Horses", which peaked at #6 on the country charts, his highest in 15 years, and included the #1 single "Buy Me a Rose". Spending a lot of time breeding Arabian horses and cattle on a 1,200-acre Georgia farm, Kenny's seems settled with his fifth wife Wanda Miller, who he married in 1997. One of his sons, Kenneth Rogers , once followed in his father's boot steps, briefly launching his own singing career in 1989 with "Take Another Step Closer". He now is on the business end of entertainment providing music for TV and movies. Kenny's other two children are Carole and Christopher.
Louisa Lytton
Since a young age, Louisa has had a love of performing, having been a pupil at London's iconic Sylvia Young Theatre School. Here, she learnt from some of the best tutors, and was able to develop her skills as both an actress, and an all-round performer. It was this platform that led to Louisa securing her first professional role, as the innocent schoolgirl Ruby Allen in BBC1's BAFTA award winning EastEnders. Here, Louisa became an overnight sensation, racking up column inches and piles of critical acclaim as she tackled the many controversial storylines that the EastEnders writers through her way.
Since leaving EastEnders, Louisa's star continued to rise, as she joined another iconic British television show, The Bill. Here, she played the inexperienced and shy police officer Beth Green. Following this, Louisa has enjoyed a whole host of varied roles, from parts in the internationally successful American Pie franchise, to the British Shakespeare Company's productions of both A Midsummer Night's Dream and Much Ado About Nothing.
Away from acting, Louisa is also an accomplished dancer, having competed in the fourth series of Strictly Come Dancing, where she successfully reached the quarter-finals. Following on from this, Louisa toured the country as part of the sold-out Strictly Come Dancing arena tour, and represented the United Kingdom in the 2008 Eurovision Dance Contest.
Currently, Louisa is busy as a result of her role in the new ITV comedy drama The Edge of Heaven; an exciting new prime-time comedy based around the trials and tribulations of a family running a guest house in Margate. For this part, Louisa is working alongside a talented cast that includes Blake Harrison (The Inbetweeners, Him and Her) and Camille Coduri (Doctor Who, Midsomer Murders), and her character's name is Michelle.
James Morrison
A filmmaker, playwright, poet, actor, singer/songwriter and yoga teacher, James Morrison was born in Utah and is a product of Alaska. He began his acting career as a clown and wire walker for the Carson and Barnes Wild Animal Circus and served his theatrical apprenticeship with the Alaska Repertory Theatre. Since then, he has appeared at some of America's foremost theatres including the McCarter Theatre, the La Jolla Playhouse, the Mark Taper Forum, the L.A. Stage Company and The Old Globe with such renowned directors as Emily Mann, Des McAnuff, Jack O'Brien, Charles Nelson Reilly, Jose Quintero and Harry Mastrogeorge, his acting teacher since 1982.
He is the recipient of the Los Angeles Drama Critics Circle Award for Outstanding Performance and three Drama-Logue Awards. In 1985 he appeared in the London premiere of Emily Mann's Still Life at the West End's Donmar Warehouse and the Riverside Studios after a stint in The Edinburgh Festival at the Traverse Theatre where the production received a Fringe First Award.
His radio credits include L.A.TheatreWorks productions of The Rainmaker with the cast of the Broadway revival, Ruby McCollum in which he stars as William Bradford Huie, Judgement at Nuremberg, the U.S. tour of In the Heat of the Night and Julius Caesar.
Morrison's short film, Parking , which he wrote and directed, was produced by his wife, Riad Galayini . Parking screened at twenty film festivals world wide including New York's New Directors/New Films presented by Lincoln Center at the Museum of Modern Art, Slamdance (audience choice award for best short), Austin's South By Southwest Festival, the Central Florida Film Festival (third place narrative film award), the Los Angeles Independent Film Festival, the Montreal World Festival, The Festival of U.S. Shorts in Brisbane, Australia, Ireland's Cork International Film Festival, and the Northampton Film Festival where it received the Best Short of the Festival Award. Parking also ran on Sundance Channel for 18 months.
With Ms. Galayini, he co-wrote and co-produced her directorial debut, Nude Descending , which received The George Melies Award at the 1998 Taos Talking Picture Festival and has screened at the Nashville Independent Festival and Short Cuts in Paris. In 2000, Nude Descending was selected for special recognition by the Hitchcock International Director's Series presented by the American Cinematheque.
Their latest film, the documentary, Showing Up , is a feature length conversation about the actor's auditio.
Morrison's plays have been produced and/or developed at The Sundance Institute, The EnsembleStudio Theatre, The Playwrights' Center of Minneapolis, L.A. Theatre Works, The MET Theatre, Two Parts Theatre Company, The Classical Theatre Lab, City Theatre in Miami, The Road Theatre, The Mojo Ensemble, The Wooden O, The Philadelphia Fringe Festival and the Salt Lake Acting Company where he has directed several plays including those by Sam Shepard, John Robinson, Larry Shue and Beth Henley.
As a singer/songwriter his albums, Son to the Boy and I Broke Free are available on iTunes CD Baby, Amazon and all digital outlets.
James was a Lecture Fellow at Bournemouth University School of Media in England for four years and received his certification to teach Hatha Yoga from Yogiraj Ganga White and Tracey Rich at the White Lotus Foundation in Santa Barbara. He taught regular classes at the YogaWorks Center for Yoga in Los Angeles for almost 10 years and currently teaches at White Lotus Foundation and Yoga Soup in Santa Barbara.
James and Riad live North of Los Angeles with their son, Seamus, born in 1999.
Lucy Gaskell
Lucy Gaskell is a British actress. She trained at the Royal Welsh College of Music and Drama, graduating in 2001. She has appeared in many television dramas including Being Human, Misfits and Crossing Lines. Her breakthrough role as Ruby Ferris in BBC One's Cutting It earned her a nomination for Network Newcomer on Screen 2002 at the Royal Television Society Awards, UK. She has been married to the actor Mark Bonnar since 2007. They have two children.
Maurice Benard
Daytime Emmy Award winning Actor Maurice Benard joined the cast of General Hospital in the role of Sonny Corinthos in August 1993. He briefly left the show for a year-long hiatus in December 1998. For his portrayal, Mr. Benard received the Emmy Award for Outstanding Lead Actor in 2003. He was also nominated in 1996, 1997, 2004, 2006 and 2011.
Mr. Benard's multi-cultural upbringing began in San Francisco, where he was born to parents from Nicaragua and San Salvador. Uninspired by the traditional education route, he gleaned an education in the open job market after high school. He began modeling in his early twenties. Following that, Mr. Benard took up acting in numerous theatrical productions in the Bay area.
After auditioning for a role on the ABC drama All My Children, Mr. Benard was cast as Nico Kelly. Two years later, he struck out to find new challenges and moved to Los Angeles, where he was cast as the lead in the much-publicized TV movie, Lucy and Desi: Before the Laughter. He later added a pivotal role in the feature film Ruby to several other prominent film and television credits.
Mr. Benard has been a popular voice in the battle against bipolar disorder. He has been very open about his personal battle with the illness, appearing on television programs such as The View, Entertainment Tonight, and Oprah. He has been featured in People and LA Life Magazines. He also began working with the National Mental Health Association (NMHA) on the "Bipolar Disorder: Do You Know It?" campaign to help educate Americans about the importance of recognizing the signs and symptoms of bipolar disorder.
Nanette Fabray
A sparkling, entertaining, highly energetic presence ever since her early days (from age 4) as a singing and tap dancing child vaudevillian, Nanette Fabray (born Ruby Fabares in San Diego) was once billed as "Baby Nanette" and working with the top headliners of the era, notably Ben Turpin , in the Los Angeles area. She also sang on radio. It was widely rumored that she appeared in the "Our Gang" ("Little Rascal") film shorts of the late 1920s; however, this was not true. Later the young hopeful received a scholarship to the Max Reinhardt School of the Theatre and appeared in the school's productions of "The Miracle", "Six Characters in Search of an Author" and "A Servant with Two Masters", all in 1939.
The musical comedy stage, however, would be Nanette's forte. Appearing in such hit New York productions as "Meet the People" (1940), "Let's Face It" (1941), "By Jupiter" (1943) and "Bloomer Girl" (1945), she capped this period of great productivity earning awards for her Broadway work in "High Button Shoes" (1947 - Donaldson Award), and "Love Life" (1948 - Tony and Donaldson Awards).
Strangely, Nanette never obtained a strong foothold when it came to film. Aside from secondary roles in The Private Lives of Elizabeth and Essex starring Bette Davis and Errol Flynn , and the melodrama A Child Is Born , her one claim to movie fame would be her vital participation in the blockbuster MGM musical The Band Wagon in which she memorably performed the songs "That's Entertainment" and "Louisiana Hayride," and joined Fred Astaire and Jack Buchanan in the standout "Triplets" number.
Into the 1950s, Nanette started checking out what TV could do as a possible medium for her. It did a lot. She managed a fine feat by winning two consecutive Emmy awards as Sid Caesar 's partner on the now-called Caesar's Hour following the departure of the seemingly irreplaceable Imogene Coca earlier. This led to Nanette eventually starring in her own sitcom, the short-lived Westinghouse Playhouse (aka "Yes, Yes, Nanette"), in the role of a Broadway star who becomes a makeshift mom after marrying a widower ( Wendell Corey ) with two children.
Broadway musicals continued to flourish with perfs in "Arms and the Girl" (1950) and "Make a Wish" (1951). Nanette later copped another Tony nomination starring as a fictional "First Lady" opposition "President" Robert Ryan in the musical "Mr. President" (1962). Other tailor-made stage vehicles for her came in the form of "Plaza Suite", "Wonderful Town", "Never Too Late", "Last of the Red Hot Lovers" and "Cactus Flower", among others.
On the TV front, Nanette adjusted well into a lively and graceful support player. She served up a number of delightfully daffy moms, wisecracking friends and intrusive relatives in guest appearances -- sometimes alongside her own niece, actress Shelley Fabares , as was in the case of their regular roles on One Day at a Time . Nanette was also a popular game show personality during the 60s and 70s, appearing on The Hollywood Squares , The New High Rollers , Password All-Stars and The Match Game , among others. The singer-comedienne also could be counted on for TV musical variety appearances courtesy of headliners Dinah Shore , Andy Williams , Dean Martin and Carol Burnett .
Most importantly, Nanette's humanitarian efforts over the years have been long recognized. A positive force as a hearing-impaired performer, she has given much time and effort in achieving equality for all types of handicapped and disabled people, including actors. Nanette is the widow (since 1973) of writer and sometime director/producer Ranald MacDougall , appearing in a few of his credited works, including the film Cockeyed Cowboys of Calico County , the TV pilot Fame Is the Name of the Game and the TV-movie Magic Carpet . She and MacDougall have one child. Still as lively as ever, Nanette appeared most recently in an L.A. musical revue entitled "The Damsel Dialogues" (2007).
Tina Ivlev
Tina Ivlev has mesmerized film and television audiences alike with characters who are real, compelling and strong.
Recently on stage, Ivlev starred in the gripping teenage drama, "Dry Land," a Colt Coeur production written by Ruby Rae Spiegel and directed by Adrienne Campbell-Holt. The play, which immediately became a New York Times Critics' Pick, played to sold out houses in New York.
As the lead in the thriller, "Bound to Vengeance," which premiered at the Sundance Film Festival, Ivlev garnered much praise for her tour de force performance as a young woman who outwits her kidnapper (Richard Tyson) and attempts to rescue his other victims, drawing comparisons to "Winter's Bone-era Jennifer Lawrence" (The Hollywood Reporter).
Her other screen credits include "The Devil's in the Details" (with Ray Liotta) and "Death Clique." TV audiences will recognize Tina from memorable appearances on series such as "The Bridge," "Graceland," "Anger Management," "Major Crimes," and "CSI," among many others.
She can be seen next as the lead in the Dark Factory comedy, "Deadtectives."
Lil' Kim
Kimberly Denise Jones, was born on July 11, 1974, to parents Linwood Jones and Ruby Mae. She is of Native American and African American descent. Standing just 4 feet 11 inches tall Kimberly Jones seems much less than being just your average girl in the hood, but when "Lil' Kim" was introduced to the world she became known for her provocative over-the-top outfits, glamorous blonde hair-dos, pornographic attitude, sexy man-crazed looks, and a groundbreaking triumph that eventually secured her place as one of the few female rappers in a male-dominated industry. A native of Brooklyn, New York, Kimberly was born into a broken home, by age 9 her parents had filed for divorce, leaving her and older brother Christopher under the custody of their father. A rebellious child living under the strict rules of her dad, Kimberly and her father had constant fights, and eventually she ran away from home. As a teenager she lived with friends, drug-dealing boyfriends, and, occasionally, on the streets. After meeting her mentor and life saver Christopher Wallace, (Notorious B.I.G/Biggie Smalls), she began to clean up her life and it was Christopher who helped her develop a career in music. By then Kimberly had taken in the slogan "Lil' Kim" after her height and curbing her name to just Kim. With the help of Christopher she became the only female member of the short lived rap group Junior M.A.F.I.A. Their 1995 debut album Conspiracy debuted at #8 on the Billboard Hot 100 and garnered the hit singles "Player's Anthem" (#13) and "Get Money" (#17). Following the release, Lil' Kim appeared on records by Mona Lisa, the Isley Brothers, Total, and Skin Deep. And it was obvious that it was time for her to come out with her own solo album, and that's just what she did in 1996, with the release of "Hard Core". Lil' Kim's marketing campaign for the album was quite challenging - she was dressed in a skimpy bikini and furs in advertisements, as well as the album covers - but instead of resulting in criticism, the album became a hit, debuting at # 11 on the pop charts. The first single from the album, "No Time" a duet with Sean "Puffy" Combs, became a #1 rap single and #20 on the pop charts. A top ten single followed with "Not Tonight" (#6). But while Lil Kim's career was blossoming, her life was shattered along with the music world when her father like figure Notorious B.I.G. was murdered on March 9, 1997. Following that incident, Lil' Kim took a hiatus from recording her own music, but she still kept busy with a string of other projects. She was one of the featured performers of Puff Daddy's highly successful 1998 "Bad Boy Tour", and built her own business with the launch of Queen Bee Records, with Lil' Kim herself as CEO. Her long-awaited "Notorious K.I.M." was released in the summer of 2000 under the Queen Bee record label and debuted at #1 on the Billboard R&B/Hip-Hop Charts. By then, she had lost weight but still kept the sexual techniques and provocative antics coming for fans that were hungry for more. She had also taken a shift into films debuting in the 1999 teen flick "She's All That" and playing Tina Parker in the 2002 comedy "Juwanna Man". In 2001 Lil Kim gained her first #1 hit on the Billboard Hot 100 in a remake of Patti Labelle's hit "Lady Marmalade" that collaborated her with singers Mya, Pink, and Christina Aguilera, the success awarded them a Grammy in 2002 for Best Pop Collaboration. Her third full-length album "La Bella Mafia" was released in 2003 debuting at #5 on the pop charts and earned her two more hits with "The Jump Off" (#17) and "Magic Stick/feat.50Cent" that shot to #2. Her album The Naked Truth released in September 2005 debuted at No. 6 on Billboard's Top 200 Album's chart and sold 109,000 copies during the first week of its release.
Denise Vasi
A Brooklyn native, Vasi signed to Ford Models at the age of 12. She went on to grace the pages of international campaigns for ELLE, Marie Claire, GQ Italy and more. She appeared in numerous on-camera and print campaigns for leading cosmetic, hair care and fashion brands including Olay, Bobbi Brown, Dove, Urban Decay, M·A·C, L'Oreal, Target, Doll House, American Eagle, Republic and more. Her breakout role was in ABC's longstanding daytime soap opera "All My Children". Vasi starred as Randi Morgan, former prostitute and wife of series veteran Frankie Hubbard from 2008-2011. Vasi relocated with production from New York to Los Angeles. She was seen as Ruby in the critically acclaimed Steven Soderbergh-directed feature film Magic Mike, opposite Channing Tatum and Matthew McConaughey, and in Charles Murray's debut indie drama Things Never Said. Vasi starred as smart, savvy, businesswoman, and leading lady Raquel Lancaster in VH1's hit, one-hour scripted series, "Single Ladies." Which was produced for three seasons by Queen Latifah's Flavor Unit Entertainment, "Single Ladies" chronicles three friends and their take on love, dating and female friendship. Vasi's additional credits include feature films "The Good Guy" opposite Alexis Bledel, and "What's Your Number?" opposite Anna Faris and Chris Evans, and roles on television shows "White Collar," "Law and Order: Criminal Intent," "The Protector," and "How To Make It In America." Vasi's other interests include dance, fitness and philanthropy. She helped raise over $800,000 for addiction recovery as co-chairman of Caron Renaissance's "Save A Life Event." Vasi resides in Los Angeles.
Rhashan Stone
Rhashan was born 3 November, 1969 in Elizabeth New Jersey. His mother, Joanne, was a singer who relocated to London, England to be with her then husband Russell Stone. They formed the singing duo R& J Stone, best known for their hit "We Do It" in 1977. Other members of his family enjoyed musical success. His aunt, Madeline Bell, was the lead singer of Blue Mink, best known for their hit single "Melting Pot".
Rhashan Trained at Mountview Theatre School, London.
As well as his numerous television appearances, Rhashan is also an accomplished stage actor. His first job came before he had even graduated from drama school, when he was chosen to appear in the award winning production of "Five Guys Named Moe" in London's West End. He has worked consistently ever since. He has performed in numerous productions for The Royal Shakespeare Company, The National Theatre, The Royal Court and in London's West End. From the heroic soldier Claudio in Much Ado About Nothing to the drag queen Sanzo in Trance. From the all singing, all dancing Hero in the Sondheim musical A Funny Thing Happened On The Way To The Forum to Shakespeare's doomed brother Clarence in Richard III.
Despite an abundance of classical work, his proudest moment was playing the Harlem Everyman Jesse B. Semple in the West End hit show Simply Heavenly. Stone described the effect that its author Langstone Hughes had on him as "life changing".
Rhashan is married to the actress Olivia Williams. They have two children Esmé Ruby and Roxana May.
Christien Anholt
Christien Anholt began his acting career in 1988 at the age of 17 after winning the coveted role of 'Hans' in the motion picture "Reunion", directed by Jerry Schatzberg and starring Jason Robards. For his debut performance Anholt received a Best Actor nomination at the 1989 Cannes Film Festival, and went on to win Best Actor at the E'Febo Doro awards in Sicily in 1990. Harold Pinter, who wrote the screenplay for"Reunion", recommended Anholt to playwright Ronald Harwood, who cast him as 'Leonard/Jeremy Lands' in his new play "Another Time" starring Albert Finney. The play, its cast, including Anholt enjoyed rave reviews and a sell-out run at London's Wyndham Theatre. Harwood then recommended him to Director Franco Zeffirelli, who cast Anholt as 'Marcellus' alongside Mel Gibson in the motion picture "Hamlet" Anholt went on to star opposite Kate Beckinsale, Sam Niel and Judy Davis in Hallmark's production of "One Against The Wind" He then acted alongside Steven Dorff in "The Power Of One" directed by John G. Avilsden. Steven Spielberg hand picked Anholt to play Clive Owen's brother 'Terry O'Niel' a series lead, in the critically acclaimed "Class Of 61"; A TV movie/back door pilot. He received electrifying reviews for his portrayal of 'Gary Warrell' in the BBC Screen2's production of "Money For Nothing." A string of television movies and feature films followed including, "Seventeen" opposite Rachel Wiesz, "Mama's Back" playing Joan Collin's son and BBC's "Hard Times" opposite Alan Bates, Bob Peck & Richard E.Grant. He went on to star in "The Harpist" in which his performance earned him another Best Actor nomination, this time at the Geneva Film Festival in 1997. "Preaching To The Perverted", "The Ruby Ring" (another Hallmark production) and George Miltons "Appetite" followed. Anholt then returned to London's West End in Terrance Rattigan's "In Praise Of Love" and was once again cast by Harold Pinter and Director David Jones opposite Harold Pinter in Pinter's thriller, "The Hothouse." Again to rave reviews. In 1999 Anholt was cast as 'Nigel Bailey' a series lead opposite Tia Carrere,in "Relic Hunter" which ran for 3 seasons. He then went on to guest star in two episodes of "Adventure Inc", alongside Michael Biehn. He then had a cameo in "The Conclave", played 'Higgins', one of the fly boys, alongside James Franco, in the motion picture "Flyboys" Produced by Dean Devlin and Directed by Tony Bill. Following that he starred opposite Thora Birch in "Dark Corners" Directed by Ray Gower and "Ben 10 Race Against Time" More recently Anholt appeared in BBC's Doctors and two movie shorts "Severed Garden" and "Ghosted". Anholt resides in London, England.
Angela Elayne Gibbs
Angela Gibbs is a native of Detroit, Michigan, with more than three decades in the Entertainment Industry, and has covered the roles of producer, actor, writer and director. Most recently Gibbs joins the cast of Black Jesus, created by Aaron McGruder (The Boondocks) and Director, Mike Clattenburg, (Trailer Park Boys). In addition, Gibbs is a recurring character on ABC Family's, The Fosters and led the cast in the spin off Web series, Girls United.
An acting coach and teacher, Gibbs' client list is impressive. She is most proud of her work with Oscar winning director, Alejandro Gonzalez Inarritu. Gibbs coached for Mr. Inarritu on The Revenant and was given a Special Thanks for her support on his Birdman. Most recently Angela worked with first time actor Demetrius Shipp, Jr. on his role as Tupac Shakur in the new biopic, All Eyez on Me.
Angela directed the comedy short, Rise and Fall of John Tesoro" starring veteran actor Gerry Bednob, (40 Year Old Virgin) in Trinidad.
The LA Times, called her 2006 short film, Ties That Bind, "A powerful study of a mother and daughter." The film stars a stellar cast including Karen Malina White (The Shield) , Starletta Du Pois (Notebook) and Marla Gibbs (The Visit). The film received HBO's best short award at Martha's Vineyard, the prestigious Jury Award; for Best Short at the Pan African Film Festival and was featured on BET's Best Shorts series.
While attending the American Film Institute, Gibbs cast a second year film that won an Academy Award nomination, Last Breeze of Summer. She also received AFI's Mary Pickford scholarship for directing. In 1998, Gibbs traveled to Ghana and directed the documentary, Dare To Struggle, Dare To Win, in support of the Ghanaian Woman's Empowerment Movement. Again the film was short-listed for the Academy nod and was the opening night piece for the Pan African Film Festival.
On stage, Gibbs produced the play 227 with her mother, Marla Gibbs. The play won the attention of Norman Lear and was soon turned into the NBC hit series. That same year Angela Gibbs became the recipient of two NAACP Image Awards for her theater productions including the "The Meeting," with Dick Anthony Williams, Felton Perry and Taurean Blacque and Broadway play "Checkmates," starring Paul Winfield, Denzel Washington and Ruby Dee.
Gibbs was Senior Writer for Turner Broadcasting's Trumpet Awards for nine years, where honorees included Sidney Poitier, Maya Angelou, Diahann Carroll, Lena Horne, Muhammad Ali and Colin Powell. At the same time she produced shows for The Black Family Network. During her stint in Atlanta, Gibbs taught in the Drama Dept. at Spelman College. The program, headed by then Dept. Chair, Glenda Dickerson, taught students the impact drama can have as a teaching tool.
Gibbs is working on two feature films she will direct.
John Barry
John Barry was born in York, England in 1933, and was the youngest of three children. His father, Jack, owned several local cinemas and by the age of fourteen, Barry was capable of running the projection box on his own - in particular, The Rialto in York. As he was brought up in a cinematic environment, he soon began to assimilate the music which accompanied the films he saw nightly to a point when, even before he'd left St. Peters school, he had decided to become a film music composer. Helped by lessons provided locally on piano and trumpet, followed by the more exacting theory taught by tutors as diverse as Dr Francis Jackson of York Minster and "Bill" William Russo , formerly arranger to Stan Kenton and His Orchestra , he soon became equipped to embark upon his chosen career, but had no knowledge of how one actually got a start in the business. A three year sojourn in the army as a bandsman combined with his evening stints with local jazz bands gave him the idea to ease this passage by forming a small band of his own. This was how The John Barry Seven came into existence, and Barry successfully launched them during 1957 via a succession of tours and TV appearances. A recording contract with EMI soon followed, and although initial releases made by them failed to chart, Barry's undoubted talent showed enough promise to influence the studio management at Abbey Road in allowing him to make his debut as an arranger and conductor for other artists on the EMI roster.
A chance meeting with a young singer named Adam Faith , whilst both were appearing on a stage show version of the innovative BBC TV programme, Six-Five Special , led Barry to recommend Faith for a later BBC TV series, Drumbeat , which was broadcast in 1959. Faith had made two or three commercially unsuccessful records before singer / songwriter Johnny Worth ( Johnny Worth ), also appearing on Drumbeat, offered him a song he'd just finished entitled What Do You Want? With the assistance of the JB7 pianist, Les Reed , Barry contrived an arrangement considered suited to Faith's soft vocal delivery, and within weeks, the record was number one. Barry (and Faith) then went from strength to strength; Faith achieving a swift succession of chart hits, with Barry joining him soon afterwards when the Seven, riding high on the wave of the early sixties instrumental boom, scored with Hit & Miss, Walk Don't Run and Black Stockings.
Faith had long harboured ambitions to act even before his first hit record and was offered a part in the up and coming British movie, Wild for Kicks , at that time. As Barry was by then arranging not only his recordings but also his live Drumbeat material, it came as no surprise when the film company asked him to write the score to accompany Faith's big screen debut. It should be emphasised that the film was hardly a cinematic masterpiece. However, it did give Faith a chance to demonstrate his acting potential, and Barry the chance to show just how quickly he'd mastered the technique of film music writing. Although the film and soundtrack album were both commercial successes, further film score offers failed to flood in. On those that did, such as Never Let Go and The Amorous Prawn, Barry proved highly inventive, diverse and adaptable and, as a result, built up a reputation as an emerging talent. It was with this in mind that Noel Rogers, of United Artists Music, approached him in the summer of '62, with a view to involving him in the music for the forthcoming James Bond film, Dr. No.
He was also assisted onto the cinematic ladder as a result of a burgeoning relationship with actor/writer turned director Bryan Forbes , who asked him to write a couple of jazz numbers for use in a club scene in Forbes' then latest film, The L-Shaped Room. From this very modest beginning, the couple went on to collaborate on five subsequent films, including the highly acclaimed Séance On A Wet afternoon, King Rat and The Whisperers. Other highlights from the sixties included five more Bond films, Zulu, Born Free (a double Oscar), The Lion In Winter (another Oscar) and Midnight Cowboy.
In the seventies he scored the cult film, Walkabout ( Jenny Agutter ), The Last Valley (Caine / Sharif), Mary, Queen Of Scots (Oscar nomination), wrote the theme for TV's The Persuaders (Roger Moore & Tony Curtis), a musical version of Alice's Adventures In Wonderland, the hit musical Billy (with Michael Crawford - ran for 2 and a half years). Then, in 1974, he made the decision to leave his Thameside penthouse apartment for the peace of a remote villa he was having built in Majorca. He had been living there for about a year, during which time he turned down all film scoring opportunities, until he received an invitation to write the score for the American TV movie, Eleanor & Franklin. In order to accomplish the task, he booked into the Beverly Hills Hotel for six weeks in October 1975. However, during this period, he was also offered Robin And Marian & King Kong, which caused his stay to be extended. He was eventually to live and work in the hotel for almost a year, as more assignments were offered and accepted. His stay on America's West Coast eventually lasted almost five years, during which time he met and married his wife, Laurie, who lived with him at his Beverly Hills residence. They moved to Oyster Bay, New York and have since split their time between there and a house in Cadogan Square, London.
After adopting a seemingly lower profile towards the end of the seventies, largely due to the relatively obscure nature of the commissions he accepted, the eighties saw John Barry re-emerge once more into the cinematic limelight. This was achieved, not only by continuing to experiment and diversify, but also by mixing larger budget commissions of the calibre of Body Heat, Jagged Edge, Out Of Africa (another Oscar) and The Cotton Club with smaller ones such as the TV movies, Touched by Love and Svengali. Other successes included: Somewhere In Time, Frances, three more Bond films, the thriller, Jagged Edge and Peggy Sue Got Married.
After serious illness in the late eighties, Barry returned with yet another Oscar success with Dances With Wolves (1990) and was also nominated for Chaplin (1992). Since then he scored the controversial Indecent Proposal, My Life, Ruby Cairo, Cry The Beloved Country and has made compilation albums for Sony (Moviola and Moviola II) and non-soundtrack albums for Decca ('The Beyondness Of Things' & 'Eternal Echoes').
In the late nineties he made a staggeringly successful return to the concert arena, playing to sell-out audiences at the Royal Albert Hall. Since then he has appeared as a guest conductor at a RAH concert celebrating the life and career of Elizabeth Taylor and made brief appearances at a couple of London concerts dedicated to his music. In 2004 he re-united with Don Black to write his fifth stage musical, Brighton Rock, which enjoyed a limited run at The Almeida Theatre in London.
He continues to appear at concerts of his own music, often making brief appearances at the podium. In November 2007, Christine Albanel, the French Minister for Culture, appointed him Commander in the National Order of Arts and Letters. The award was made at the eighth International Festival Music and Cinema, in Auxerre, France, when, in his honour, a concert of his music also took place.
In August 2008 he was working on a new album, provisionally entitled Seasons, which he has described as "a soundtrack of his life." A new biography, "John Barry: The Man with The Midas Touch", by Geoff Leonard , Pete Walker, and Gareth Bramley, was published in November 2008.
He died following a heart-attack on 30th January 2011, at his home in Oyster Bay, New York.
Mae Clarke
Vivacious, blonde Mae Clarke was exposed to cinema from an early age, her father being an organist in a motion picture theatre. Growing up in Atlantic City, New Jersey, she learned how to dance and, at the tender age of 13, was already performing in nightclubs and amateur theatricals. In 1924 she was one of "May Dawson's Dancing Girls", a New York cabaret act, where she was "discovered" by producer Earl Lindsay and promptly cast in a minor part at the Strand Theatre on Times Square. She then performed as a dancer and burlesque artist at the Strand Roof nightclub, situated above the theatre (which was managed by Lindsay), and at the Everglades Club, earning $40 a week. While there she struck up a lifelong friendship with fellow actress Ruby Stevens, who would later change her name to Barbara Stanwyck .
In 1926 Mae got her first chance in "legitimate" theater, appearing in the drama "The Noose" with Stanwyck and Ed Wynn . This was followed by the musical comedy "Manhattan Mary" (1927). After further vaudeville experience Mae was screen-tested by Fox and landed her first movie role in 1929. While she was top-billed in films like Nix on Dames , she was clearly headed for B-movie status and left Fox just over a year later. This resulted in better roles for her, though she was generally cast in "hard-luck" roles. She played prostitute Molly Malloy in the hugely successful Lewis Milestone -directed The Front Page ) and, on the strength of this performance, was signed by Carl Laemmle Jr. at Universal and cast to star in Waterloo Bridge (as a ballerina-turned-streetwalker, a part made famous by Vivien Leigh in the MGM remake, Waterloo Bridge ). Reviewer Mordaunt Hall described Mae's complex performance as "capital" (New York Times, September 5, 1931).
Also in 1931 she had the brief but memorable role for which she will always be known: the hapless girlfriend on the receiving end of a grapefruit pushed into her face by James Cagney in The Public Enemy . She later appeared with Cagney (a close friend in real life) in still more adversarial scenes, in Lady Killer and Great Guy . Mae also had some feisty comedy roles, in Three Wise Girls with Jean Harlow , and starring in Parole Girl . She was third-billed in James Whale 's Frankenstein , as Elizabeth, the title character's bride-to-be. Her best moment in the film, one of sheer terror, comes when she is confronted by the monster ( Boris Karloff ) in her own bedroom.
Mae's career suffered several major setbacks, beginning in 1932, from which it never fully recovered. She had a nervous breakdown in June of that year (and another in 1934), most likely caused by overwork and marital problems. This was followed by a serious car accident in March of 1933. In addition to that, her sexy screen personae became limited by the new, strict Hollywood production code. When she returned to the screen, it was to be in B-pictures. She had some rewarding parts in some films for Republic, notably The House of a Thousand Candles and the civil war romance Hearts in Bondage , with Lew Ayres . Despite an image change from frizzy blonde to brunette, she had few opportunities to shine after 1938, except, perhaps, as heroine of the Republic serial King of the Rocket Men . By the beginning of the 1950's, Mae was largely reduced to doing cameos and walk-ons, at best playing minor parts in westerns. She did, however, make several notable appearances on television, particularly on The Loretta Young Show .
Mae Clarke, an undeniable star of pre-code Hollywood, fell on hard financial times towards the end of her life. After her last film appearance in Watermelon Man , she retired to the Motion Picture & Television Country House and Hospital and devoted her remaining years to her favorite hobby: painting in the style of Swiss abstract artist Paul Klee . She died there of cancer in April 1992.
Drew Davis
Drew Davis is a Canadian actor known for roles on television in "Orphan Black" (Oscar Hendrix), "Rookie Blue" (Leo Nash) and the Disney XD movie "Bunks" (Grinsberg). He was born in Toronto, Ontario.
He booked his first major role when he was six years old in the Lifetime original movie "Taken From me: The Tiffany Rubin Story" opposite Taraji P. Henson and Terry O'Quinn. His most recent movie role was in "Born to Be Blue" (Beau) opposite Ethan Hawke.
Drew also has an extensive voice resume having voiced the character of Max in season five of the Nickelodeon series "Max and Ruby". He is the voice of Justin in "Justin Time" and Marshall on the Nickelodeon series "Paw Patrol".
As for his family life, he is the older brother of fellow Canadian actress, Millie Davis. He has appeared with his younger sister Millie in "Befriend and Betray", "Orphan Black" and "A Dark Truth" opposite Andy Garcia, Eva Longoria, and Forest Whitaker.
Crystal R. Fox
Crystal Fox was born in Tryon, North Carolina, and began her professional acting career in the late 1970s. She is best-known for her role as Police Officer Luann Corbin in the series In the Heat of the Night . She has also appeared in several theatrical productions, including "For Colored Girls" and "Everybody's Ruby". In 2013 she was cast as lead "Hanna Young" in the OWN prime-time soap opera The Haves and the Have Nots from producer Tyler Perry .
Angelica Page
A native New Yorker who lives in Los Angeles, Angelica continues to balance her contribution to theater, film and television-in that order. Developing many works at the legendary Actors Studio in New York where she is a lifetime member and serves on its board of directors, Angelica mounted Eugene O'Neill's classic "Anna Christie" and tackled the title role under the direction of Tony nominated Wilson Milam. Sold out exclusive engagements of the first workshop hailed as "magnificent" by Cindy Adams, in New York and Los Angeles have preceded the highly anticipated full production slated for 2013.
The award winning solo play "Edge" garnered her an Outer Critics Circle Nomination (Best Solo Performance 2003) and has enjoyed critically acclaimed runs in New Zealand, Australia, Texas, Miami (New Times Award Best Actress 2005) and Los Angeles after its triumphant, sold-out run in London.
Angelica received The Helen Hayes Award (Best Actress 2000) for assuming the lead role in the Tony Award-winning "Sideman" at Kennedy Center. This followed closely after being honored with the New York People's Choice Award in the Best Supporting Actress category (1999) for her portrayal of Patsy, a role she originated for the same production. Nominated for her second Helen Hayes Award (Best Actress 2010) for her critically praised portrayal of Ivy Weston in the Pulitzer Prize and Tony Award-winning "August:Osage County" (1st National Broadway Tour), Angelica's performance was heralded as "revelatory" by the Chicago Tribune when landing in the Steppenwolf production's home turf.
In television, Angelica has made her mark by playing sympathetic tragic figures with seemingly effortless ease as in her role as Julia Brinn in "Law and Order Special Victim Unit "(2005). Her final confession was filmed in one take. Her numerous other television credits include "Law and Order", "Criminal Intent", "The Sopranos", "100 Centre Street", "In The Line of Fire, D.C.", "As The World Turns", "Songs In Ordinary Time" (CBS), "Ruby's Bucket of Blood" (Showtime) and "Talk To Me" (TNT).
The films Angelica has appeared in have unceasingly stretched her character work as well as her leading lady capacity. In her first film appearance in Robert Benton's "Nobody's Fool" (1994), Angelica played opposite Paul Newman in her cameo as Ruby. Leads, supporting leads and cameos followed as she balanced her dedication to her stagecraft with screen work. "The Sixth Sense" proved one of the most notable cameos with a screen time of only two minutes for her performance as the emotionally barren Mrs. Collins - a role that has captured the imagination of a generation.
Supporting roles include the Polish stuttering prostitute Vitka in Amos Kolleck's "Fast Food Fast Women" (2000), the fame hungry waitress Dierdre in the Oscar-nominated "The Contender" (2000), smoldering grifter Patty opposite John Travolta in "Domestic Disturbance" (2001), and the lust-filled youth hunting Roberta in Michael Imperioli's "The Hungry Ghosts" (2009). "The Mouse" (1996) opposite John Savage and recently released "Mint Julep" (2010), also starring David Morse and James Gandolfini, and "Lucky Days" (2010) have secured Angelica's reputation as a transformational force that captures the hearts and minds of directors, critics and filmgoers everywhere.
From mousy housewife to mercurial manipulator to love torn virgin, these film roles illuminate her unfathomable versatility and bottomless capacity for emotional depth. "Lucky Days" marks Angelica's first film produced by her film company. She wrote, co-directed and stars in this debut.
Angelica Page who most recently starred on Broadway in "The Best Man", is currently developing "Turning Page", a new play about her mother, the legendary Geraldine Page which began in development at the Actors' Studio before moving to its exploratory Off Broadway run at The Cherry Lane Theatre. Angelica has also dedicated herself to a book and documentary about her mother to be completed this year.
Angelica Page is a lifetime member of the Actors Studio and serves on its board of directors. She is actively involved raising funds for the charities PAVE and The Trevor Project through Musical Momentum, and is developing a foundation for the arts to foster emerging artists.
Ellen D. Williams
Ellen D. Williams grew up Santa Monica, Ca. She started performing at a very young age in regional theatre and landed her first professional role in a cult musical that was produced by well known producer Cameron Mackintosh. She received her B.A. in theatre performance from California State University, Long Beach. After college, Williams lived in Seattle for a number of years and performed throughout the city and traveled around the Northwest performing in an educational theatre troupe. After returning to Los Angeles, Williams continued doing more theatre and in 2009 was nominated "Leading Female Performance" for her work in Ruby, Tragically Rotund by the LA Weekly. Most recently she has become known for her work as Patrice, Robin Scherbatsky's arch nemesis, in the hit CBS television show, How I Met Your Mother. She resides in Los Angeles.
Michael Patrick Thornton
Artistic director & co-founder of The Gift Theatre, Michael was most recently seen at Lookingglass in fellow Gift ensemble member Will Eno's Title And Deed, directed by Gift ensemble member Marti Lyons. Michael also was in the critically-acclaimed, Hayes Award Winning inaugural rolling premiere of ensemble member Andrew Hinderaker's Colossal at Olney Theatre. Other recent credits: Iago in Othello at The Gift Theatre, Actors Theatre of Louisville's American Theatre Magazine renowned production of Our Town directed by Les Waters, and onstage at The Gift in the world premiere of Hinderaker's Jeff-Nominated Dirty. Previous stage credits: U.S. Premiere of Absolute Hell at The Gift Theatre directed by fellow Gift ensemble member Sheldon Patinkin and the Midwest Premiere of Will Eno's Middletown at Steppenwolf, directed by Les Waters.
Directing credits at The Gift: War of the Worlds (75th Anniversary Production), the Chicago Premiere of Will Eno's Oh, The Humanity (and other exclamations) Prairie View, Night & Her Stars, Stop/Kiss; Santa's Great American Depression Holiday Show! America; White People; Three Sisters; Long Day's Journey Into Night; Hurlyburly (Joseph Jefferson Award: Actor In Leading Role); A Young Man In Pieces; Language Of Angels; County Fair; and Orestes 2.0. Elsewhere: Of Mice and Men (Steppenwolf) the World Premieres of Sean Graney's IS N UR B1UDS7REEM... and Mark Harvey Levine's LA 8AM (Collaboraction) and Picasso At The Lapin Agile (Noble Fool).
Michael was a very grateful assistant director on Steppenwolf's Pulitzer Prize and Tony Award-winning August: Osage County.
A Joseph Jefferson Award-winning actor for Solo Performance in Conor McPherson's The Good Thief (The Gift) Michael was honored with a Jeff Nomination for his performance in The Gift's World Premiere of ensemble member Andrew Hinderaker's Suicide, Incorporated. Other acting at The Gift: Will Eno's Brief Study of an Endless Thing and David Rabe's It's Just The Moon (TEN: 2013, 2012) The Ruby Sunrise, The Last Days of Judas Iscariot, The Good Thief,and Boys' Life. Elsewhere: Colossal (Kennedy Center/UT-Austin Cohen Fest) Cherry Docs (Next, directed by Kate Buckley) A Skull in Connemara (Northlight-After Dark Award, directed by B.J. Jones) The Day Maggie Blew Off Her Head (Serendipity) Romeo and Juliet and A Midsummer Night's Dream (Ivanhoe) Flanagan's Wake! (Noble Fool) Zoo Story and the title role in Steppenwolf's The Elephant Man.
A graduate of The School at Steppenwolf, The Second City Conservatory, and The Second City Directing Program, Michael trained at the iO Improv Program, under Mick Napier at Annoyance Theatre, and occasionally teaches at Second City, Acting Studio Chicago, Black Box, and Columbia College. He regularly improvises with Natural Gas, with Susan Messing in Messing With A Friend / Thornton & Messing (seen at Steppenwolf and at The Annoyance thru the TBS Just For Laughs Festival).
Thornton and Messing also both run the improv program at The School at Steppenwolf.
His two-person improv sets include: with Kyle Zornes in Thornes, Kirby O'Connell in Mike And Kirby: No Suggestioms, Please, and Jillian Burfete in Thornton & Burfete at The Second City. Michael's "Reader-Recommended" two person improv show You & Me was most recently seen at Actors Theatre of Louisville and enjoys an open run at Chicago's Den Theatre. Actors Theatre of Louisville Artistic Director Les Waters calls the show "Hilarious, horrifying, and human. Quite magical, really."
As a writer, Michael's plays have been workshopped in New York through Young Playwrights, Inc. and in Chicago through Second City. His play The Princess And The Bear was performed at Western Michigan University and published in excerpt along with his creative non-fiction in Third Coast Press and The Packingtown Review. He is a staff writer for Chicago's live magazine salon-in-a-saloon, "The Paper Machete" and has recently completed the novel A Low Hum.
Awards/distinctions: Tree of Life Award: Rehabilitation Institute of Chicago; Chicago Finalist: National Shakespeare Contest (Mitzi-Newhouse Theatre; Lincoln Center) 3Arts Artist Award; Northlight Theatre's Jack Springer Award for Outstanding Performance; The Tim Meier & Helen Coburn Meier Foundation Achievement Award, The Second City Foundation's Jim Zulevic Chicago Arts Award, The Joseph Jefferson Award for Solo Performance and induction into The University of Iowa and St. Patrick High School Halls of Fame.
He lives blissfully in the Jefferson Park neighborhood of Chicago with his wife, performance artist Lindsey Barlag Thornton.
Thornton is directing the world premiere of David Rabe's Good For Otto at The Gift.
Cathy Cavadini
Catherine Cavadini, aka Cathy Cavadini, is an actress, singer, and voice artist perhaps best known as the voice of Blossom in Cartoon Network's The Powerpuff Girls. Fans also know her as the voice of Glitter in Kidd Video, Clash in Jem, and Tanya Mousekewitz in the movie An American Tail: Fievel Goes West. During her long and prolific career, Catherine's voice has been featured in over a hundred radio & television commercials, and in over a thousand films, television movies, and series.
Various animated film credits include The Powerpuff Girls Movie as Blossom, Babes in Toyland as Mary, Sky Blue as Jay, Young Shua, and Cheyenne, Batman: Dark Knight Returns as Carol Ferris, Joannie, and Woman with hot dog, Scooby-Doo Legend of the Phantosaur as Faith, My Little Ponies as North Star, and Pound Puppies: Legend of Big Paw as Collette and her newborn puppies. Also, she has performed guest roles in numerous animated series. Some of Catherine's recent guest roles are Doc McStuffins (Dart), The Cleveland Show (Siri), Batman: The Brave and the Bold (Alanna Strange, Jan, Ruby Ryder, Dr. Myrrha Rhodes), Ben 10 (Cooper), and Teen Titans (Alien Woman/Cironelian Chrysalis Eater). Catherine also originated the series regular roles of Jennifer Jane Parker in Back to the Future, Tanya and Baby Yasha in Fievel's American Tails, and Mom, Terri, and Mrs. Weebles in season 1 of What's with Andy.
In the gaming world, she has voiced the roles of Car'l, Twyla, and Candle Maiden in Broken Age, Mechari Female in Wildstar, Kara in White Knight Chronicles 1 and 2, Felicia in War Hammer, Griffin's Mom, Dr. Hoffstader, and Assassin in Jumper, Valla the Witch of the Tundra, Bolvangar Nurse, and Tartar Leopard in The Golden Compass, Norma Jean in the Happy Feet Interactive Game, Sadie in Gun, and a variety of roles in Final Fantasy X, XIII, and XIII-2.
In addition to her animation and game voice work, Catherine has done ADR (automated dialogue replacement) in innumerable movies and television series. Recently, Catherine has performed additional voices in Guardians of the Galaxy, Teenage Mutant Ninja Turtles, Transformers: Age of Extinction, Hercules, Jersey Boys, The Lego Movie, Twelve Years a Slave, Red 2, The Great Gatsby, and Rise of the Guardians. Listed under the umbrella of "additional voices" are: Pacific Rim (voice of one of the P.A. announcers in the Shatterdome), Now You See Me (reporter voice), Happy Feet Two (emperor penguin voice), How I Met Your Mother (southern teenage mommy), Sleepy Hollow (voice of woman on phone from Oxford College), Fun Size (voice of 911 Operator in the scene with Johnny Knoxville), and Bridge to Terabithia (voice of Judy Burke).
Throughout her career, Catherine has been honored by and nominated for a number of awards. In 2003, Catherine was recognized with an Epic Award from the White House Project for promoting positive images of women's leadership through her work in the film The Powerpuff Girls Movie. In 1998, she was nominated for an Annie Award for "Outstanding Individual Achievement for Voice Acting by a Female Performer in an Animated Feature Production" for performing the voice and singing for the role of Mary in the animated movie Babes in Toyland. She also sang "Dreams to Dream" as the character Tanya in the animated movie An American Tail: Fievel Goes West, which was nominated for Best Song at the 1992 Golden Globe Awards. In addition, she has received 2 Emmy Award Certificates for contributing to Outstanding Sound on the television series X-Files.
Paul Barnhill
Paul is an English actor and writer who was born in Knutsford in Cheshire, England 1971. He has four half brothers. He attended Knutsford High School, Salford Collage of Technology and finally East 15 Acting School graduating in 1992. He made his London debut in the comedy role of Frosh in Die Fledermaus at Sadlers Wells in 1994 recording the role at Abbey Road Studios. He has worked for over twenty years in theatre, TV, film and radio, toured extensively in the UK and abroad working with many different companies including the Royal Shakespeare Company, Headlong and Northern Broadsides. He has appeared in the West End many times at The Queens, The Savoy, The Novello and Sadlers Wells. On film he has worked with Mike Leigh on Topsy Turvey and Steven Spielberg on The BFG and various TV appearances. He has co-written and acted in various cult comedy series for BBC Radio 4 with writer Neil Warhurst. Paul is married to Sarah Barnhill and has two daughters Darcey Barnhill and Ruby Barnhill who is also an actress.
Jung-jae Lee
Apart from being a top star in film and TV, Jung-Jae Lee also works as a highly successful fashion model. One year after his debut on television in 1993, Lee was cast in his first film, a feature by Bae Chang-ho. His breakthrough came in late 1998 in the award-winning film An Affair by E-J Yong. This was followed up by another success, City of the Rising Sun, for which he received a Best Actor award at the domestic Chungryong Awards ceremony.
After starring in the Korean-Japanese coproduction Asako in Ruby Shoes, released in December 2000, Lee found considerable popular success in a melodrama titled Last Present, where he was cast opposite Lee Young-ae, and in the action/mystery/drama The Last Witness directed by Bae Chang-ho. He is also scheduled to appear in an international coproduction to be shot in Korea and directed by Chinese filmmaker Chen Kaige.
Tracy Ryan
Tracy Ryan was born in Kitchener, Ontario, Canada in 1971. She went to school at the University of Toronto and graduated in 1992 with a Bachelor of Arts Degree in Drama/Irish Studies combined major. A multitalented actor, she made her mark in theatre, film and television and has recently turned her talents to writing. Her first break in television was a regular spot on the soap opera "Family Passions", where she played Calla, a blind girl. It was a rigorous schedule of 130 episodes. "It felt like the boot camp of acting" says Ryan. A graduate of the University of Toronto's drama program, she has been a regular on the Toronto theatre scene, appearing in such stage productions as Cafe Naked, Controlling Interest, Amazon Dream, Born in the Grave and Coyote Ugly. In film and television, her credits include the lead role of Nancy Drew in thirteen episodes of Nelvana's "Nancy Drew" (1995), two episodes of the "Hardy Boys" (1995), "Dark Angel" (2000), "Twice in a Lifetime" (1999) in a episode with Wil Wheaton, Al Waxman and Paul Popowich. She also appeared in the films 'Stealing Harvard' (2002) and 'Comeback Season' (2006). Ryan played a leading part in the Canadian Film Centre featuring Kiss, directed by Laurie Colbert. Tracy has "a mind boggling array" of cartoon voices at her disposal, is also the voice behind several cartoon characters, including Ned's girlfriend Linda in Nelvan's Ned's Newt and 14-year-old diva Ruby in Flying Rhino Junior High. After much hesitation, she recently gave in a nd applied for a green card because of the numerous opportunities in the U.S. but Toronto, she assures, will always be home.
Dorothy Kilgallen
Dorothy Kilgallen was the daughter of James Kilgallen , a colorful and popular newspaperman with the Hearst Corporation. She followed her father into the newspaper business and made her early reputation as a crime reporter (a novelty for women in those days) and for her participation in an around-the-world race using transportation that was available at the time (1936) to ordinary people, not aviators. Kilgallen finished second out of the three newspaper reporters who participated in the race. Her fame (she was the only woman) and her subsequent book about the race, "Girl Around the World," established her as a presence in the journalism profession. The book became the basis of the movie Fly Away Baby .
In 1938, Kilgallen become a powerful and influential Broadway columnist. Starting in 1945, Kilgallen and husband Richard Kollmar hosted a long-running early morning radio talk show called "Breakfast With Dorothy and Dick." Although the couple had two children who sometimes joined them talking on the radio, Dorothy and Dick "lived an early version of an open marriage," according to a biographer. Their arrangement allowed both to carry on affairs as long as they did so outside of the expensive five-story neo-Georgian brownstone on Manhattan's East 68th Street that they both loved to decorate and furnish.
Millions of Americans came to know and admire Kilgallen through the TV quiz show What's My Line? . She took the game more seriously than her more lighthearted colleagues did. It allegedly bothered her that she was never as popular with the show's viewers as were her fellow panelists, especially Arlene Francis . NBC News B-roll footage of Kilgallen's February 1964 visit to Dallas, Texas shows, however, that she was delighted when autograph seekers gathered around her. Game show viewers (Kilgallen was seen playing other games besides What's My Line?) seemed to have strong feelings about her. Either they loved her and rooted for her or hated her and enjoyed watching another participant outsmart her.
Kilgallen's relationship with singer Johnnie Ray started out as fun and secretive but later became disastrous when she competed with Ray's male lovers for his attention. Eventually, Kilgallen and Ray drank heavily together in public, a problem that may or may not have affected her performance on What's My Line? and her functioning with a typewriter. Kilgallen's newspaper work consisted of much more than her "gossipy" syndicated Broadway column. Her knowledge of the judge's misconduct during the 1954 murder trial of Samuel Sheppard (his case was the basis for the TV series The Fugitive ) helped F. Lee Bailey secure a new trial for Sheppard. Upon Sheppard's release from the penitentiary that was then located in Columbus, Ohio in July 1964, Bailey helped arrange for a "late-night champagne party" in Cleveland, according to a book the lawyer published in 1971. Kilgallen, who was among the guests, had her first conversation with the wrongly convicted Sheppard.
Several months earlier, Kilgallen had visited Dallas, Texas to cover the murder trial of Jack Ruby . She secured two exclusive interviews with the defendant, who was being tried for the murder of alleged John F. Kennedy assassin Lee Harvey Oswald . One of Ruby's lawyers, Joe Tonahill , said years later that in the courtroom Kilgallen and Ruby made eye contact with each other in a way that suggested they may have met before his arrest. Tonahill and other lawyers including Melvin Belli were busy trying to save Ruby from the electric chair and had no time to investigate that. Kilgallen's first conversation with Ruby after his arrest occurred while he sat at the defense table during a recess. It resulted in the headline "Nervous Ruby Feels Breaking Point Near" in the New York Journal-American. (The newspaper was owned by the Hearst Corporation.) She never published anything from or even acknowledged (to her readers) her second conversation with Ruby. It occurred inside a small office behind the judge's bench out of earshot of the deputy sheriffs who were guarding Ruby and out of earshot of his lawyers and everyone else in the courthouse. It lasted approximately eight minutes, according to Joe Tonahill.
Possibly as a result of what Kilgallen learned from Ruby, she became a vocal critic of the Warren Commission investigation of the president's assassination. She allegedly told friends and her lawyer, but not her newspaper readers, that she soon was going to reveal important new information on the murder of JFK. Although Kilgallen's reactions to the Warren Commission report remain accessible, her theory about who shot the president will never be known. She died under mysterious circumstances (suicide or an accidental overdose according to some, murder according to others) soon after the advance notice she allegedly had given her friends and lawyer.
The notebooks containing the information Kilgallen was about to publish disappeared. They were never seen again. Some felt that assassination researchers should have questioned Ron Pataky, an obscure newspaper critic based in Columbus, Ohio whom she befriended a few months after her encounters with Jack Ruby. The Columbus newspaper sometimes mentioned Pataky's travels to New York City, and in June 1964 Kilgallen's column had them riding together in a London taxicab. A month after her death, widower Richard Kollmar refused to cooperate with conspiracy theorist Mark Lane when Lane tried to find her notes. Ten years later other loved ones, including her journalist father who was by then in his late eighties and still working for the Hearst Corporation, refused to discuss her career or the assassination with a biographer.
As the 50th anniversary of her death approaches, only recently did a researcher discover at Syracuse University a long audio recording of Richard Kollmar's 1967 appearance on a locally broadcast New York City radio show that was hosted by John Nebel , better known as "Long John Nebel." Kollmar was promoting the book Murder One that was credited to his late wife. It sold well enough in 1967 to warrant more than one printing and was reissued in paperback. Nebel, who had been a fan of the breakfast radio show that "Dorothy and Dick" had done, and who had known Kilgallen, encouraged Kollmar to discuss publicly many aspects of his late wife's life and career, including the Sheppard murder case.
Throughout the long radio broadcast, you notice that Johnnie Ray, Ron Pataky and events surrounding the assassination are off limits. Kollmar never gets near any of those topics. Neither does Nebel or the other two people who are heard talking with them on the 1967 aircheck. (The book Murder One omitted a chapter on the Jack Ruby murder trial that Ruby's lawyer Joe Tonahill said years later that Kilgallen had planned to include.) Long John Nebel and his guests do discuss Kilgallen's feud with Frank Sinatra , but they avoid the detail that Sinatra had drawn the public's attention to Kilgallen's chin that had prevented her from being photogenic.
Kilgallen's only relative who ever talked publicly about any mysteries surrounding her was her youngest child who had been eleven-and-a-half years old when she died. At age 21, he told the biographer that his family was keeping him, too, in the dark about what had happened ten years earlier.
Samantha Wan
Samantha Wan is a Toronto-based actor-filmmaker. Co-creator and star of prime time comedy series, Second Jen, on CityTV. She also plays reoccurring character "Zoe Chow" in season two of Canada's hit series Private Eyes. She graduated from the National Theatre School of Canada in 2011 then made her debut playing a principal role in the feature Devil's Mile and later moved to online series such as Leslieville, Ruby Skye P.I. and Out With Dad. Her first project Sudden Master was an online Kung Fu series commissioned by OMNI TV. It accumulated numerous awards including "Best Action Series" at the Action On Film Festival and Vancouver Webfest. The AOF festival also awarded Wan with the "Woman With A Vision" Award for her work as a producer and creator and best Female Action Performer of the Year. Samantha also won Best Actress in a Drama at the 2016 Hollyweb Festival for Sudden Master. Behind the camera, Wan co-directed the shorts "Where is Kitty Go Lightly" and "Second Jen Short film" (2014). Samantha is also a dancer, with a particular love for jazz and urban street dance. A fourth generation martial artist, studying Wing Chun under Grand Master Sunny Tang. Coupled with her fight skills, Wan is a certified combatant for stage and screen with Fight Directors of Canada.
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By what more familiar name is the company of Asquith and Dairies better known? | Recommendations For ASDA’s Turnaround | Living The American Dream
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Introduction
During the 1920’s the Asquith family owned a butcher shop in West Yorkshire, United Kingdom (“ASDA Group Ltd. History,” 2015). They expanded their business to seven shops as business remained profitable. Around the same time the Stockdale and Craven families ran a dairy (Tugby, 2015). Their business grew as well. When these two collaborated, their resources to create the Asquith plus Dairies brand and the modern era of the supermarket was born in the United Kingdom (“ASDA Group Ltd. History,” 2015). In 1985, it was changed to ASDA (Tugby 2015).
As a background, the United Kingdom had many nationalized businesses in the marketplace because of state-imposed limitations on how resources were spent during World War II (Schifferes, 2008). The 1960’s and 1970’s were periods in the history of the United Kingdom that saw continue devaluation of the currency, a loss of jobs and industrial capacity, and increased unemployment and stagnation in the economy(“UK recessions since 1945: how they compare,” 2010). One of these brands in the United Kingdom was the state-run grocery called the Government Exchange Mart (Whysall, 2005).
Also following World War II in the United Kingdom, manufactures distributed their goods in services in the marketplace and required agents of their products to sell at a minimum or maximum price. This practice was called Resale Price Maintenance (Garrett, Burtis, & Howell, 2008). This form of Price fixing was legal in both the United States and the United Kingdom. The United Kingdom began to review this practice in 1954 with the Restrictive Trade Practices Act (Dennison, 1959) and ten years later the Resale Prices Act in 1964 (Rothstein, 1964). The latter Act considered the practice of price fixing to incentivize retailers to carry product lines as a practice against the public interest.
When the Resale Prices Act happened in 1964, the Government Exchange Mart was privatized and the Asquith plus Dairies brand was able to buy them off the state in a deal that amounted to a zero sum gain– or free (“Asquith + Dairies = ASDA,” 2015). This windfall allowed the massive expansion of the brand into profitable territory as a low price leader in the grocery marketplace. It opened more than 70 stores in the next decade in Northern UK and built a brand that had large box stores and parking lots similar to what Sam Walton was doing with Wal-Mart in the United States. Inexpensive grocery goods and services had built a successful brand going into the 1980’s.
To reinvent itself ASDA made several business decisions to change its culture. Instead of being a discount brand big-box retailer ASDA tried to upscale its image and as it invested in new stores, new looks, and a new brand logo, the company soon found that it had distanced itself from its customer base. ASDA merged with a furniture maker, a line of retail clothing and a carpet manufacturer to diversify its offerings to the marketplace. ASDA also tried to buy out their rival Gateway toward the end of the 1980’s for $705 million (DeVliet, 1995). This investment hindered the organization because it had taken on significant debt to make this acquisition. When the market shifted in the early 1990’s and a recession hit the United Kingdom, ASDA remained unable to respond to the marketplace and had incurred more than one billion pounds sterling in debt. ASDA, the United Kingdom’s largest grocer, was in trouble and remained on the verge of bankruptcy.
Analysis and Findings
In 1991, ASDA hired an executive who had made a name for himself at the company called Woolworths where his transformational leadership helped it become Kingfisher (DeVliet, 1995). His name was Archie Norman and the intent was to turn the struggling business around (Beer & Weber, 1997). While the preceding period was marked by growth that included mergers and acquisitions, the company’s expansion had diversified away from its core business into a loss statement that put it on the verge of bankruptcy with a billion Pounds of Sterling debt (Jensen & Consultancy, 2006).
When examining how corporations change two, archetypes known as O and E emerge (Nohria & Beer, 2000). Nohria and Beer noted that “Theory E is change based on economic value. Theory O is change based on organizational capability,” (Nohiria and Beer 2000). When companies implement theory E, layoffs and downsizing are usually associated with the company. When companies implement theory O-type, corporate change remains soft and seeks to enhance the capabilities of the corporate culture through education, training, and personal development (Nohria and Beer 2000). Type O changes usually improve trust with the employees and the organization by building people up, and Type E often fosters a culture of fear by cutting back on people and resources perceived as nonessential in the execution of the bottom line (Nohria and Beer 2000).
When Norman arrived at ASDA he found a “complete demoralization of the workforce; a highly politicized central headquarters; people caught up in their “chimneys”—operations—people did not talk to the trading people, and nobody listened to marketing,” (Spector, 2013). He noted that morale was very poor (Spector 2013). Norman noted that his managers were in touch with the customer on a daily basis and he strongly noted that the problems at ASDA were centered on culture (Startups 2013). This included the stigma that came from their clerk staff and produce managers who were often unemployable in other sectors of the economy (“‘Get your people on board’: Archie Norman on Turnaround Success and The Importance of Staff Happiness,” 2013). People did not like their jobs.
Recognizing the stovepipe culture, ASDA’s leadership sought to reinvent its culture through a process that was known as the ASDA “Way of Working,” which focused on the core customer base of ASDA. This customer was the average family in the UK and their grocery shopping needs (Spector, 2013). ASDA pushed away from the heavily centralized model and provided store managers with greater autonomy (Spector, 2013). This was done with care on the details of culture and from the ground up. Managers and staff were to be called colleagues (DeVliet, 1995). Another story noted that Norman empowered leaders with meaningful time management strategies amongst their peers so that if they wore one of the famous ASDA hats they would have two hours of uninterrupted and productive time (DeVliet, 1995). To eliminate these stovepipes and connect management with the staff on the ground he instituted a “Tell Archie” campaign that sought out good ideas to replicate throughout the company where managers on the ground could give corporate level feedback about how to run their stores and improve capacity, function and operation of the business (DeVliet, 1995). He steered away from how language was used in the company. After one store manager had been castigated for his performance by a regional manager (Norman, 2012), Norman steered ASDA away from using the word “wrong” amongst colleagues in discussion and focused on the word “change” instead (DeVliet, 1995). Norman noted that “you can’t motivate people when you’re saying everything’s wrong,” (DeVliet, 1995).
These changes were visibly the focus of O-styled change as described above. While this remained important to changing the way in which the company did business and it rebuilt capacity from its employees and staff, the company remained in serious trouble financially. Norman’s CFO, Cox, noted that the purchase of Gateway had really set the company back, “Indeed, even after a £357 million rights issues in October 1991, the company was still bankrupt,” (DeVliet, 1995). The company had to engage in an E-type change to bring the company back from the brink. This was done by selling off property, including some large stores, to the competition, its Grezeley arm of the business and evaluating each store realistically on the balance sheet (DeVliet, 1995). ASDA implemented a plan after six months and acquiring some cash to invest $3.25 million into retooling each store (Spector, 2013).
Spector’s case study of ASDA breaks away from Norman’s turned around and requires that the student provided guidelines to reverse the failure of communication within ASDA. What leadership characteristics are needed to report customer information to upper management? For the project, the student is then asked to describe a leadership program that the student feels would keep managers aligned with customer needs and responsible to their staff’s needs.
Recommendations
The following Type-O and Type-E change recommendations are made to improve communications and culture within ASDA and with ASDA’s customers.
Recommendation 1
Issue: ASDA has a major debt problem that will bankrupt the company
Recommendation: Sell off some unproductive assets of the company that is not focused on the core business of providing people with their basic grocery needs.
Rationale: Some stores have attempted at a higher expense to operate to change the brand image and customer base. In many respects, the market segmentation in the store brand continues to show that this direction is not a profitable adventure in trying to upscale the business model. Selling off a few stores that have failed at this attempt to re-brand our product lines in a fashion that remains unprofitable may be an opportunity to cut the losses of the company and recover cash and/or reduce debt loads. Perhaps being in the carpet or furniture business is not something that a grocer should do. Perhaps selling our farms and focusing on retail grocery would be a smart move.
Recommendation 2
Issue: ASDA has a major debt problem that will bankrupt the company.
Recommendation: Approach the financial institutions that have leaned on our business and restructure our debt by remortgaging certain aspects of the business.
Rationale: In order to improve immediate cash flow restructuring debt with the bank may recapitalize some of the short-term cash flow issues by reducing payments on existing debt and extrapolating the debt over a longer term. Some assets of the business may be used as collateral to accomplish this.
Recommendation 3
Issue: ASDA has a major debt problem that will bankrupt the company.
Recommendation: Restructure the way in which products and services are distributed to the shelves by using real-time marketing analysis and just-in-time delivery from distribution centers.
Rationale: There is not much required to innovate in the marketplace for basic food needs from a grocer and the market will not change too much in the near future. People will still need to buy their fruits and vegetables as well as their toilet paper. Discount branding in this marketplace remains the core focus of the business model but how those products and services get to the marketplace is an area of focus that can improve the bottom line. Distribution centers that respond with a frequency to what is coming off the shelves as noted by the individual store managers can be re-vamped to improve service time and qualitative aspects of delivery. This can be managed with digital technologies and may require some capitalization to accomplish this. It may also enable the company to set up regional distribution centers which can warehouse more products than are on the store shelves and thus allow the company to purchase at a better price point in volume for short-term storage.
This may require working with wholesalers, contracting with local farms in addition to the worldwide distributors to bring the most effective blend of regional and international meats, produce, and product to meet the basic needs of the customer. When products are not going off the shelf in a timely fashion it may require that we choose not to carry that product after six months or only carry that product if it is seasonal for a few months at a time. Efficiencies in this process will eliminate waste from the supply chain, reduce errors, and improve outcomes on the shelves by having more products that people want to buy.
Recommendation 4
Issue: There are ‘stove pipes’ in the communication between managers
Recommendation: Senior management should tour each store in a regular rotation.
Rationale: Managers on the ground may have only a few channels to go through formally and opening up informal channels through regular site visits can improve the communication between store managers and senior managers. This can informalize trends and other issues that managers may have with process and eliminate the filtering effect that many levels of management in between might apply to amplify or squelch things based upon individual bias.
Recommendation 5
Issue: There are ‘stove pipes’ in the communication between managers
Recommendation: Create a Best Practices Team and Implement a Mentorship Program
Rationale: Managers who have built long-standing areas and relationships can be valuable to an organization; however, in places where the information is stove-piped it can also hinder the organization because those leaders fail to understand the jobs and operations of others. Managers who are doing well may do well to share with other managers who are not doing so well. This sharing can come in the form of implementing a mentorship program or a best practice team that maintains a dynamic resource of standard operating procedures. While this may increase the overhead of maintaining such an item costly mistakes of lessons learned are likely a bigger money waster and may improve the customer experience from one store to the next form store to store.
Recommendation 6
Issue: There are ‘stove pipes’ in the communication between managers
Recommendation: Create a customer feedback system via the internet or telephone
Rationale: If a customer can call a toll-free number and report something awful about the business it may provide valuable insight into the way stores are maintained and improve the qualitative outcomes. This system may also work for positive feedback as well to identify when stores are doing well. When this happens in process or form, the information should be widely shared so that individual store managers may have cross-zone visibility on how their peers are doing and what is working and what is not.
Recommendation 7
Issue: There are ‘stove pipes’ in the communication between managers
Recommendation: Have an Open Door Policy for senior managers
Rationale: If a senior manager is inaccessible they will not be able to properly respond to calls or concerns from the field. If problems arise there should be a clear chain of command to follow, however, leaving an open door for senior managers will allow opportunities for process improvement to flow up and down and most importantly between senior managers and their subordinate staff.
Recommendation 8
Issue: There are ‘stove pipes’ in the communication between managers
Recommendation: Include individual store managers in the rotation of senior management meetings via conference call
Rationale: When a store manager sees something and can contribute featuring their idea in a weekly senior staff meeting will improve morale and ownership of the process. Having them demonstrate a case study to share with the collect group may improve others willingness to contribute and improve.
Recommendation 9
Issue: There are ‘stove pipes’ in the communication between managers
Recommendation: Have an Employee of the Year, Month and Quarter Program
Rationale: When people are recognized for their achievements and contributions to their organization, morale can have meaningful empowering features, especially for the least paid member of the company’s staff. When people are contributing to the culture instead of avoiding it, something more profound happens in their ownership of the process. Creating incentives to allow the junior associate of the company (i.e. the clerk) to participate in performance related reviews the culture can explode with productivity. This requires support and implementation from management at all levels.
Recommendation 10
Issue: There are ‘stove pipes’ in the communication between managers
Recommendation: Decentralize informal management structures and delegate responsibility to the lowest level possible in the organization.
Rationale: When individual managers can make more decisions about the outcomes of the business and successful execute those functions they are a greater part of the solution to the problems facing the company. They are invested in the process, time and outcomes of operations, human resources, and financials of the business. Store managers need some autonomy to do their job effectively and mid-level managers need to provide that space and opportunity to do so.
Recommendation 11
Issue: Several Business Faces exist within the brand. This includes various groceries, farms, a carpet company and a furniture company.
Recommendation: After selling off non-core business assets restructure the face of the business to standardize the brand across the platform
Rationale: When people walk into any ASDA store they need to have a familiar feel to their shopping experience. Knowing where the toilet paper is in store ‘A’ should be the same in store ‘B’. This should include layout, design, and best practices. Individual areas within the store that cater to local sports teams or interests should be left to the individual store managers but the ASDA brands and how they are displayed should have similar features to create brand images.
Conclusions
These recommendations placed into a hypothetical context may improve the upward communication between management, staff, and the customers as ASDA. These leadership programs effectively describe how managers and staff would align themselves with their customer base and improve the outcomes of the brand. Furthermore, these 11 recommendations seek to mitigate the cultural failures of managers and their subordinates within the organization to improve moral and positivism within ASDA. Notably, Type-E change must precede Type-O change in order for things to improve and build trust within the organization.
References
ASDA Group Ltd. History. (2015). Finding Universe. Retrieved from http://www.fundinguniverse.com/company-histories/asda-group-ltd-history/
Asquith + Dairies = ASDA. (2015). Retrieved November 2, 2015, from http://nowthen.php5.truth.posiweb.net/collections/dewsbury-asda/asdas-history
Beer, M., & Weber, J. (1997). ASDA. Harvard Business Review, 498(005). Retrieved from http://www.hbs.edu/faculty/Pages/item.aspx?num=16843
Dennison, S. R. (1959). The British Restrictive Trade Practices Act of 1956. Journal of Law and Economics, 2, 64–83. Retrieved from http://www.jstor.org/stable/724929
DeVliet, A. van. (1995, December 1). UK: ASDA’S Open Plan. Management Today. Retrieved from http://www.managementtoday.co.uk/news/410110/UK-ASDAS-OPEN-PLAN/
Garrett, D. M., Burtis, M., & Howell, V. (2008). Economics of Antitrust: An Economic Analysis of Resale Price Maintenance. Global Competition Review, The Antitr. Retrieved from https://www.cornerstone.com/GetAttachment/9f4ecd37-bed2-4bb3-8da7-7caf4f58420a/Economics-of-Antitrust-An-Economic-Analysis-of-Res.pdf
“Get your people on board”: Archie Norman on Turnaround Success and The Importance of Staff Happiness. (2013, November 25). Startups. Retrieved from http://startups.co.uk/get-your-people-on-board-archie-norman-on-turnaround-success-and-the-importance-of-staff-happiness/
Jensen, A., & Consultancy, I. (2006, August). Insolvency, Employee Rights & Employee Buyouts. London, UK. Retrieved from http://www.efesonline.org/LIBRARY/2006/Insolvency , Employee Rights & Employee Buyouts.pdf
Nohria, N., & Beer, M. (2000, May). Cracking the Code of Change. Harvard Business Review. Retrieved from https://hbr.org/2000/05/cracking-the-code-of-change/ar/1
Norman, A. (2012, March 28). “Get your people on board”: Archie Norman on turnaround success and the importance of staff happiness. Startups. Retrieved from http://startups.co.uk/get-your-people-on-board-archie-norman-on-turnaround-success-and-the-importance-of-staff-happiness/
Rothstein, P. F. (1964). The New British Resale Prices Act. The American Journal of Comparative Law, 13(2), 249–268. Retrieved from http://doi.org/10.2307/838620
Schifferes, S. (2008, February 18). The lessons of nationalization. BBC News. London, UK. Retrieved
from http://news.bbc.co.uk/2/hi/business/7250252.stm
Spector, B. (2013). The ASDA Way of Working. In S. Yagan, B. Mickelson, & A. Santora (Eds.), Implementing Organizational Change: Theory into Practic (pp. 16–21). Boston, MA: Pearson.
Tugby, L. (2015, July 10). Asda at 50: A timeline of the supermarket giant’s five decades in retail. Retail Week. Retrieved from http://www.retail-week.com/sectors/grocery/asda-at-50-a-timeline-of-the-supermarket-giants-five-decades-in-retail/5076944.article
UK recessions since 1945: how they compare. (2010, January 26). The Telegraph UK. Retrieved from http://www.telegraph.co.uk/finance/recession/7073667/UK-recessions-since-1945-how-they-compare.html
Whysall, P. (2005). GEM, 1964–1966: Britain’s First Out-of-Town Retailer. The International Review of Retail, Distribution and Consumer Research, 15(2), 111–124. http://doi.org/10.1080/09593960500049183
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In which country can you see the ruins of Carthage? | The Issue Of Risk With In A Market Marketing Essay
The Issue Of Risk With In A Market Marketing Essay
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Last Edited:
23rd March, 2015
This essay has been submitted by a student. This is not an example of the work written by our professional essay writers.
ASDA was started with the vision of the founding fathers to make it a one stop shop for all the needs of the consumers. The company is one of the well-known supermarket chains located in the UK. It has on offer food, clothing as well as general merchandise items for its consumers. In 1999 the company came together with Wal-Mart.
Here we studied Asda which has a unique marketing system, channels of distribution, sales strategies etc. and a unique ability to provide a complete range of food products.
To meet the consumers around the world here we studied about the Asda milk powder through its marketing aspect how it makes the segmentation and targets the consumers and then provides the goods to the targeted customers we studies the different market strategies of the Milk powder that what are the methods that the company use to attract the customers towards its products .we discussed the whole economic technological cultural aspects of the company environment .During our research work we met the officials of the Asda and we are very thankful to them for providing us this valuable information
Introduction:
ASDA LOGO:
Asquith + Dairies = ASDA
The Asquith family were butchers based in Knottingley, West Yorkshire. In the 1920s, their rising aspirations meant they expanded their business to 7 butcher's shops in the area. The sons, Peter and Fred would later become founding members of ASDA.
A group of West Riding Dairy Farmers, including the Stockdale family and Craven Dairies, joined together under the banner of Handel's Dairy Farmers Ltd. This company diversified in 1949 to become the Associated Dairies and Farm Stores Ltd, with Arthur Stockdale as the Managing Director
It was in 1965 when the Asquith brothers joined together with Noel Stockdale, Arthur Stockdale's son and Associated Dairies to form a new company.
ASquith + DAiries = ASDA
The 1970s saw ASDA add petrol stations to some of their stores.
In 1988 ASDA HQ moved from an old converted mill in Morley with its collection of seven other sites around Leeds to ASDA House, a specially designed office complex, on Great Wilson Street. The next year saw the foundation of a lasting and lucrative partnership with George Davies and the introduction of George clothing in 65 ASDA stores and the takeover of 61 Gateway stores.
The early nineties saw ASDA in trouble. The recovery and rebuilding encouraged colleague involvement and a return to ASDA's original values. The renewal was led by a new C.E.O. Archie Norman. In 1999 ASDA was taken over by Wal-Mart and the next year saw the first ASDA Wal-Mart supercentre opened at Pathway. ASDA celebrated its 40th anniversary in 2005 having come a long way from its stores built in old cinemas and markets.
SWOT ANALYSIS
With the help of swot analysis we are able to analyse the strength and weakness of the organization. What is the policies of organization to overcome its weakness, how the use their strength to overcome their weakness. Can company use its policies to remove internal and external threats? We know that strength and weakness are internal and on the other hand side opportunities and threats are external issues.
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Internal factors - The strengths and weaknesses internal to the organization.
External factors - The opportunities and threats presented by the external environment to the organization.Â
Strengths:
SWOT analysis of Asda
Strengths
No doubt it's a new world of competition and if we talk about UK it is a service base industry no doubt if we go 10 to 20 years behind it is industrial state then at that time there is not too much competition but now people are more price and quality conscious. But Asda strength lies on competatiable brand name, low price in market. People said that Asda is representing middle income people i agree with it but i like too much Asda. It have big store chain in all over the United Kingdom, and merge with global retailer e.g. china and Europe.
WEAKNESS AND OPPORTUNITES
To recover its weakness he avail opportunities in shape of merge or from strategic alliance with other international retailers. In this way company can increase its market share
Threats
In threats may include with big joint firms like TESCO, SAINSBUTRY, MORRISONS, they are strong competitors of company at hole.
PESTEL ANALYSIS OF ASDA
Political
Political condition is an important factor in organization, if political condition in a country is not good there is no progress in their economy. Company give to its competitor's competitive salary and stay it minimum wages rate offer to its customers
Competition commission
Economic
Recession create a company to grow and get maximum profit in industry. If we tale about UK market now a recession days that's why lot of people are unemployed. High interest rate cans create a problem for a country. New line of products for EU countries
Social
people social trend are change day by day, ageing population could increase to ASDA payment of pension to their employees. It target of a people ethnic groups, like slough/Southall.
Technological
Customer change his way of shopping they preferred online shopping, new product innovation, self-scanning system can made easy for customer to take product easily, chip and pin system is very helpful for customer.
Environmental
Now day's companies more focus on eco-friendly environment, all the product they produce easily recycle, and these criteria helpful in happy environment.
Legal
Health and safety of workers is the main issue and there is no compromise on that. Company maintain its employee record up to date and keep secret, for health and safety there is hour's restriction on their working time.
Identify the component parts of a marketing plan:
Pricing
when company introduce new thing he should keep in mind what price he introduce in market because in UK people are price conscious. Price is not to be too much any too low. Your price policy effects the long term operations of the company. Different kind of price policy can be used when company firm time enter in industry. Some companies use skimming, some use penetration policy now we further explain it further
A SKIMMING STRATEGY
by skimming we mean a company who can take advantage in industry he gain a maximum market share of company take advantage first entry, he set maximum price of their of their products, until there is no close competitors in market. i.e. in Pakistan Moblink use this polity and earn a great name and more in start of telecommunication days
A MARKET PENETRATION STRATEGY
low price at the start to end some companies use this to stay in market.
A COMPARABLE PRICING STRATEGY
if we are market leader then there is a price which set by market leader, we set a price which is in the mind of people
Promotion
we mean how the company can promote their product in industry two strategies are followed
PUSH STRATEGY
Utilize all the channel of distribution to launch product or service in market. In this strategy company
The PULL STRATEGY
Pull strategy directly connect with end user of product. Minimize the channel of distribution and directly connect with the customers for advertise their product or service. No doubt different channel of distribution can create a market in for the company that why we can't ignore it.
There are many strategies for advertising an offering. Some of these include:
Product Comparison advertising
It's mean when you offer something it should be differentiate your product to compare of competitors product or service otherwise how you can stay in market.
Product Benefits advertising
product benefits advertisement is helpful when Asda offer their product without comparison with other, the product benefit ad is good approach. This is also helpful when you offer new approach to solve user need and compare it old approaches is appropriate.
Product Family advertising
if company introduce a new product which already in market and increase its product line of their own product it is also helpful for the company to product family advertisement.
Corporate advertising
when company have variety of product to introduce in market and company audience in fairly broad then it's better to promote business worldwide rather than in specific areas.
Distribution
Now the question is what kind of distribution media or ways Company use to attract more and more customers, what kind of policies they will use in future, what is their future policies.
One premise sales include sale of your offering with the help of new organization that visit the prospects facilities to make the sale of goods and services via internet, telephone or mail order contract. Another way include sale of your product with the help of whole sellers, middle man for distribution of your product and services. Other method of distribution is self-sale distribution method.
Full service retail sales involve the sloe of your product and service with the help of full service sale channel. No doubt when the company make their strategy, their strategy consist of 4ps of marketing product, price, place and promotion and thing is this how the company can manage these pillars of marketing to launch their product.
The Product/Service
you should be thoroughly familiar with the factors that establish products/services as strong contenders in the marketplace. Factors to consider include:
Whether some or all of the technology for the offering is proprietary to the enterprise.
The benefits the prospect will derive from use of the offering.
The extent to which the offering is differentiated from the competition.
The extent to which common introduction problems can be avoided such as lack of adherence to industry standards, unavailability of materials, poor quality control, regulatory problems and the inability to explain the benefits of the offering to the prospect.
The potential for product obsolescence as affected by the enterprise's commitment to product development, the product's proximity to physical limits, the on-going potential for product improvements, the ability of the enterprise to react to technological change and the likelihood of substitute solutions to the prospect's needs.
Impact on customer's business as measured by costs of trying out your offering, how quickly the customer can realize a return from their investment in your offering, how disruptive the introduction of your offering is to the customer's operations and the costs to switch to your offering.
The complexity of your offering as measured by the existence of standard interfaces, difficulty of installation, number of options, requirement for support devices, training and technical support and the requirement for complementary product interface.
Production
in production areas the service which should be given is to be according to standard and habits of people in that area. Some factors which should be keep in mind are
Either all the technology which is to be introducing in business is it according to business needs.
How the company can remove the hurdles to avoid the risks and improve their weakness
Customer Services
What kind of customer service provide to customers of the company and if company strength on customer service effect on marketing success and show that company is more profitable in future and customers are more motivated.
Factors to consider in good customer service are
the availability of technical support to service your offering after it is purchased.
One or more factors that causes your customer support to stand out as unique in the eyes of the customer.
Easily accessibility of customer to service desk, no longer que.
Reputation of enterprise for good service of customer.
1.3 Identify the issue of risk with in a marketing plan
Analyse Marketing Risks
Now a days agriculture sector moves in global market and countries sale their product in different countries, currency exchange rate of different countries are different and its effect on international trade, and it's also effect on international supply on US markets. These factors are out of control. Whatever the policy of company is strategy is according to their own risk.
Identify the nature and importance of various sources in the market that might cause you to earn lower profits.
Analysis the impact of different marketing strategies on your business and its effect on future policies of company
Find out the ways that you can choose to minimize the risk, how we can decrease the risk.
Analysis different kind of alternatives which can be helpful in future.
2.1 identify level of importance of each component of plan
Product:
The product has become synonymous with quality milk Asda commitment to product quality and food safety remains the core stone its business philosophy The company is also committed to local food legislation and actively participates in the revision process of current food standards with government authorities Milk powder is Backed by a very strong brand name, aggressive marketing and distribution plans, consistent quality and availability throughout the year, MILK powder has been extremely successful. It is available in pack size of 340g in all over the country ASDA Skimmed Milk Powder (340g)
Price:
Asda charges Low prices because the philosophy is that they are providing to the customer very useful featured products so the customers which require such useful quality for low prices are using to purchase the product.
Promotion:
Asda the most recent advertising campaign to Promote the product you can see on the Television, Newspapers, during the journey on tubes in the city .in which they are trying to say that in the their bakery products there are so many healthy ingredients like calcium, vitamin A .and so on .Asda spend approximately millions of pounds on the advertising campaign of the their products in a Year.
Place:
In the place section of the ASDA we will discuss the distributions channels and the company activities to provide its product available to the target customers Asda has a very effective distribution channels in which there is no concept of the wholesaler they directly provide the product to the consumers The product is available all over the country.
2.3 Produce a Marketing Plan:
Companies set their marketing plan according to existing culture of city, nation, and culture because people perception of product is very important. Whatever the plan is, it is necessary that it is beat your competitors.
Each organization has different goals and their marketing plan is according to these goals. Companies use their opportunities to overcome their weakness. Whatever the marketing plan is main aim is to be creating awareness in the mind of people regarding the product and service they produce.
Keep in mind that when companies made their marketing plan it is mean that marketing plan is written down strategies of company, what he want to do after success and failure of their marketing plan. When it is successful it means that plan is ok.
Some important key point which should always be in mind
PRICE
(i) Pricing Strategy
When company set its price, he should be more careful about their decision. Cana the price they set it will be according the perception of people. If price is too much and quality is lot it is too much chance of product fail. That's why ASDA products price are not too much expensive.
Price policy against competitors
When customer purchase product from ASDA they think and compare its price to its competitors, because in UK people usually done a window shopping in different malls. If company price is too much low people thing that there is no quality, that's why in UK ASDA represent Middlesex people and upper upper income group people not like ASDA
3.1 Discuss how the plane support s strategic objectives
The main purpose of Asda is to be to offer low price and good quality product and service to their customers, but now the question is this how it can possible, what kind of policy is helpful for the company, one way is this that reduce the cost to recycling their waste, packaging of their product into well and good ways and supporting voluntary service.
Product market expansion grid
If we check Asda Milk powder on product Market Expansion grid than we can easily find out That Asda is using Market penetration and Product Development strategies and the reason is that products were a total new concept in existing market like tea whitener, two minute noodles, UHT milk that is purely concentrated on product development Asda has a very well established R&D department Which continuously try to improve the Quality of the existing product and make it possible to provide the better customer value and satisfaction
We can check the market penetration strategies of the Asda milk powder like the authorities are making so much promotional efforts to increase the sales volume of current product in the current market segments
Market penetration Product Development
Market Development Diversification Existing product New product
Existing Market
New product
3.2 Outline an approach to gain agreement for the marketing plan.
Asda the Company has benefited from the spectacular development of its activities in the milk district sales of finished goods UHT treated milk, yogurt, and milk powders infant formula to meet the demands of the large food market that UK offered, Asda Milk powder reorganized and reinforced the production of existing brands and gave shape to new production lines.
Asda Milk powder have realized in the market for long lasting UHT milk had big potential for the future especially in the bigger towns and cities. So they introduced Milk powder for that targeted market The Company's strategy is guided by several fundamental principles. Asda existing products grow through innovation and renovation while maintaining a balance in geographic activities and product lines. Long-term potential is never sacrificed for short-term performance. The Company's priority is to bring the best and most relevant products to people, wherever they are, whatever their needs, throughout their lives that's why Milk powder is now so popular all over the country and its sales are growing day by day.
ASSESMENT CRITERIA:
Show the marketing plan supports strategic objectives.
Effect of company strategies on market plan
Important part of market plan
What king of risk that company face in market plan
2.0 build a strong market plan
2.1 importance of each part of market plan
2.2 identify mitigation strategies for high risk components of the plan.
2.3 Produce a marketing plan.
3.0 can market plan support strategic objectives.
3.1 Discuss how the plane support s strategic objectives
3.2 outline of market plan to take market agreement.
| i don't know |
Which P.R. first appeared in a 1902 book, in which he lost his jacket and shoes? | Amazon.com: The Tale of Peter Rabbit (9780723247708): Beatrix Potter: Books
The Tale of Peter Rabbit
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HENRY HOCKEYSTICKS: A DAY ON THE POND
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Henry enjoys a day of hockey from the fresh fallen snow to the full hockey moon surrounded by nature with clever rhymes and cute illustrations.
The Shepherds' War
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It's Detroit in the summer of 1968. Can Spencer rescue his brother from an army of KGB psychics? After all, heâs ten-and-a-half years old already.
Editorial Reviews
Amazon.com Review
The quintessential cautionary tale, Peter Rabbit warns naughty children about the grave consequences of misbehaving. When Mrs. Rabbit beseeches her four furry children not to go into Mr. McGregor's garden, the impish Peter naturally takes this as an open invitation to create mischief. He quickly gets in over his head, when he is spotted by farmer McGregor himself. Any child with a spark of sass will find Peter's adventures remarkably familiar. And they'll see in Flopsy, Mopsy, and Cotton-tail that bane of their existence: the "good" sibling who always does the right thing. One earns bread and milk and blackberries for supper, while the obstinate folly of the other warrants medicine and an early bedtime.
Beatrix Potter's animal stories have been a joy to generations of young readers. Her warm, playful illustrations in soft colors invite children into the world of words and flights of fancy. Once there, she gently and humorously guides readers along the path of righteousness, leaving just enough room for children to wonder if that incorrigible Peter will be back in McGregor's garden tomorrow. (Ages Baby to Preschool) --This text refers to an out of print or unavailable edition of this title.
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From School Library Journal
PreS-Gr 2-Over the years, Hague has re-illustrated many texts that were in the public domain. A number of his books have given new life to overlooked work and have been widely appreciated. His reinterpretation of the work of Potter, however, is egregiously unnecessary. Potter wanted her books to be small enough for little hands to hold. Hague's book is almost twice as large. Potter's book has softly colored spot illustrations, honing in beautifully on the drama or emotions of the facing pages of text. Hague's art is overblown with extraneous details that threaten to overwhelm the plot. His rabbits with enormous eyes are reminiscent of those kitschy, large-eyed waifs popularized by the Keans in the 1960s. If Potter's books were out of print, or in danger of becoming so, one might be more receptive to Hague's version, but they are readily available and hard, if not impossible, to improve upon. Why try?-Miriam Lang Budin, Chappaqua Public Library, NY
Copyright 2001 Cahners Business Information, Inc.
--This text refers to an out of print or unavailable edition of this title.
Don't have a Kindle? Get your Kindle here , or download a FREE Kindle Reading App .
Product Details
Age Range: 3 - 7 years
Grade Level: Preschool - 2
Publisher: Warne; Original edition (September 16, 2002)
Language: English
Shipping Weight: 1.6 ounces ( View shipping rates and policies )
Average Customer Review:
By Occasional Reviewer on August 6, 2000
Format: Board book
I purchased this book for our daughter when she was about 6 months old but she wasn't at all interested in it, unlike 95% of our other purchases. Then at about 12 months she picked it out for me to read it to her, and it has increasingly become a favorite. I think the reason she didn't like it earlier on was, ironically, the same reason I readily purchased it - the beautiful watercolor illustrations. While they are very beautiful, they are somewhat muted resulting in a look that blurs all of the detail together. Of course, this is just a guess. At any rate, she now very much enjoys this book, and anticipates the action, such as Peter sneezing, or the "scr-r-ritch, scratch" of a hoe. Board books with a storyline are somewhat more difficult to find than the counting, color, alphabet, opposites, etc. kind, and my daughter has always definitely enjoyed stories. Additionally, this book teaches us there are repercussions for our actions, but in a tone that is mild and appropriate for young toddlers. If this is what you're looking for, and you're not looking for storybooks for a younger baby, this would be an excellent choice.
| Peter Rabbit |
Which P.R. was Mitt Romney’s running mate in the 2012 Presidential election? | A bunny thing happened... - Winnipeg Free Press
Winnipeg Free Press
Posted: 03/26/2016 3:00 AM | Comments:
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Hey there, time traveller!
This article was published 26/3/2016 (297 days ago), so information in it may no longer be current.
There’s only one more sleep until Easter Sunday, and anyone with a sweet tooth knows exactly what that means.
It means it’s almost time to stuff your messy little face with enough chocolate to put you in a sugar-induced coma.
We think candy is dandy, but this is also the perfect time of year to focus our mental energy on cute little bunny rabbits hop, hop, hopping down bunny trails.
For instance, earlier this month, a public art installation called Intrude, featuring five seven-metre-high illuminated inflatable rabbits, popped up in Brookfield Place in Toronto’s financial district for a pre-Easter visit.
"They represent the fairy tale animals from our childhood — a furry innocence, frolicking through idyllic fields," artist Amanda Parer’s website explains. "Intrude deliberately evokes this cutesy image and a strong visual humour to lure you into the artwork, only to reveal the more serious environmental messages in the work."
So grab a non-hazardous chocolate rabbit, kids, and we’ll satisfy your bunny cravings with our prestigious list of the Top 5 Rabbits of All Time:
5. THE PLAYBOY BUNNY
ASSOCIATED PRESS
FREDERICK WARNE & CO / THE ASSOCATED PRESS One of the original illustrations from "The Tale of Peter Rabbit." Peter Rabbit has appeared in more than 250 reprints of the 1902 work written and illustrated by Beatrix Potter.
The resumé: Yes, we realize this might not be the most appropriate bunny at this family-friendly time of year, but it is easily one of the most iconic images in modern pop culture. For the record, we are talking about Playboy magazine’s logo featuring the stylized silhouette of a rabbit wearing a tuxedo bow tie.
The thing is, the legendary rabbit-head logo almost didn’t exist. Hugh Hefner initially planned to call his magazine Stag Party with a human-looking stag as its mascot, but when Stag magazine threatened a trademark lawsuit, Hefner renamed his magazine Playboy. According to online reports, the magazine’s art director, Art Paul, created the rabbit logo as an endnote for the second issue, but it was immediately adopted as the company’s official logo.
In the 1960s, on a whim to challenge readers, Playboy began concealing the rabbit logo on the magazine’s cover. By the mid-’70s, they were reportedly flooded with calls from readers who couldn’t find the hidden bunny, so they began offering hints on the contents page.
Hefner has said he settled on the rabbit for its "humorous sexual connotation." And now that it no longer publishes nude photos, you can definitely read it for the articles.
4. THE ENERGIZER BUNNY
The resumé: As soon as you hear the phrase "He keeps going, and going, and going..." you know exactly who we’re talking about. The iconic mascot of Energizer batteries in North America is a pink toy rabbit who sports sunglasses and blue-and-black sandals while hammering away endlessly on a bass drum bearing the Energizer logo.
This annoyingly cute pink bunny first hopped onto our television screens in a 1989 ad created to mock a commercial by rival battery supplier Duracell. In the Duracell ads, a set of battery-powered drum-playing rabbits gradually slow to a halt until only a toy powered by a copper-top battery is still active. In the Energizer parody, the pink bunny enters the screen beating a big, bass drum and swinging a mallet over his head. The original slogan boasted "Nothing outlasts the Energizer."
Then came a famous series of realistic-looking ads for fictional products — Sitagin Hemorrhoid Remedy, Nasotine Sinus Relief, TresCafé Coffee — in which the action was suddenly interrupted by the unstoppable Energizer bunny storming through.
In 1994, Energizer celebrated a milestone when it launched a bunny-inspired hot-air balloon. Notes the company website: "He was taller than the Statue of Liberty, had size 98 EEEEE feet and was held together with 84 miles of thread... and, no, we’re not full of hot air! The Energizer Bunny Hot ‘Hare’ Balloon went on to paint the skies pink for nearly two decades."
In 1999, Advertising Age magazine placed the bunny on its list of the Top 10 Brand Icons of the 20th Century, citing him as "the ultimate symbol of longevity, perseverance and determination."
The ads may have begun to fade, but the phrase "Energizer Bunny" is now slang for anyone or anything that goes on for an indefinite amount of time. Like this column.
3. PETER RABBIT
POSTMEDIA
HANDOUT / DISNEY ENTERPRISES Rabbit (from left), along with Kanga, Roo, Piglet, Owl, Winnie the Pooh, and Christopher Robin in a still from the 2011 Disney animated movie.
The resumé: Back when we were just a little columnist, our mom and dad used to read us the adventures of this naughty little bunny to send us to Dreamland. Peter was easily the most famous anthropomorphic critter featured in the classic children’s stories created at the dawn of the 20th century by English author and illustrator Beatrix Potter.
With his trademark blue jacket, Peter made his literary debut in The Tale of Peter Rabbit in 1902, wherein he disobeys his mother’s orders and sneaks into Mr. McGregor’s garden, munching as many vegetables as he can before he is chased away by the farmer, losing his jacket and shoes in the process. The farmer uses Peter’s duds on a fancy new scarecrow, while the thieving bunny return home weary and has to be put to bed with a bit of a scolding and a dose of chamomile tea.
Peter pops up in five more books between 1904 and 1912, most notably in The Tale of Benjamin Bunny, wherein Peter and his cousin return to the garden, retrieve the lost clothes, snitch some onions and are captured by the farmer’s cat.
Potter reportedly named her long-eared hero after a pet rabbit she had as a child, and the first story was written as a letter to comfort Noel Moore, the ailing five-year-old son of the author’s former governess, Annie Moore.
Earlier this year, to mark 150 years since the author’s birth, Potter’s much-loved bunny became the first character from children’s literature to appear on a U.K. coin.
2. RABBIT (FROM WINNIE THE POOH)
CNS HANDOUT
WARNER BROS. ENTERTAINMENT
"Can't you see you're next? Yes, you're next. You're so next!"
The resumé: OK, we know Rabbit kind of piggybacks on the popularity of Winnie the Pooh, but it’s hard not to like this cranky worrywart. Winnipeggers have a special place in their heart for all the characters in the Pooh stories, because, as everyone should know by now, the real-life bruin that inspired author A.A. Milne to create his fictional bear of little brain was named after our beloved city.
Rabbit and Christopher Robin’s other beloved animal buddies star in a series of classic books and poems, not to mention countless animated Disney movies and TV specials. Pooh’s long-eared, neurotic friend makes his first appearance in the 1926 book Winnie the Pooh, then returns in 1928’s The House at Pooh Corner.
Most of artist E. H. Shepard’s illustrations for the books are based on Christopher Robin’s stuffed animals, but the drawings of Rabbit resemble a living creature, one that walks on two legs and uses his paws as hands, of course.
In the books, Rabbit is a take-charge bunny who hatches elaborate plans — such as the one to "unbounce" Tigger — that frequently go wrong.
In the Disney adaptations, Rabbit is a fierce gardener with a notoriously short temper, though he still loves his friends in the Hundred Acre Wood. Notes Disney.Wikia: "Rabbit is a complex character... he is easily frustrated, often due to the chaos caused (unintentionally) by his friends, mainly Tigger... Rabbit is often shown to be the one to take charge of a situation, but he can often be a control freak... However, Rabbit does have a softer side and will do anything to help another when he is needed."
You know, the guy who always points out the error of your ways. That’s Rabbit.
1. BUGS BUNNY
The resumé: "Eh, what’s up, doc?" What’s up? We’ll tell you what’s up! We’re talking about arguably the most recognizable cartoon character in history, the first to grace a postage stamp, the only rabbit on this list to win an Oscar and get his own star on Hollywood’s Walk of Fame. We’re talking about Bugs Bunny, the animated wascally wabbit, best known for starring roles in more than 150 Looney Tunes and Merrie Melodies shorts produced by Warner Bros.
Bugs is the only cartoon character big enough to cast shade on Mickey Mouse. Calling this carrot-craving rabbit with the wisecracking personality and penchant for pranks an icon is a huge understatement.
According to LooneyTunes.wikia.com, Bugs and his catchphrase — "Eh, what’s up, doc?" — have appeared in more films than any other cartoon character. The Oscar-winning rabbit made his debut in Tex Avery’s 1940 film A Wild Hare and has been tormenting Elmer Fudd, Daffy Duck and Yosemite Sam for the past 76 years.
Along with films and shorts, he has starred in countless TV series, comic books, video games, amusement park rides and commercials. In 2002, TV Guide compiled a list of the 50 greatest cartoon characters of all time, and the smart-aleck Bugs landed in the No. 1 spot.
We know what you are thinking. You are thinking: "Hey, what about the Easter Bunny?" Well, we thought about putting him on the list, but then we realized the holiday icon only works one day a year.
Don’t tell him we said that, though, or he might skip our house on Sunday.
[email protected]
| i don't know |
In 1967, who got to no. 2 in the charts with ‘Excerpt from a Teenage Opera’? | Charts & Memorabilia : 1967 (November to December)
8 Tom Jones I'll Never Fall In Love Again
13.41
9 Sandie Shaw Puppet On A String
12.80
10 Frankie Vaughan There Must Be A Way
12.29
11 Beatles All You Need Is Love
12.13
12 Frank and Nancy Sinatra Something Stupid
11.88
13 Monkees I'm A Believer
11.67
14 Foundations Baby Now That I've Found You
11.58
15 Tremeloes Silence Is Golden
11.54
16 Keith West Excerpt from A Teenage Opera
11.18
17 Vicki Carr It Must Be Him (Seul Sur Son Etoile)
10.57
18 Mamas and the Papas Dedicated To The One I Love
10.57
19 Traffic Hole In My Shoe
9.53
20 Barry McGuire Eve Of Destruction
9.39
| Keith West |
Who got to no. 6 with ‘Games People Play’ in 1969? | 9 September 1967: PH in NME
Procol Harum's first year in the NME
Glowing predictions: 9 September 1967
These excerpts from New Musical Express, kindly selected for 'Beyond the Pale' by Yan Friis, show Jimi Hendrix getting to grips with Reid words, and include a brilliant review of a live PH show (next best thing since the Beatles): Repent Walpurgis left the reviewer 'limp and exhausted'
Front page: full page advertisement for Scott Walker�s first solo-album Scott under the slogan 'LP release of the year�
NME Top 5:
1 (3) The Last Waltz, Engelbert Humperdinck
2 (1) San Francisco, Scott McKenzie
3 (2) I�ll Never Fall In Love Again, Tom Jones
4 (7) We Love You, The Rolling Stones
5 (13) Excerpt From A Teenage Opera, Keith West
Billboard Top 30: no Procol product
Jimi Hendrix interviewed by Keith Altham: amid reactions to Jimi�s new single, Burning Of The Midnight Lamp, this quotation:
At his flat off the Edgware Road Jimi smiled when I expressed my bewilderment as to what it was all about.
'I�m glad there is this kind of reaction,� he said happily. 'Maybe it�s a little murky in there, a bit smoky, but it�s the kind of disc you put down and go back to. When I first heard Procol Harum�s Whiter Shade Of Pale the meaning was very muddy. I understood about the first verse and that was all. But as you hear it again and again you begin to put the thing together.�
Tipped for the charts by Derek Johnson:
Turtles, You Know What I Mean
Martha & The Vandellas, Love Bug Leave My Heart Alone
Review:
Procol Harum on stage � 'Fantastic'
IMMOBILE � YET SO MOVING
Watch out British fans! You don�t know it yet, but an overwhelming experience is coming your way (writes Danish correspondent Sven Wezelenburg).
This week the Procol Harum played a concert in Copenhagen and the sound they created is so rich that it must be beyond most things you hear in Britain these days.
No psychedelic thing goes on; instead they play beautiful tunes somewhere in between the music of Bach, soul and modern jazz. Slowly it moves deep into your body and at the end of the concert you have dreamt yourself far away.
You may not be in the year 1967, but back in the Middle Ages. They wear hunting dress and boots, their colourful clothes reminiscent of knights and esquires at court centuries ago. What makes an even stronger impression is that they don�t move even the tiniest little bit on stage. They are just there! Immobile.
The atmosphere is loaded with exciting sounds from Gary Brooker�s piano and his tingling notes make small circles in the spotlight. The organ (painted red) gives you some wonderful dream-along music as well, and the lead guitarist must be one of the best in Britain. The bass player and the drummer are very good, too.
However, the words (so sincerely sung by Gary) did not come through too clearly. A great pity. However, it just makes us all the more anxious to hear the group�s first album, as they played a lot of numbers from it.
Perhaps the most surprising thing was the way they were received by the Danish audience. All very quiet during the performance, but after each song the thunder of applause got stronger and longer all the time.
And at the beginning of A Whiter Shade Of Pale, everybody clapped their hands to show their appreciation for such a marvellous disc.
I dare to predict that the Procol Harum will be the biggest thing that has happened to pop music since the Beatles.
They have so many original and beautiful sounds and so many things to offer that they will be loved all over the world.
The last number at the concert was solely instrumental, but so strong and rich that it just left you there, limp and completely exhausted.
Procol Harum is a fantastic experience.
Tailpieces by the Alley Cat:
� Piano replaces organ on Procol Harum�s next single �
Read more from the first year of Procol press
Read a mocking commentary on the above from Q magazine
| i don't know |
In which sport can you hear the terms ‘edging’, ‘christies’ and ‘traversing’? | How to Parallel Turn - Online Ski Lessons - Mechanics of Skiing
Online Ski Lessons
Parallel Turns
Parallel turns are turns where the skis always stay parallel to each other throughout each turn. This is generally considered to be the point where proper skiing begins, as up until now all the turns have used the snowplough , which is rarely used as soon as you don't need it.
On this page we are going to look at basic parallel turns. Parallel turns which use all the principles of parallel skiing , but to which extra techniques can be added to make the turns more advanced. These more advanced techniques are explained in further sections.
Please read the parallel skiing page before following the explanation here, if the principles explained on the parallel skiing page are not understood properly, the explanation here might be harder to follow and understand.
Parallel Turn vs Stem Turn
Parallel turns have many similarities with stem turns . To start a parallel turn you still need to lean forwards and bring your weight across onto both skis, and to finish a turn you still need to push on the outside/downhill ski. However parallel turns have an extra phase, the edge change , and because the snowplough is not used in the middle of the turn, as you turn through the fall line the skis do not brake at all and you can pick up a lot more speed. Therefore, to be ready for parallel turns, you have to be ready to go a bit faster.
A parallel turn compared to a stem turn. In the parallel turn you pick up more speed around the turn as there is no snowplough to stop you accelerating so much.
Parallel turns also have a lot more variables to be considered, with the speed and direction of your velocity and the steepness of the slope having a large affect on turns.
Walk Through Explanation
Below is a walk through explanation of how to make a basic parallel turn, assuming that we start from skiing across the slope, standing in the correct traversing stance with our skis parallel, weight in the middle of the downhill ski, our shoulders turned slightly down the slope, and the skis sliding slightly sideways as they travel forwards.
Initiating the Turn
To initiate the turn, we extend upwards and lean forwards in a smooth motion, letting our hips come across over the downhill ski. As soon as we start this movement the ski tips should start to drop down the slope, and as they drop we begin to transfer our weight onto both skis. Ideally by the time you have reached the forward and extended position the skis should have dropped to the point that they are almost travelling straight along their length, and you should have transferred your weight so that it is almost evenly split between the skis. As you do this the direction of the skis should come to match the direction of your upper body. It is important this is done by letting the skis drop to match the body, rather than turning the body up the slope to match the skis. Once you are in this position you will need to stay there briefly until the skis are completely flat on the snow and travelling completely straight, at which point you are ready for the edge change.
If the initiation movement is performed well, and you are travelling with at least a good jogging pace, the skis should drop quickly to travelling straight along their length, so that you are soon ready for the edge change, making this part of the turn where your balance decreases very swift. But should you have not extended upward well enough to release the edges properly, or not leant far enough forward for the ski tips to drop properly, this phase of the turn can take a lot longer and you will need to stay in this extended forward position until the skis have turned enough to travel straight, with your speed continuing to increase the longer it takes. It is common for people to lack enough confidence to make this movement properly, but this only gives them more problems that they are unconfident about facing. They can start travelling faster than they are comfortable with before the turn has even properly begun, and they can start to run out of space to make the turn, as pistes are only so wide, or there might be other people in the way. The upward and forward movement required is not a large movement to look at, but it should feel as if you made a considerable movement, and it needs to be done properly to ski an efficient turn.
You need to extend upwards and lean forwards to initiate the turn, bringing your hips over the downhill ski, and starting to transfer your weight onto both skis as soon as the skis start to drop.
Changing Edges and Turning Across the Fall Line
Start to push on the outside ski, while continuing to lean forwards.
Once the turn has been initiated and the skis are travelling straight, you are ready to change the edges . Unless the skis had no forward movement at the start of the turn, this point will always be before the skis point down the fall line , due to your initial momentum (as explained in using resistance ). To change the edges, start to put all your weight onto the outside ski, while letting the body continue to gently fall towards the inside of the turn. This will bring the outside ski onto its edge, enabling you to push sideways on it and regain your balance. Keep pushing on the outside ski and leaning forwards until you have turned into the fall line , with your body in the same direction as the skis. As soon as you have made the edge change you can start to bend you knees a bit more and begin taking away that extended position. Once you have reached the fall line all that's left to do is turn back across the slope.
Start to push on the outside ski, while continuing to lean forwards.
Once the turn has been initiated and the skis are travelling straight and ready for the edge change, try not to spend too long in this position, as although you are pushing on both skis, your weight is actually over a point further down the slope, which will make you start to lose your balance, if you don't start to push on the outside ski soon enough. Some people get to this point and freeze a little as they are hesitant to start pushing on the outside ski, but it is important to do it and get on with the turn, as the longer you wait, the more speed you will pick up, and the more you will struggle to keep your balance.
Finishing the Turn
Once you have crossed the fall line , your weight continues to stay on the outside ski, but you start to bring your weight back along the ski lengthways and bend your knees more so that at the end of the turn you will be pushing on the middle of your foot, and your knee bend will be the same as at the start of the turn. Your shoulders also turn and point down the slope slightly more than your skis, to put our upper body in the correct position . As the skis turn across the slope it is important to let them slide sideways so that you can control the shape of the turn, and lose the extra speed you have picked up. You control the sideways slide by how much you lean over the outside ski, making small changes to edge angle and enabling the skis to slide a little more or less. It is important to lose the extra speed you have picked up as we want to finish the turn at the same speed we started it. Otherwise we will pick up speed with every turn, and at some point end up skiing faster than we are either ready for, or have space for. If you finish turning across the slope, but are still travelling too fast, you can lose the extra speed by letting the skis slide sideways more, or by turning up the slope slightly by bringing your weight a little behind the middle of your foot on your downhill ski. Once your speed is back under control, traverse in your desired direction by keeping your weight on the downhill ski and adjusting your forward lean slightly to point the skis at the angle you want, while controlling how much the skis slide. Now simply continue traversing across the slope until you want make your next turn in the other direction. As you get better at parallel turns, you will often start the next turn as soon as you have finished the turn before, with no traversing at a constant speed in between turns.
It is important to put all your weight on the outside ski in this part of the turn, as having your weight there makes the outside ski want to be further down the slope than the uphill ski ( lateral weight distribution ). Which is exactly what we need to happen. People can find this a bit difficult, as putting your weight on the point that is/will be furthest down the slope, requires you to lean down the slope, which is not as easy if you are affraid of the slope at all.
Although at the end of the turn you need to bring your weight back to the middle of your downhill foot lengthways ( longitudinal weight distribution ), turning across the slope changes the steepness angle of the ski, making your weight naturally come backwards without you needing to do anything. You have to watch out for this a bit, as this can make it easy to bring your weight a bit too far back along your foot, so that you start losing your balance, and control of the skis a bit. This is even easier to do if you are a bit afraid of the slope as you turn through the fall line.
Finishing the turn. Notice how the skier is leant over towards the end of the turn so that he can slow down, but he is back upright once the speed has been lost and is traversing at a constant speed.
Overview
The main points to remember when making parallel turns are:
The initiation is important. You must lean forwards and release the ski edges, otherwise the turn will take much longer to start and you will spend a lot more time with your balance reduced and your speed increasing.
Once you have changed the edges you must put all your weight on the outside ski to bring the skis around.
It is important to rotate your shoulders slightly down the slope, as this gives you more balance and uses stronger muscles.
You must remember to let the skis slide sideways, especially towards the end of the turn. This helps you to turn more easily and gets rid of any excess speed you picked up through the turn. You should finish your turn at the same speed you started it, otherwise you will speed up with every turn you make and end up travelling too fast.
An overview of the steps in a parallel turn.
Ways Basic Turns Can Vary
The walk through above relates to a basic parallel turn. However, there are many variables that affect even gentle parallel turns. Here we will have a quick look at some that you are likely to come across.
Steepness of the Slope
The steepness of the slope is one of the easiest variables to consider. It largely determines how much effect your weight changes will have, and how much you will speed up in your turns. The steeper the slope, the quicker the skis will be able to turn around and the quicker your speed will build up in the turn.
Approach Speed
Your approach speed works in a similar way to the steepness of the slope, the faster you are going the more reaction force you can get from your skis. More reaction forces to keep your balance with, and stronger reactions when you lean forward to make the ski tips drop more rapidly.
So most of the time speed is your friend. The only times we generally start a turn with very little speed is on a steep slope where we know the reactions from weight changes will be stronger anyway, and you will pick up speed through the turn to keep your balance with. It is also important to have some initial speed so that the skis are sliding freely, and will not get stuck in the snow, or be too affected by small bumps.
Sliding Sideways on Approach
The angles shown are the minimum amount the skis will need to turn before the edge change. The more you slide sideways, the further the skis will need to turn before the edges can be changed, although this is not always a bad thing.
The amount you are sliding sideways as you start your turn determines how far the skis need to drop and turn before you are ready for the edge change. The more you are sliding sideways, the more your skis will be pointing across the slope relative to your actual direction of movement. This means that during the initiation phase you have to make the front of the skis drop further before they are travelling straight. Which in the wrong circumstances will make your turn initiation take longer.
If the skis are travelling almost straight along their length already, you will not need to turn much before the edge change, which usually makes the initiation phase nice and short.
However this doesn't mean that you should avoid sliding sideways as you start a turn, your ski orientation has to be matched to the steepness of the slope and your speed.
The angles show are the minimum amount the skis will need to turn before the edge change. The more you slide sideways, the further the skis will need to turn before the edges can be changed, although this is not always a bad thing.
Flatter Slopes
On a flatter slope you need to start turns with some initial speed, and only let the skis slide sideways a little bit.
On flatter slopes the ski tips will not drop very quickly down the slope, and you will not pick up much speed in the turn to help keep your balance with. Because of this, parallel turning is actually more difficult at slower speeds on a flatter slope, which are exactly the conditions that beginners tend to prefer.
On flatter slopes it is best to start off by travelling a bit faster across the slope, with the skis not sliding sideways so much. This gives you enough speed to help keep your balance and means that the skis don't need to turn so much before the edges can be changed, making the initiation phase quicker.
On a flatter slope you need to start turns with some initial speed, and only let the skis slide sideways a little bit.
The worst thing you can do as you initiate a parallel turn on a flatter slope is ski slowly with plenty of sliding sideways. Not only would you have to turn the skis so far that they point almost straight down the slope before the edges can be changed, but the combination of flat slope and slow skiing will make the skis very slow to turn. The result is a very slow turn, feeling very unbalanced, yet requiring more precise edge pressure changes to accomplish it.
Because speed is your friend, starting a turn by sliding sideways but faster can also work well on flatter slopes, but you will struggle to slide sideways fast enough on a flatter slope, unless you have taken speed onto the slope from somewhere steeper.
On a gentle slope you may well also find that you cannot turn too far across the slope before or after your turn, as that would decrease your speed to much. When making turns like this you have to keep leaning a little extra forwards at the end of the turn to stop the skis from turning too far across the slope.
Steeper Slopes
When starting to ski on steeper slopes, letting the skis slide sideways more can help you keep control of your speed, and reduces the amount your direction changes, which can make turns quicker and easier.
On steeper slopes you have the advantage that there is plenty of ski reaction force available, but you have to be more careful about your speed.
When we start to ski on steeper slopes it is good to start turns with a medium pace, and quite a lot of sideways sliding. Having a medium pace means the skis are sliding freely over the snow, making them easier to turn, and giving them enough power that they shouldn't be too affected by small bumps in the snow. Sliding sideways increases the proportion of your speed down the slope and so decreases your speed and momentum across the slope. However fast you are travelling across the slope, you are going to have to stop going in that direction, and start going across the slope in the other direction. The faster you are travelling across the slope, the longer it will take to slow down and start travelling across in the other direction, and the longer it takes, the more speed you will pick up while doing it.
When starting to ski on steeper slopes, letting the skis slide sideways more can help you keep control of your speed, and reduces the amount your direction changes, which can make turns quicker and easier.
So, sliding sideways can decrease the change of direction needed in a turn. It therefore make the turn quicker, picking up less speed. We don't need to worry about the skis having to turn more before the edges can be changed because, with the initial speed and the steep slope, the skis will drop and turn very quickly as long as the initiation is done properly.
Making turns like this also gives you lots of practice at sliding the skis sideways, which is a key skill to have for controlling speed and recovering from mistakes. As you get better at skiing steeper slopes, and incorporate more advanced techniques into your skiing, the goal will be to minimise the amount the skis slide sideways, as you will be able to control your turn shape and speed without the need for so much sliding.
Summary
Although it may not seem this way for a lot of people, gravity and speed are your friends in a parallel turn, provided you are not going to extremes that is. To make a parallel turn with balance you need a bit of speed, just like when riding a bike. And just like riding a bike, the more you practise, the better your balance will become at both faster and slower speeds.
Please note as soon as we get to this stage in skiing, the learning process slows down and we need a lot more practice to improve and move on to trying other skiing techniques. Also from here on all skiing techniques use parallel turns, although they are tailored to different conditions, or goals.
The information here is for basic parallel turns, there are many more advanced techniques that can be added to the basics described here. More information on these can be found in the next sections.
Common Mistakes:
Leaning back - When you lean back it makes the back of the skis want to overtake the front of the skis, making them unstable. In parallel turns your weight needs to be brought forwards and backwards, but it always stays over the middle of the skis , or further forwards. Your centre of gravity should never come further back than the middle of your feet.
Hesitating for too long while changing edges - The longer it takes for you to change edges and finish off the turn, the faster you will go in the meantime. You need to commit to the edge change before your speed frightens you from making the decision.
Not leaning forwards enough to start the turn - The more you lean forward to initiate the turn the quicker the first stage of the turn will be. Although it can be scary to lean down the slope, if you do not lean forwards enough you can pick up more speed than you wanted, which can frighten you from actually making the turn.
Having the skis too far apart - If the skis are too far apart you have to make a larger movement, which can make turning more difficult and take longer, and if the skis are really far apart the uphill ski will catch in the snow causing you problems.
Not pushing on the outside ski enough at the end of the turn - The more you push on the outside ski at the end of the turn, the quicker you will come back to sideways. Therefore it is important to really push on the outside ski if you want to come around the turn quickly.
Not letting the skis slide sideways - It may be scary to lean down the slope, but if we don't do it the skis won't be able to slide around properly, making them unable to turn as easily, and it hard to control your speed. The skis need to slide sideways for turns to be quicker and smaller, with more control over your speed.
Not looking where you are going - Looking ahead at the snow you are aiming to ski over enables you to spot any bumps or obstacles with time to prepare for them, and encourages the body to move in the direction it needs to for making the turn.
More general common mistakes can be found in the Common Mistakes page of the Learning to Ski section.
Tips:
Make a gradual change from the stem turn to the parallel turn on a gentle slope until you are more confident, then slowly progress onto steeper and steeper slopes. If you try and go too steep too soon, often fear brings the snowplough from the stem turn back, and you will be left not actually making parallel turns.
Taking ski lessons will introduce you to skiing exercises based on how people learn to ski in real life, so that you learn to parallel turn with the correct technique.
Sliding the skis around turns is key to skiing smooth parallel turns. If your turns are a bit wobbly, it is most likely because you are not letting the skis slide sideways enough through the turn (or you are going too slow to keep your balance properly). So it is key to practise letting the skis slide as much as possible, and get as much control as possible over sliding the skis.
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What colour is the centre square (excluding the star)? | The Basic Wedge Christie - EpicSki Community
The Basic Wedge Christie
Posted 4/26/12 • Last updated 5/1/12 • 3,024 views • 3 comments
by Bob Barnes
The only difference between wedge turns and wedge christies--the next natural milestone involving the exact same intent and fundamental movement patterns--is that the skis match (move to parallel) in the shaping phase of the turn. The turn thus ends parallel and, of course, the next turn therefore begins parallel.
So why does the wedge happen, if the turn begins and ends with the skis parallel?
The key elements (items in bold are primary):
Offensive intent--the GO! Factor--intent to control direction, not speed (with speed control indirectly, as a result of tactics and line, not directly from intentional braking); desire to gain, not lose, speed when turn starts; "go that way," not "stop going this way." Other intents (purposes) dictate different techniques, not wedge christies.
Positive Movements--in a right turn, all intentional movements go right; skis tip right, both skis and legs turn right simultaneously (but at different rates); body (cm) moves right.
Edge releases and both tips turn downhill, into turn at initiation and throughout the turn; NOT edge set and tails twisted/pushed out of turn into intentional skid (which is a Stem Christie).
Wedge results spontaneously from both legs rotating into the turn, as the outside leg rotates more quickly. Matching results from continued rotation of both legs into the turn, as the inside leg rotates more quickly. Unequal rates of rotation are unintentional, but result from low skill development, and the unequal resistance on the two skis in different parts of the turn (due to the mechanics of the turn itself).
Since intent is to control direction, not speed, skidding is unintentional. But some skidding or brushing is likely due to low skill level, and inevitable when turns are smaller than the skis can carve.
Fundamental intent and movements are the same as for parallel turns, and wedge christies will naturally evolve to basic and then high-performance parallel turns as skill, confidence, speed, and terrain steepness increase (and offensive intent remains).
Here are some animations to clarify my meaning. Let's look first at the movements of each ski separately, to see if they concur with the bullet points above. First, the left ski:
Movements and path of the left ski in wedge christies
Clearly, this ski turns continuously in the direction of the turns--it's tip moves continuously to the right in a right turn, and vice-versa, It pivots about a point somewhat aft of ski-center, and at no point is its tail twisted toward the outside of the turn. In other words, all positive movements.
Now for the right ski:
Movements and path of the right ski in wedge christies
Same thing, of course!
So let's put them together:
Movements and paths of both skis in wedge christies
Now we can see that, even though both skis and legs turn continuously and simultaneously right in a right turn (and left in a left turn), because they turn at different rates, they open into a wedge as the turn starts, and match to parallel later in the turn. The uphill (new outside) tail is NOT stemmed out at the start, as the downhill (new inside) ski releases and slips downhill into the turn. And at no point is the inside tail pulled out toward the outside tail to bring them parallel; on the contrary, the matching occurs not by pulling the tails together, but literally by pulling the tips apart--continuing the active movement of the inside tip in the direction of the turn, but more quickly now than the outside ski. No negative movements!
And at no point do the skis or legs turn (rotate) in opposite directions. That's the seeming paradox that seems to confuse many people. Clearly, one way to create a wedge position is just that--to rotate both legs internally, turning the toes or tips toward each other, in opposite directions. But that is absolutely not what happens in a wedge christie, as these animations show.
Here are still montages based on the animations above:
Since some people like to see the fall line pointing down, and others prefer to see it pointing up, I've done it both ways. The frame numbers are the same for each one. The little white arrows indicate the skier's intended rotary input--both tips into the turn, from start to finish.
The Evolutionary Link Between Wedge and Parallel Turns
Note that in the wedge turn video, the downhill edge releases and both skis and legs turn simultaneously into the new turn--just exactly as they do in a parallel turn. But due to the low speed, combined with the embryonic skill level (all three skills--rotary, edging, and pressure control), it is difficult to turn the downhill leg as quickly as the uphill leg, so the wedge develops as the turn begins, naturally, spontaneously, and unintentionally. Low speed is a factor because without significant "G-forces" pulling the skier toward the new outside ski, there is still substantial pressure (weight) on the downhill ski as the turn starts, and that ski also remains somewhat on its uphill edge, even as it releases. The pressure and slight edge engagement combine to create more friction resisting the turning of the downhill ski, while the light uphill ski turns very easily.
Of course, the skier could "solve" the problem by making an "active, early weight transfer"--either shifting his balance to the uphill ski, or suddenly flexing his downhill leg. But both of these options would cause a sudden redirection of the center of mass--the first moving the body uphill (ie., in the wrong direction!), and the second causing an abrupt redirection down the hill. Although there are certainly real situations where these outcomes could be desirable, one of the attributes of the pure basic turn demonstration is the very smooth, continuous uninterrupted "flow" of the center of mass. Any sudden redirection does not belong in these demonstrations. So active weight transfers, while important situational technical options, are errors when demonstrating the "default" movement patterns that wedge turns, wedge christies, basic parallel, and dynamic parallel turns are meant to show.
You could also "solve" the "problem" by making a longer-radius turn, which would not require any active, muscular rotary input. "Patience turns" (initiated entirely by gravity, like a bowling ball rolling across and down the hill) and "pure-carved" or "railroad tracks" on the flats are two examples of such no-rotary-input turns and they can both be fun and good learning opportunities. But again, by definition, basic turns involve the intent to control direction--not just get taken for a ride by gravity or the sidecut of your skis. Because of this requirement, demonstrating these turns (wedge, wedge christie, basic parallel, etc.) demands that we choose to ski a turn radius smaller than our skis will carve by themselves without rotary input. Once you involve active rotary movements, the wedge, and the wedge christie, "happen"!
OK, so why does the matching occur in wedge christies, if it does not occur in wedge turns? Well, wedge christies again demonstrate the milestone in between the first (wedge) turns and basic parallel turns, in both skill development and speed. While the speed may not be high enough and the leg-steering ("fulcrum" mechanism that Bud refers to) skill not sufficiently advanced to turn both skis at equal rates to start the turn, somewhere later in the turn the speed increases and the balance shifts spontaneously toward the outside ski (due to the forces of the turn). As the inside ski lightens--AND the skier leans more into the turn for balance, helping to flatten the inside ski--it becomes easier then to turn the inside ski. So the same steering effort to turn BOTH skis into and through the turn now turns the inside ski more quickly, bringing the skis parallel. Note that "matching" occurs NOT by twisting the inside tail out toward the outside ski, but by pulling its tip into the turn--as the outside ski follows. The result: parallel skis, with still no intentional twisting or pushing of the tails into a skid.
The key point to all this is that the fundamental technical intent of all basic turns--wedge, wedge christie, basic parallel--is the same: turn both skis and legs simultaneously, and at the same rate, into the turn. The intent is the same--basically, a parallel turn--but the challenges due to low skill development and low speed cause the wedge to happen at first, and then to spontaneously vanish as skill, speed, steepness, and confidence increase.
The wedge happens! It is not intentional (for students), and it is certainly not an essential part of the beginner's turn. Strong skiers, like instructors, trying to demonstrate them accurately cannot, of course, become less skillful. But they can certainly use tactics that will tend to cause the wedge to happen without an intentional effort. Very small radius and very complete turns will both keep speed to a minimum and require very active leg rotation to create the turn shape. Then all you have to do is make your very best "parallel turn movements," and a wedge christie (or even wedge turn, if you go slow enough on flat enough terrain) will happen spontaneously.
Any other way of doing is cheating. Try to make a wedge christie at too high speed, and you'll have to fake the wedge--you'll have to do something intentionally different from how you'd make a parallel turn. And that, by definition, is NOT a wedge christie!
Offensive Intent
As I mentioned earlier, all of these basic turns are fundamentally offensive. That is, they are made to control direction directly, and speed only as a side-effect of direction (ie., if you go uphill, you'll slow down). They all involve, in a very real sense, going as fast as you possibly can on whatever line you choose. If you want to go slowly, you go as fast as possible on a very slow line--completing each turn perhaps even back uphill a bit. (Again, this is not to suggest that we are always, or should always be, "offensive," but simply that these demonstrations are meant to show the technique involved when we are. Other intents would involve different demos.) This is the concept that I've long referred to as "skiing the slow line fast," and good instructors instill a deep awareness of it from the start.
So, in summary, wedge christies are turns made at a very low speed, that begin with opening to a wedge and continue with matching to parallel. To make them accurately, ski as fast as you possibly can and don't wedge, and don't match! Just do it on a slow enough line, with small enough turns, that you can't help but make a wedge christie.
The Difference Between "Matching" and "Closing"
Here's the difference between "matching," which involves continuously turning the ski tips into and through the turn as in a wedge christie, and "closing," which involves twisting the inside tail out toward the outside tail, typically as the outside skids without continuous steering into the turn.
Notice that the outside ski is never quite parallel to the direction of travel (the red line shows the direction of travel of the center of mass). If it were a "pure-carved turn," the outside ski, at least, would exactly parallel the red line, and wherever the pressure is 100% balanced on the outside ski, the edge of that foot will also be exactly on the line. So with these things in mind, the illustration shows a small amount of brushing (skidding), and the pressure center always somewhere between the feet--albeit much closer to the outside foot near the end of the shaping/control phase (frames 9-10 and 17-18).
Compare the Wedge Christie illustration with the other end of the performance spectrum (still with the same intent and fundamental movement patterns)--the highly carved Dynamic Parallel Turn:
On the other hand, my definition of the Wedge Christie includes that they are "as carved as possible." That's the same intent, of course, as each of the other "milestones" along the same path (wedge, basic parallel, dynamic parallel). That's not to say that they are necessarily pure-carved turns by any means--merely that there is no intentional skidding and braking. It follows clearly and logically from the intent to control purely direction, not speed, to ski "a slow enough line as fast as possible." For real skiers at that skill level, there is likely to be a fair amount of skidding in most turns, even though it is not their intent, largely due to their undeveloped fine edging skills, as you suggest. On the other hand, with today's soft deep-sidecut skis, it doesn't take much edge angle or edging skill to get the skis to carve, or to help shape the turn with minimal skidding. For instructors demonstrating wedge christies, that's why I insist that we must ski turns that are smaller than we can "pure carve," to ensure that they show someunintentional but very obvious skidding.
And again, in "real" skiing situations, we will often see skiers at this level who are not entirely offensive, and who therefore use the wedge to brake, or increase the skidding intentionally to brake. No problem there--it's just no longer a pure, offensive wedge christie!
As to the traditional definition of "christie" being "skidding on corresponding edges," technically you are correct, of course. But since that term arose at a time when virtually all turns involved skidding, I have a slightly different take on it. I could be wrong about the intent of whoever coined the term "christie," but my suspicion is that the operative and important words were "on corresponding edges," and the "skidding" part was just a nod to the "fact" at the time that all turns involved skidding. So the intended distinction was between being "on opposing edges" (that is, wedges and stems), and being "on corresponding edges." I just don't think that the term was meant to distinguish skidded turns from carved turns--especially since a nearly-equally-old expression was "carved christie."
In any case, I agree that an instructor's demonstration of wedge christie should show some gentle brushing or skidding. But that is only so that it demonstrates the active leg rotation (fulcrum mechanism) we want to show, and so that--like the wedge itself--it presents an image of skiing that is accessible to students at that level. Make it small enough, and "as carved as possible" will show all the skidding required!
The Difference Between Wedge Christie and Stem Christie
Bud Heishman notes, "There is a clear mechanical divide between stem christies and wedge christies that I am not convinced the majority of our members understand and this sends many students unnecessarily, down a one way dead end street." I agree. That's the bottom line, and it is a critical distinction. The two--wedge christie and stem christie--look superficially similar (both begin with converging skis and finish parallel), but a bit of understanding reveals them to be polar opposites, in almost every respect. The intents they serve are opposite--one (wedge christie) is offensive--"go that way," and the other is defensive--"stop going this way," or "don't go that way." One (wedge christie) involves exclusively what I call "positive movements"--movements in the direction of the intended turn. The other involves the opposite--"negative movements" in the opposite direction.
For a wedge christie, the simple thought, "right tip right to go right," pretty much tells it all. In simplest terms, it describes the movement that initiates a right turn and that continues throughout the right turn. As that right ski releases and turns right, everything else, including the left ski, follows. No, it hardly explains all the technical details of a right turn, but it literally gets things off with the right foot, and moving in the right direction, based on the key intent of all offensive turns: GO!
By contrast, "left tail left to not go right" describes the initiation of a stem christie to the right. Right ski vs. left ski, tip vs. tail, movement to the right vs. movement to the left, "GO" vs. "not go". . . you really can't get much more opposite than that! One is "release the edge and guide the tips into the turn," and the other is "set the edge and twist the tails away from the turn.
Sounds simple, but I share your belief that many instructors fail to recognize--or at least, to acknowledge--the fundamental difference.
I also like Bud's insight that it's more about finding a description and a demonstration that ultimately makes sense in the grand scheme of good skiing, and not about blind belief in dogma. You don't get understanding by memorizing the words of a trainer or a description from a manual. You begin to comprehend when you question and challenge these things, put them to the test to develop your own understanding of "what makes sense."
Benjamin Bloom's well-known "taxonomy of the cognitive domain" suggests that "knowledge" is but the first step, the bottom rung on the ladder to understanding, awareness, expertise, and creativity ("knowledge--comprehension--application--analysis--synthesis--evaluation"). "Knowledge" on its own--although it may impress some people--isn't worth very much. For all the merely "knowledgeable" person knows, it could all be bunk!
Answers give knowledge. Questions begin understanding.
Caveat About Flexion-Extension
For me, "flexion-extension" is among the last things I focus on in my wedge christies, and when teaching students at that level. First of all, when I hear the simple word "extend" (or "flex"), it does not trigger an image of "long leg-short leg" lateral movement (or of fore-aft movement, for that matter)--it suggests getting taller or shorter. And I think that there is wide-spread confusion of why, and when, we need to get taller and shorter in turns at all levels. Primarily, we do it to manage the amount of pressure on our skis--to absorb bumps, to regain contact with the snow after flying over a roll, to reduce the pressure at the bottom of turns so that soft snow doesn't disintegrate beneath us, and so on. Expressions like "extend to release" and "flex to release" imply a cause-effect relationship that simply is not there. Releasing is a tipping movement. (Yes, it involves lateral movement of the center of mass over the feet, which we can "force" with long leg-short leg movements, but I've already discussed that, and it is not the same as "getting taller or shorter").
In short, I've long been critical of the common advice to "extend to release" or "flex to release." "Well, I mean, 'extend down the hill, or extend into the turn,'" is the common retort, to which I reply, "why not just 'move down the hill?' Why do I need to 'extend' (or 'flex)' as I do it?" To which I am usually faced with a confused, dazed look, accompanied by "well, that's what you're supposed to do, isn't it?"--which betrays a lack of understanding, "knowledge" without "comprehension." There MUST be a better answer to "why?" than "because that's what it says in the manual"!
Now...another reason to "flex" (get shorter) is to allow angulation movements in the feet/ankles, knees, hips, and spine (you can't tip your skis with all of your joints rigidly extended, beyond how much your entire body tips). So it is normal that we flex some joints somewhat as we increase edge angle in turns (note that I did not say "to" increase edge angle). And as we decrease edge angles to exit the turn and release the edges to begin the new turn, there is no particular need to stay "short" (which requires muscular effort), so unless there is some other need to "flex" (eg. to absorb a bump or a "virtual bump" in high-speed turns), we might as well stand a little taller and relax through that transition and edge release. So it is not uncommon, and not inappropriate, to "rise" through the transition in low-speed wedge christies. It is a luxury we can afford in such low-speed turns. But it certainly is not necessary or required to cause the edge release. We may well extend (rise) as we release, but we certainly do not need to "extend to release."
Furthermore--IF we think we must rise in the transition for whatever reason, timing is critical--and commonly missed. We'll rise as we reduce the edge angle, and the edge release will occur at the top of the rise. In other words, we will rise OUT of the previous turn, NOT into the new turn. If you start extending (rising) as you start the new turn, you'll be way too late--and guaranteed to start your turn with a stem of the uphill ski (since the downhill ski won't release until the top of the extension).
Consequently I find it rarely necessary--or helpful--to even mention flexion-extension in wedge turns or wedge christies. Yes, if a student tends to get bent over and "stuck" on his edges, a simple reminder to "stand up" can help let go and stimulate the release. But it's still not a necessary move, and I'd prefer to keep the focus on "flatten to release," which describes the true cause-effect relationship. Indeed, since high edge angles are not yet involved at this level, there is little need to flex low, beyond just the gentle flexion of a basic athletic stance. Furthermore, if I don't bring it up, I won't have to "unteach" "extend to release" later, when we're skiing bumps or high-performance turns that may well require flexion/retraction through the transition. In my own skiing, and in my teaching, I want to keep extension/flexion ("tall/short") movements entirely separate from tipping, lateral, fore-aft, and rotary movements. I want to be able to do each of these things independently, as needed, without necessarily affecting the others. "Extend to release" ties two of these movement pools together in a way that is unnecessary, and that will become detrimental at some point in the skier's development.
Summary
If you understand what a wedge christie really is, you will realize that it is anything but a contrived turn. It is not any different, fundamentally, from a basic parallel turn, but merely the natural, all-but-inevitable, spontaneous result of skiers trying not to make a wedge christie at all, but with generally low skill development (that is, beginners), and low speed.
It is the most natural and uncontrived turn you could make--which is why beginners do it (or its opposite cousin the stem christie, when they are defensive). What is challenging is for highly skilled skiers to demonstrate the same movements without making it contrived. For that, the tactics I've suggested work: ski very complete turns much shorter in radius than your skis will carve by themselves. Indeed, even the most ardent "direct-to-parallel" instructors will make wedge christies if you prescribe the task sufficiently clearly. And even the most ardent "direct-to-parallel" instructors even admit that it is a natural, inevitable (that is, uncontrived) outcome of sound movements in certain scenarios (that is, the short, complete, low-speed turns I just mentioned). Here is a direct quote from one of them: "The proponents of [a well-known 'direct-parallel' learning progression] unequivocally understand and acknowledge that a wedge stance may result, even when skiers are taught "Direct Parallel." (PM me if you'd like the link.)
Understand that we do not teach wedge turns, wedge christies, or even parallel turns. We teach movements and movement patterns. As skiers become somewhat adept at those movement patterns, they inevitably tend to ski parallel most of the time. Prior to that, the same movement patterns at a more rudimentary level tend to result in turns that begin with a wedge. That is a wedge christie. It is simply representative of a certain level of skill development. It is NOT a unique, specific, "beginner's turn." We do, in fact, teach "direct to parallel." But directly en route to parallel, for almost all new skiers, they will encounter a few wedges and wedge christies. Spontaneously.
On the other hand, it is worth repeating that we often do need to teach students how to handle situations in which they are defensive, where they actually do need brakes (or at least think they do, which amounts to the same thing). So we do, in fact, teach things other than the purely offensive turns that wedge christies and wedge turns and basic parallel turns represent. Stems, snowplows, hockey stops, and so on are just as much part of skiing as turns are, just as skill with the brake pedal is as critical for drivers as skill with the steering wheel and accelerator. The critical thing is just to make sure we keep these two opposite intents (go and stop, control direction and control speed, go that way and stop going this way) separate in our minds--and in our techniques.
Of course, that's not easy to do in a sport where we historically call everything we do "turning." We even call the very sport "making turns" sometimes! To me, this sad fact contributes to much of the confusion. No wonder people get confused when we call polar opposite things--and everything in between--by the same name!
I use the word "turn" religiously, but I take great pains to make sure I restrict its use to what I consider actually to be turns--the things we do when our intent is to control direction and line precisely. When I mean "brake," I do not use the word "turn." And I do make sure that my students are clear on the distinction as well, so my carefully restricted use of the word "turn" becomes part of the lesson itself. Since "turn" creates less confusion in almost anything else--no one thinks you mean "stop" when you say "turn the car"--I often try to rely on people's understanding of the word in non-skiing contexts.
This article consists of posts by Bob Barnes in The Basic Wedge Christie thread.
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Who wrote the 1911 novel ‘The Secret Garden’? | Who Wrote “The Secret Garden”
Who Wrote “The Secret Garden”
10 Jul, 2014 who wrote
0
“The Secret Garden” is a children’s novel that was first published in 1911. It is considered to be an English classic and it has been named one of the top 100 books for children and the most important books of the 20th century. The novel has also been adapted for television, film and the stage, with the latest film adaptation occurring in 1993. The book features many themes such as innocence, friendship and love and it contains several symbols that have been extensively studied over the years since it was first published. Let’s find out who wrote this well known novel.
Who wrote “The Secret Garden”?
“The Secret Garden” was written by the English author Frances Eliza Hodgson Burnett. Burnett emigrated from England to the United States with her family in 1865, but she began to travel back to England in the 1880′s. She eventually bought a house in England and this was where she wrote “The Secret Garden”. She wrote the novel in the 1900′s and was inspired by the walled gardens at Maytham Hall. She wrote most of the novel in Buile Hill Park in Manchester. It was eventually published in 1911, but it was not as successful as some of Burnett’s other novels. In fact, by the time Burnett died in 1924 the novel was mostly forgotten when compared to her other works. However, the novel has undergone a steady increase in popularity since this time and, ironically, it is now this novel that Burnett is best remembered!
Did you know?
The copyright to the novel expired in 1987 (US) and 1995 (rest of the world). This means that the book is in the public domain.
Some experts believe that some of the inspiration for the novel came from the fact that Burnett found peace while gardening after her son’s death in 1892.
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| Frances Hodgson Burnett |
Who was the gardener in the children’s tv series ‘The Magic Roundabout’? | The Secret Garden - Frances Hodgson Burnett - Author Biography
• Death—October 29, 1924
• Where—Plandome, New York, USA
Frances Hodgson Burnett was an Anglo-American playwright and author. She is best known for her children's stories, in particular The Secret Garden, A Little Princess, and Little Lord Fauntleroy.
She was born in Cheetham Hill, Manchester, England. Her father died in 1854, leaving her mother to support five children. They had to endure poverty and squalor in the Victorian slums of Manchester.
In 1865, at age 16, Frances emigrated to Knoxville, Tennessee in the United States. The move, which the family made at the request of an uncle, did not alleviate their poverty, but they were now living in a better environment. She lived in a house in New Market, northeast of Knoxville (off of 11E; in front of the house there is a sign which contains details).
Following the death of her mother in 1867, the 18-year-old Frances became the head of a family of two younger siblings. She turned to writing to support them all, with a first story published in Godey's Lady's Book in 1868. Soon after she was being published regularly in Godey's, Scribner's Monthly, Peterson's Ladies' Magazine and Harper's Bazaar. Her main writing talent was combining realistic detail of working-class life with a romantic plot.
She married Dr. Swan Burnett of Washington, D.C. in 1873. Her first novel, That Lass o' Lowrie's, was published in 1877 and was a story of Lancashire life.
After moving with her husband to Washington, D.C., Burnett wrote the novels Haworth's (1879), Louisiana (1880), A Fair Barbarian (1881), and Through One Administration (1883), as well as a play, Esmeralda (1881), written with William Gillette.
In 1886 she published Little Lord Fauntleroy. Altough originally intended as a children's book, it had a great appeal to mothers. It created a fashion of long curls (based on her son Vivian's) and velvet suits with lace collars (based on Oscar Wilde's attire), which became a stereotypical image for children of the wealthy. The book sold more than half a million copies. In 1888 she won a lawsuit in England over the dramatic rights to Little Lord Fauntleroy, establishing a precedent that was incorporated into British copyright law in 1911.
In 1898 she divorced Dr. Burnett. Two years later married Stephen Townsend, her business manager. This second marriage would last less than two years, ending in 1902.
Her later works include Sara Crewe (1888), later rewritten as A Little Princess (1905); The Lady of Quality (1896), considered one of the best of her plays; and The Secret Garden (1911), the children's novel for which she is probably best known today. The Lost Prince was published in 1915, and The Head of the House of Coombe in 1922. The Making of a Marchioness was published in 1911 and was one of Nancy Mitford's favorite books, mentioned in Love in a Cold Climate.
In 1893 Hodgson published a memoir of her youth, The One I Knew Best of All. From the mid-1890s she lived mainly in England, and in particular at Great Maytham Hall (from 1897 to 1907) where she really did discover a secret garden, but in 1909 she moved back to the United States, after having become a U.S. citizen in 1905.
After her first son Lionel's death of consumption in 1890, Burnett delved into Spiritualism and apparently found this a great comfort in dealing with her grief (she had previously dabbled in Theosophy, and some of its concepts are worked into The Secret Garden, in which a boy who has been an invalid for a long time helps to heal himself through positive thinking and affirmations). During World War I, Burnett put her beliefs about what happens after death into writing with her novella The White People.
Frances Hodgson Burnett lived for the last 17 years of her life in Plandome, New York. She is buried in Roslyn Cemetery nearby, next to her son Vivian. (From Wikipedia.)
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This summer saw the appearance of which famous sportsman in Virgin Media ads? | A fast buck: How Usain Bolt made £13.7m - Yahoo Sport
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A fast buck: How Usain Bolt made £13.7m
Usain Bolt gives other athletes a run for their money when it comes to cashing in on success
8 August 2014 12:20
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View photo
Jamaica's Usain Bolt celebrates his team's gold medal in the men's 4x100-meter relay final at the World Athletics Championships in the Luzhniki stadium in Moscow, Russia, Sunday, Aug. 18, 2013. (AP Photo/Matt Dunham)
Usain Bolt is the fastest man in the world – and a money-making machine too. Turning 28 later this month, “Lightning Bolt” could retire now if he wanted to. According to Forbes he’s worth an estimated $23.2million (£13.7million) making him the 45th highest paid sports star in the world.
Despite being accused by a national newspaper of criticising the Commonwealth Games in Glasgow this summer, Bolt’s a crowd favourite wherever he goes. The Games saw him turn on the charm, sign autographs, fist bump volunteers and pose with fans for selfies.
In short, he’s a marketer’s dream – and that’s why only a fraction of his wealth comes from prize money; the lion’s share is from sponsorship and endorsements.
Marketing dream
Sports Pro Media recently named Bolt as the sixth most marketable sportsman on the planet. The list ranks athletes according to their marketing potential over a three-year period starting with the upcoming summer. It looks at six categories: Value for money; age; home market; charisma; willingness to be marketed; and crossover appeal. And Bolt’s got it all.
Discussing his marketability, German Eurosport reporter Sebastian Tiffert, said: “Everything about him is unique: His charisma, his style, his physicality. He also plays with the camera like nobody else. Despite being a huge star, he is still a champion you can access. In the mixed zone, for instance, he speaks to all TV channels, contrary to some other athletes, and is really “present” when you interview him.”
Sprinting to the limelight
The flamboyant Jamaican sprinter was propelled into worldwide stardom after his sprint double victory at the Beijing Games in 2008. He backed up his success by repeated the feat four years later at the London Olympics, adding the 4x100m relay to his golden haul.
But Bolt had hit the ground running a long time ago when it came to attracting sponsorship. He’s been sponsored by Puma since he was just 15 and competing in the World Junior Championships. He’s been sponsored by the German sportswear company ever since on a deal that earns him an estimated $10million (£6million) a year.
Bolt started to grab people’s attention as a teenager at the 2002 World Junior Championships. He sprinted to victory in the 200m in a time of 20.61s before a home crowd in Kingston, Jamaica. Aged just 15, but already 6ft 5 inches tall, the win made him the youngest world-junior gold medalist ever. More medals followed at the 2003 CARIFTA Games and the 2003 World Youth Championships.
Bolt turned professional in 2004 but a leg injury stopped him excelling at the Athens Olympics the same year. Two years later a hamstring injury forced him to withdraw from the 2006 Commonwealth Games in Melbourne, Australia.
By 2007 Bolt had convinced his coach Glenn Mills that he should compete in the 100m, as well as the 200m, and the following year saw him set a new world record of 9.72s in just his fifth senior race over the distance.
But it was Bolt’s spectacular performance at the 2008 Beijing Summer Olympics that really propelled him into superstardom. He won the 100m in 9.69s and set a new world record despite slowing down to celebrate before he finished. Two more gold medals and world records followed in the 200m and 4 x100m relay: Bolt had hit the big time and left Beijing one of the most famous athletes in the world.
He celebrated his victories by donating $50,000 to the children of the Sichuan province of China to help those harmed by the 2008 Sichuan earthquake. Bolt’s known for his philanthropy and has his own children’s charity, the Usain Bolt Foundation.
Sponsors clamouring to get on board
Bolt wears Puma clothing and shoes in his official competitions and will remain with the company until at least after the 2016 Olympics. Even after he retires from competition he’ll still be paid $4million (£2.4million) a year to act as a Puma ambassador.
The current £6million deal is a major coup for Puma which has struggled to keep pace with larger rivals Adidas and Nike.
Other lucrative sponsorship deals for Bolt include sports drink Gatorade (up to £3million a year) and Virgin Media (£2million).
The latter has seen him appear with fellow athlete Mo Farah in series of tongue-in-cheek TV adverts which saw Bolt dressed as Virgin Media founder Richard Branson to advertise new broadband speeds.
Other deals past and present include luxury watch maker Hublot, telecoms firms Digicel and Celcom, athletics track manufacturer Regupol, Nissan GTR, Visa, and headphone makers Soul Electronics.
Monetary prizes for more than coming first
In general track and field events attract paltry prize money. Athletes compete in the International Association of Athletics Federations (IAAF) Diamond League in which winners of individual races receive $10,000 (£6,000) with the year-end winner earning an additional $40,000 (£24,000).
Appearances in the biennial World Championships are worth $60,000 (£36,000) with a $100,000 (£60,000) bonus for breaking a world record.
Bolt, and other high profile athletes, also earns appearance fees which often dwarf the prize money on offer. Bolt makes about $200,000 (£119,000) for one-off track appearances, often $300,000 (£178,000) at high profile events, 10 times that of his fellow sprinters due to his ability to guarantee a sellout when competing.
He was undoubtedly a major drawn of the 2012 London Olympics. Organisers received more than a million applications for a ticket to the 100m final, despite tickets costing up to £725 and the race lasting under 10 seconds.
Life after the track
Bolt’s announced that he’ll retire when the 2016 Olympics in Rio are over, but he’s set to cast a long shadow. Once he’s finished competing, he’ll be in high demand as a commentator, expert, and we can expect more book deals too as well as a round of interviews.
While he’s made his name and money so far from being finished in a handful of seconds, he looks likely to be the face of athletics for years after he hangs up his gold-drenched spangled Puma spikes.
Consumer Discretionary
| Usain Bolt |
Whose catchphrases included ‘Hello, playmates’ and ‘Ay thang yaw’? | A fast buck: How Usain Bolt made £13.7m - Yahoo7 Finance Australia
Wed, Jan 18, 2017, 2:51 PM AEDT - Australia Markets close in 1 hr 9 mins
A fast buck: How Usain Bolt made £13.7m
Usain Bolt gives other athletes a run for their money when it comes to cashing in on success
Emma Lunn – Fri, Aug 8, 2014 9:20 PM AEST
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Print
Usain Bolt is the fastest man in the world – and a money-making machine too. Turning 28 later this month, “Lightning Bolt” could retire now if he wanted to. According to Forbes he’s worth an estimated $23.2million (£13.7million) making him the 45th highest paid sports star in the world.
Despite being accused by a national newspaper of criticising the Commonwealth Games in Glasgow this summer, Bolt’s a crowd favourite wherever he goes. The Games saw him turn on the charm, sign autographs, fist bump volunteers and pose with fans for selfies.
In short, he’s a marketer’s dream – and that’s why only a fraction of his wealth comes from prize money; the lion’s share is from sponsorship and endorsements.
Marketing dream
Sports Pro Media recently named Bolt as the sixth most marketable sportsman on the planet. The list ranks athletes according to their marketing potential over a three-year period starting with the upcoming summer. It looks at six categories: Value for money; age; home market; charisma; willingness to be marketed; and crossover appeal. And Bolt’s got it all.
Discussing his marketability, German Eurosport reporter Sebastian Tiffert, said: “Everything about him is unique: His charisma, his style, his physicality. He also plays with the camera like nobody else. Despite being a huge star, he is still a champion you can access. In the mixed zone, for instance, he speaks to all TV channels, contrary to some other athletes, and is really “present” when you interview him.”
Sprinting to the limelight
The flamboyant Jamaican sprinter was propelled into worldwide stardom after his sprint double victory at the Beijing Games in 2008. He backed up his success by repeated the feat four years later at the London Olympics, adding the 4x100m relay to his golden haul.
But Bolt had hit the ground running a long time ago when it came to attracting sponsorship. He’s been sponsored by Puma since he was just 15 and competing in the World Junior Championships. He’s been sponsored by the German sportswear company ever since on a deal that earns him an estimated $10million (£6million) a year.
Bolt started to grab people’s attention as a teenager at the 2002 World Junior Championships. He sprinted to victory in the 200m in a time of 20.61s before a home crowd in Kingston, Jamaica. Aged just 15, but already 6ft 5 inches tall, the win made him the youngest world-junior gold medalist ever. More medals followed at the 2003 CARIFTA Games and the 2003 World Youth Championships.
Bolt turned professional in 2004 but a leg injury stopped him excelling at the Athens Olympics the same year. Two years later a hamstring injury forced him to withdraw from the 2006 Commonwealth Games in Melbourne, Australia.
By 2007 Bolt had convinced his coach Glenn Mills that he should compete in the 100m, as well as the 200m, and the following year saw him set a new world record of 9.72s in just his fifth senior race over the distance.
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Usain Bolt entered the 2008 Summer Olympics as somewhat of a curiosity. Yes, he had recently set the world record in the 100-meter dash, but few people outside the track and field world knew much ... more
Usain Bolt entered the 2008 Summer Olympics as somewhat of a curiosity. Yes, he had recently set the world record in the 100-meter dash, but few people outside the track and field world knew much about the 6-foot-5 Jamaican. He had excelled at the 200-meter distance, but was relatively new to the 100-meter event. His only sponsors before Beijing were Puma, which signed Bolt to a small deal in 2003, and Digicel, a Jamaican mobile phone company. less
1 / 12
Next image
But it was Bolt’s spectacular performance at the 2008 Beijing Summer Olympics that really propelled him into superstardom. He won the 100m in 9.69s and set a new world record despite slowing down to celebrate before he finished. Two more gold medals and world records followed in the 200m and 4 x100m relay: Bolt had hit the big time and left Beijing one of the most famous athletes in the world.
He celebrated his victories by donating $50,000 to the children of the Sichuan province of China to help those harmed by the 2008 Sichuan earthquake. Bolt’s known for his philanthropy and has his own children’s charity, the Usain Bolt Foundation.
Sponsors clamouring to get on board
Bolt wears Puma clothing and shoes in his official competitions and will remain with the company until at least after the 2016 Olympics. Even after he retires from competition he’ll still be paid $4million (£2.4million) a year to act as a Puma ambassador.
The current £6million deal is a major coup for Puma which has struggled to keep pace with larger rivals Adidas and Nike.
Other lucrative sponsorship deals for Bolt include sports drink Gatorade (up to £3million a year) and Virgin Media (£2million).
The latter has seen him appear with fellow athlete Mo Farah in series of tongue-in-cheek TV adverts which saw Bolt dressed as Virgin Media founder Richard Branson to advertise new broadband speeds.
Other deals past and present include luxury watch maker Hublot, telecoms firms Digicel and Celcom, athletics track manufacturer Regupol, Nissan GTR, Visa, and headphone makers Soul Electronics.
Monetary prizes for more than coming first
In general track and field events attract paltry prize money. Athletes compete in the International Association of Athletics Federations (IAAF) Diamond League in which winners of individual races receive $10,000 (£6,000) with the year-end winner earning an additional $40,000 (£24,000).
Appearances in the biennial World Championships are worth $60,000 (£36,000) with a $100,000 (£60,000) bonus for breaking a world record.
Bolt, and other high profile athletes, also earns appearance fees which often dwarf the prize money on offer. Bolt makes about $200,000 (£119,000) for one-off track appearances, often $300,000 (£178,000) at high profile events, 10 times that of his fellow sprinters due to his ability to guarantee a sellout when competing.
He was undoubtedly a major drawn of the 2012 London Olympics. Organisers received more than a million applications for a ticket to the 100m final, despite tickets costing up to £725 and the race lasting under 10 seconds.
Life after the track
Bolt’s announced that he’ll retire when the 2016 Olympics in Rio are over, but he’s set to cast a long shadow. Once he’s finished competing, he’ll be in high demand as a commentator, expert, and we can expect more book deals too as well as a round of interviews.
While he’s made his name and money so far from being finished in a handful of seconds, he looks likely to be the face of athletics for years after he hangs up his gold-drenched spangled Puma spikes.
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In a Beatles’ track, who is mean Mr. Mustard’s sister? | The Beatles – Mean Mr. Mustard Lyrics | Genius Lyrics
More on Genius
About “Mean Mr. Mustard”
Recorded as one with Sun King, Mean Mr Mustard was composed in India by John Lennon in spring 1968. It was considered for inclusion on the White Album, but wasn’t recorded in the studio until the Abbey Road sessions the following year.
The song originated from a newspaper story about a miserly man who was said to have hidden his money in his rectum.
That’s me, writing a piece of garbage. I’d read somewhere in the newspaper about this mean guy who hid five-pound notes, not up his nose but somewhere else. No, it had nothing to do with cocaine.
-John Lennon
Another interpretation was later offered by Tony Bramwell, an associate of the group.
There was an old ‘bag lady’ who used to hang around the Knightsbridge end of Hyde Park, London, close to the army barracks. She had all her possessions in plastic bags and slept in the park. I’m sure that she had something to do with the song.
The group originally recorded a demo of Mean Mr Mustard at Kinfauns, George Harrison’s bungalow in Esher, Surrey. This version, from May 1968, was eventually released on Anthology 3.
In Mean Mr Mustard I said ‘his sister Pam’ – originally it was ‘his sister Shirley’ in the lyric. I changed it to Pam to make it sound like it had something to do with it [Polythene Pam]. They are only finished bits of crap that I wrote in India.
-John Lennon
During the development of Abbey Road’s long medley, Her Majesty was originally included between Mean Mr Mustard and Polythene Pam, before Paul McCartney decided that the sequence didn’t work.
However, when Her Majesty appeared at the end of the album it was anticipated by the final crashing chord of Mean Mr Mustard, left in from an early mix.
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"Mean Mr. Mustard" Track Info
| Polythene Pam |
Who was the last Conservative Chancellor before George Osborne? | The Beatles - "Mean Mr.Mustard" "Polythene Pam" "She Came In Through The Bathroom Window" - YouTube
The Beatles - "Mean Mr.Mustard" "Polythene Pam" "She Came In Through The Bathroom Window"
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Published on Apr 18, 2012
Hi Everybody, My name is DaDo and welcome to my Channel!
This is my cover of The Beatles Abbey Road Medley.
You'll see me playing the drums,the bass,the guitars, piano and vocals!
I hope you enjoy it! :D.....stay tuned for a next video!
WATCH ABBEY ROAD FINAL MEDLEY HERE!
Ciao a tutti! e benvenuti sul mio canale!
questa è una reinterpretazione interamente suonata da me del fantastico medley dell'album Abbey Road dei Beatles!
Mean Mister Mustard sleeps in the park
Shaves in the dark trying to save paper
Sleeps in a hole in the road
Saving up to buy some clothes
Keeps a ten-bob note up his nose
Such a mean old man
Such a mean old man
His sister Pam works in a shop
She never stops, she's a go-getter
Takes him out to look at the queen
Only place that he's ever been
Always shouts out something obscene
Such a dirty old man
Dirty old man
Well you should see Polythene Pam
She's so good-looking but she looks like a man
Well you should see her in drag dressed in her polythene bag
Yes you should see Polythene Pam
Yeah yeah yeah
Get a dose of her in jackboots and kilt
She's killer-diller when she's dressed to the hilt
She's the kind of a girl that makes the "News of the World"
Yes you could say she was attractively built
Yeah yeah yeah
She came in through the bathroom window
Protected by a silver spoon
But now she sucks her thumb and wanders
By the banks of her own lagoon
Didn't anybody tell her?
Sunday's on the phone to Monday
Tuesday's on the phone to me
She said she's always been a dancer
She worked at 15 clubs a day
And though she thought I knew the answer
Well I knew what I could not say
And so I quit the police department
And got myself a steady job
And though she tried her best to help me
She could steal but she could not rob
Didn't anybody tell her?
Sunday's on the phone to Monday
Tuesday's on the phone to me
Oh yeah
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What is the county town of Angus? | County of Angus - definition of County of Angus by The Free Dictionary
County of Angus - definition of County of Angus by The Free Dictionary
http://www.thefreedictionary.com/County+of+Angus
(ăng′gəs)
n.
Any of a breed of hornless beef cattle that originated in Scotland and are usually black but also occur in a red variety. Also called Black Angus.
[After Angus, former county of Scotland.]
Angus
(ˈæŋɡəs)
n
(Placename) a council area of E Scotland on the North Sea: the historical county of Angus became part of Tayside region in 1975; reinstated as a unitary authority (excluding City of Dundee) in 1996. Administrative centre: Forfar. Pop: 107 520 (2003 est). Area: 2181 sq km (842 sq miles)
An•gus
| Forfar |
Born in 1902, which Briton composed ‘Façade’ and ‘Belshazzar’s Feast’? | What is Angus?
A
Angus
Angus (Aonghas in Gaelic ) is one of the 32 local government council areas of Scotland , and a lieutenancy area. The council area borders onto Aberdeenshire, Perth and Kinross and Dundee City. Main industries include agriculture and fishing .
Angus was historically a county (known officially as Forfarshire from the eighteenth century until 1928, when it reverted to its ancient name) until 1975 when it became a district of the Tayside Region. In 1996, two-tier local government was abolished and Angus was established as a unitary authority. The former county had borders with Kincardineshire to the north-east, county of Aberdeenshire to the north and Perthshire to the west. Southwards, it faced Fife across the Firth of Tay. The boundaries of the present council area are exactly the same as those of the old county minus the City of Dundee.
Areas similar to that of the council area are covered by the Angus Westminster constituency for the UK Parliament and the area is also represented at the Scottish Parliament by both the Angus and North Tayside Holyrood constituencies.
Angus can be split into three geographic areas. To the north and west, the topography is mountainous; this is the area of the five Angus Glens, is sparsely populated and the main industry is hill-farming. To the south and east the topography consists of rolling hills bordering the sea. This area is well populated, with the larger towns and the city of Dundee on the coast. In between lies Strathmore, Gaelic for the Great Valley, which is a fertile agricultural area noted for the growing of potatoes, soft fruit and the raising of Angus cattle.
Towns and villages
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The village of Anatevka appears in which musical? | Fiddler on the Roof | Judaism | Fandom powered by Wikia
Fiddler on the Roof
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Aaron Zebede appears as Tevye the milkman in a 2002 production of Fiddler on the Roof in Panama.
Fiddler on the Roof is a musical with music by Jerry Bock, lyrics by Sheldon Harnick and book by Joseph Stein. The plot is centred around the Jewish community of Anatevka, a village in Tsarist Russia at the turn of the 20th century, and in particular Tevye the milkman and his five daughters. Fiddler on the Roof is based on stories by Salumon Naumovich Rabinovich (who wrote under the pseudonym of Sholem Aleichem) which were originally published in Yiddish in 1894. The title is taken from a painting, The Fiddler by Marc Chagall, and refers to the Jewish community members' attempts to maintain their precarious position in an uncertain world.
Contents
[ show ]
Production history
The musical opened at the Imperial Theater on Broadway on September 22, 1964, starring Zero Mostel as Tevye. It ran for three thousand two hundred and forty-two performances in its initial Broadwy run, was nominated for ten Tony Awards and won nine. Four Broadway revivals followed.
The first performance in London's West-End was at Her Majesty's Theatre on February 16, 1967. The Israeli actor Topol starred as Tevye. Fiddler on the Roof ran for two thousand and thirty performances in its initial West-End run and was revived there three times.
Fiddler on the Roof continues to be regularly performed by amateur and professional companies throughout the world.
A film version directed by Norman Jewison, which follows the original stage version very closely, was released in 1971. Topol starred as Tevye, as he had previously done in the fist London production. The film won three Academy Awards.
The role of tradition in the story
Fully licensed video from Fandom Video .
One of the themes explored in the plot is the tension between adhering to generations of tradition against adjusting to the demands of a changing world. The first song in the show is "Tradition" which describes how the lives of the people in the village are guided by the way things have been done, creating a predictability in the villagers' lives and roles. Throughout the plot, personal and wider political factors are pushing the characters out of their traditional roles. Within Tevye's family, his older daughters want a say in who they marry, which conflicts with the tradition of arranged marriages. Each of the three older daughters stretches this tradition in a different way with different results. On a broader scale, the village is experiencing changes due to the larger political environment: there are conflicts between the Jewish community and the Eastern European culture within which they reside.
In an interesting twist, the music and lyrics that were originally created for this fictional story are now often used to celebrate life events, becoming almost "traditional".
Main characters
The constable - a gentile who is the chief representative of Tsarist authority in Anatevka.
Plot
Poster for the original Broadway production of Fiddler on the Roof.
Act I
Fiddler on the Roof opens with Tevye the milkman explaining the importance of tradition to the Jewish community in Anatevka. The scene changes to Tevye's home where his wife Golde and their five daughters are busy preparing for the Sabbath meal. Yente the matchmaker arrives and says that Lazar Wolf, a rich butcher who is older than Tevye, wants to marry the oldest daughter Tzeitel. Tzeitel's younger sisters Hodel and Chava are excited by the news but Tzeitel is not because she wants to marry Motel the tailor.
Tevye is seen delivering milk, pulling the cart himself because his horse is lame. He meets Avram the bookseller who tells him he has heard news of attacks on Jews and expulsions of Jews from their homes in other parts of Russia. Perchik, a young student who is a stranger in town, overhears them and criticizes them for merely talking about the situation and not doing anything to stop it. Although Avram and Tevye do not approve of Perchik's radical point of view, Tevye invites Perchik to join his family for the Sabbath meal and to stay at his home as tutor to his daughters.
Golde tells Tevye that Lazar Wolf wants to speak to him. After the Sabbath the two men meet at the village inn. At first Tevye believes that Lazar Wolf wants to buy his cow. After the misunderstanding is cleared up, Tevye is happy to agree to the marriage between Lazar Wolf and Tzeitel. Everybody in the inn celebrates their good fortune, including a group of young Russian gentiles.
Outside the inn, the constable warns Tevye that a "little unofficial demonstration", an attack on the Jewish community, will soon take place. The constable himself respects Tevye and bears no animosity towards the Jewish community but he is powerless to prevent the violence.
The following day Perchik mocks Hodel for constantly clinging to tradition. He challenges the traditional seperation of the sexes by dancing with her, and so their romantic relationship begins.
Tzeitel tells her father that she does not want to marry Lazar Wolf. Motel the tailor arrives. He tells Tevye of his wish to marry Tzeitel, saying that he is saving up to buy a sewing machine and promising that she will not go hungry. Tevye is shocked by the young people's disregard for tradition but he admires Motel's courage. He agrees to the marriage but is left with the problem of how to tell Golde about it.
That night Tevye pretends to wake from a nightmare. He tells Golde about his "dream" because she wants to interpret it. Tevye says that he dreamt that Golde's Grandmother Tzeitel reurned from the grave to bless the wedding of the young Tzeitel. However, she insists that the marriage will be to Motel, not to Lazar Wolf. The ghost of Lazar Wolf's first wife Fruma-Sarah then appears. She warns of the terrible suffering that Tzeitel will face if she dares to marry Lazar Wolf. Upon hearing this, Golde immediately decides that Tzeitel should marry Motel instead.
Tevye's third daughter Chava is bullied by a group of Russian gentile youths. However one, Fyedka, protects her, chases the others away and loans her a book. This is the beginning of a secret relationship between the two of them.
At the wedding of Tzeitel and Motel, Lazar Wolf offers a fine present but begins to argue with Tevye about the broken agreement with them. The argument stops when Perchik challenges tradition again by ignoring the division between male and female guests to dance with Hodel. The wedding reception ends abruptly when a group of Russian gentiles arrive, the violence that the constable had warned of earlier. The wedding gifts are damaged and Perchik is wounded. The Russians leave and Tevye advises everyone to clear up the mess.
Act II
Publicity picture which shows Zero Mostel as Tevye.
The action in Act II takes place several months after the events in Act I. Perchik tells Hodel that he has to return to Kiev to work towrds the revolution. He says that he will send for her later and proposes marriage. Hodel and Perchik tell Tevye of their wish to marry. He is angered by their overturning traditionand making their own match and refuses to give permission. However, the young couple tell Tevye that they are not asking for his permission, only for his blessing. After more consideration, Tevye concludes that he has to change with a changing world and gives his blessing and his permission.
Tevye tells Golde that Perchik and Hodel are marrying for love and asks his wife if she loves him. At first, Golde says that it is a foolish question and refuses to answer it. Eventually she says that after twenty-five years together, raising five daughters, she has grown to love Tevye.
Motel buys the sewing machine that he had long beeen saving for and he and Hodel have a baby. Rumors spread that Perchik has been arrested and sent to Siberia. Hodel leaves anatevka to join him.
Chava asks her father for permission to marry Fyedka. Tevye considers the matter carefully but concludes that he can not allow his child to marry outside the Jewish faith. Chava runs away with Fyedka and tevye refuses to speak to her again or even to acknowledge her existence.
Rumors spread that the Jews will soon be forced to leave Anatevka. The constable suddenly arrives and tells all the Jewish villagers that they have three days to pack their belongings and leave. Chava tells her family that she and Fyedka are goig to Krakow because they can not continue living in a place where such a thing could happen, although Tevye still refuses to talk to her. Tevye, Golde and their two youngest daughters announce that they are going to live in the United States. Motel and Tzeitel say that they are moving to Poland but will join the rest of the family in America when they have saved enough money.
Musical numbers
| Fiddler on the Roof |
Who is the mortal enemy of Captain Pugwash? | Fiddler on the Roof (1971) - Plot Summary - IMDb
Fiddler on the Roof (1971)
Plot Summary
Showing all 3 plot summaries
At the beginning of the twentieth century, Jews and Orthodox Christians live in the little village of Anatevka in the pre-revolutionary Russia of the Czars. Among the traditions of the Jewish community, the matchmaker arranges the match and the father approves it. The milkman Reb Tevye is a poor man that has been married for twenty-five years with Golde and they have five daughters. When the local matchmaker Yente arranges the match between his older daughter Tzeitel and the old widow butcher Lazar Wolf, Tevye agrees with the wedding. However Tzeitel is in love with the poor tailor Motel Kamzoil and they ask permission to Tevye to get married that he accepts to please his daughter. Then his second daughter Hodel (Michele Marsh) and the revolutionary student Perchik decide to marry each other and Tevye is forced to accept. When Perchik is arrested by the Czar troops and sent to Siberia, Hodel decides to leave her family and homeland and travel to Siberia to be with her beloved Perchik. When his third daughter Chava decides to get married with the Christian Fyedka, Tevye does not accept and considers that Chava has died. Meanwhile the Czar troops evict the Jewish community from Anatevka.
- Written by Claudio Carvalho, Rio de Janeiro, Brazil
It's pre-revolutionary Russia in the largely Jewish community of Anatevka, Ukraine, whose residents are ruled by community and cultural traditions. For poor dairy farmer Tevye and his wife Golde, those traditions include getting the town matchmaker, Yente, to find their five daughters - the three oldest, Tzeitel, Hodel and Chava, who are barely of marrying age - suitable wealthy husbands, especially important since the girls will have no dowries. Tzeitel, not yet twenty, doesn't like that Yente only chooses old men, she who is mutually in love with the poor tailor, Motel. Motel doesn't believe Tevye would approve of a union between him and Tzeitel because of Motel's poor socioeconomic state, and without someone arranging the union. Hodel understands these traditions better than her elder sister, Hodel who has her sights on the rabbi's son, because of what he is, not because of who he is. Chava accepts her fate, marriage still being years away, but she hopes for someone she will love while she now focuses on her love of books. Change away from those traditions is in the air, which is confirmed by Perchik, a young man, a student espousing Marxist ideals, recently arrived from Kiev. This change may affect what happens matrimonially with Tzeitel, Hodel and Chava. But this change is also in the form of anti-Jewish sentiments sweeping across Europe, which may affect what happens to Tevye, his family, and the Jewish community in Anatevka as a whole.
- Written by Huggo
In prerevolutionary Russia, a Jewish peasant contends with marrying off three of his daughters while growing anti-Semitic sentiment threatens his village.
| i don't know |
Whose madness presumably came about as the result of inhaling mercury fumes? | Mercury Fillings Shattered! FDA, ADA Conspiracy to Poison Children with Toxic Mercury Fillings Exposed in Groundbreaking Lawsuit - NaturalNews.com
Mercury Fillings Shattered! FDA, ADA Conspiracy to Poison Children with Toxic Mercury Fillings Exposed in Groundbreaking Lawsuit
Thursday, June 05, 2008
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(NaturalNews) The FDA has, for decades, ridiculously insisted that mercury fillings pose no health threat whatsoever to children. While dismissing hundreds of studies showing a clear link between mercury amalgam fillings ("silver fillings") and disastrous neurological effects in the human body, the FDA denied the truth about mercury and effectively protected the mercury filling racket that has brought so much harm to so many people. For over a hundred years, a cabal of "mercury mongers" made up of the American Dental Association, mercury filling manufacturers and indignant dentists have reaped windfall profits by implanting toxic fillings into the mouths of children, all while insisting that mercury -- one of the most toxic heavy metals known to modern science -- posed no health threat whatsoever.
Today, that reign of toxicity is about to end. Thanks to the tireless, multi-year efforts of people like Charles Brown, National Counsel for Consumers for Dental Choice ( www.ToxicTeeth.org ), the FDA has now been forced to acknowledge a fact so fundamental that, by any measure of honest science, it should have adopted the position decades ago. What position is that? Simply that mercury is toxic to humans.
Why the FDA has to be sued to do its job of protecting consumers
The FDA's stonewalling on this issue has been nothing less than a circus of politically-motivated denials, much like the Big Tobacco executives swearing under oath that "Nicotine is not addictive." In similar style, the FDA insisted for decades that "Mercury is not toxic." Both statements, as any sane person can readily conclude, are the outbursts of lunatics. Sadly, those lunatics somehow remain in charge of our nation's food, drugs and cosmetics (and dental care), meaning that any real progress to protect the People must come from outside the FDA.
And that's exactly what just happened. Consumers for Dental Choice teamed up with Moms Against Mercury ( www.MomsAgainstMercury.org ) to sue the FDA and its commissioner whose name sounds like an evil-minded villian right out of a Marvel comic book: Von Eschenbach. The lawsuit, entitled, Moms Against Mercury et al. v. Von Eschenbach, Commissioner, et al was concluded earlier this week with a reluctant agreement by the FDA to both change its website on the issue of mercury and to reclassify mercury within one year, following a period of public comment (which the agency will no doubt try to drag out as long as possible in order to avoid actually sticking to the terms of the lawsuit agreement).
Remarkably, the FDA's website no longer claims mercury is harmless. The language has now been changed in dramatic fashion, reading: "Dental amalgams contain mercury, which may have neurotoxic effects on the nervous systems of developing children and fetus."
There's still a lot of fudging there. Note the careful use of the word "may," which means the FDA still isn't sure whether mercury is neurotoxic, but it might be. This is the FDA's way of continuing to stonewall this issue, even as it lost its lawsuit. For any FDA officials who don't yet think mercury is toxic to the human nervous system, I invite them to chug a few milliliters of the substance themselves and find out what the effects might be. It certainly couldn't make them any more mad than they are already!
Why the FDA is as mad as a hatter
Speaking of people going mad with mercury, that's the history of the term "as mad as a hatter." As explained by Wikipedia:
There is scientific evidence behind the meaning of insanity. Mercury was used in the process of curing felt used in some hats. It was impossible for hatters to avoid inhaling the mercury fumes given off during the hat making process. Hatters and other men in working mills died early due to the residual mercury caused neurological damage, as well as confused speech and distorted vision. As the mercury poisoning progressed to dangerously high levels, sufferers could also experience psychotic symptoms, such as hallucinations. See http://en.wikipedia.org/wiki/Mad_hatter#.22M... to read more.
Interestingly, the symptoms of mercury toxicity quite accurately describe the mental state of the top decision makers at both the FDA and the American Dental Association, both of which have hallucinated for decades that mercury was safe for children to swallow! These people also exhibit symptoms of serious neurological damage such as malfunctioning frontal lobes -- the part of the brain responsible for reasoning. They also seem to lack proper functioning in the part of brain responsible for empathy and compassion towards fellow human beings.
Perhaps top FDA and ADA officials have been chemically lobotomized in some way, and there's no question that the leaders in conventional dentistry suffer from advanced stages of psychosis, too. This could very well be due to the fact that their ongoing use of mercury fillings has exposed them to decades of mercury vapors and airborne particles which have entered their nervous systems and damaged their brains, making them appear quite mad.
Thus, the modern version of "mad as a hatter" might be, "mad as a dentist ."
Not all dentists are mad, mind you, but the ones that still work with mercury no doubt suffer very real neurological damage as a result.
What's next for the FDA
Despite this lawsuit victory, please keep in mind that the FDA has not agreed to immediately ban toxic mercury fillings. They have merely agreed to consider reclassifying mercury at some future date -- a commitment they will probably break, given their history of lying about mercury and refusing to do what they've agreed to do on this subject (see the interview, below, for more details on that).
At every opportunity throughout recent history, the FDA has gone out of its way to censor the truth about the toxicity of mercury fillings, thereby directly supporting the continued exposure of literally hundreds of millions of children, adults and senior citizens to a substance that every reasonable scientist in the modern world knows to be highly toxic to the human nervous system. And in this way, the FDA is guilty of crimes against the People. To know that a substance is highly toxic, and yet to continue allowing it to be implanted into the mouths of children, teens and adults (even when you have the power to ban it) is not merely irresponsible, it is downright criminal.
I can only hope that a nationwide class action lawsuit against the ADA, the FDA, local dentists and mercury manufacturers will emerge from this action. Countless Americans have been poisoned by mercury fillings, and the whole scam has been orchestrated by the usual suspects: Powerful corporations and industry groups that sought to exploit the People for profits, regardless of the harm it might cause them. The fact that a substance as toxic as mercury has been allowed to be implanted into the mouths of children for so long reveals precisely how corrupt, outdated and downright dangerous our system of modern dentistry has really become. Much of what comes out of the mouths of dentists, it turns out, is pure poison... and not coincidentally, that's exactly what those same dentists put into the mouths of their own patients!
But I don't want to give the impression that all dentists are evil. In fact, more and more dentists are now practicing mercury-free dentistry, and I strongly recommend that if you need to see a dentist in the future, insist on seeing one that has given up using mercury. This is more than a personal health issue, it's also an environmental issue. Where do you think all the mercury goes after you chew on those silver fillings and swallow little mercury bits? The mercury molecules that aren't absorbed by your body and lodged in your brain cells are eliminated from the body and flow right into the environment. Ever wonder why all the seafood bring harvested from the ocean these days is contaminated with mercury? Well now you know: It's due to all the toxic consumers peeing away the mercury they've swallowed from their silver fillings!
See my related CounterThink Cartoon, Seafood Mercury Warning at http://www.naturalnews.com/021690.html
The FDA remains steadfastly clueless about mercury
So now, thanks to this lawsuit, the FDA has changed its website to read: "Pregnant women and persons who may have a health condition that makes them more sensitive to mercury exposure, including individuals with existing high levels of mercury bioburden, should not avoid seeking dental care, but should discuss options with their health practitioner."
This sentence says nothing conclusive of course, and it doesn't urge consumers to avoid mercury in any way, but it does at least imply that perhaps there is a link between dental care and mercury poisoning. If you're interested in being amused, you can read all this distorted language yourself at: http://www.fda.gov/cdrh/consumer/amalgams.ht...
This document, by the way, reveals the outright stupidity of FDA "experts" as they stumble from one topic to the next. For example, one question asked on the page is:
Should pregnant women and young children use or avoid amalgam fillings?
The FDA's answer to that is: The recent advisory panel believed that there was not enough information to answer this question.
In other words, the FDA advisory panel selectively chose to avoid all the evidence showing mercury to be extremely harmful to the nervous system of a fetus or a child, and they have decided to pretend to be uninformed on the subject rather than take any real stance on protecting human beings from the toxicity of mercury. Wow, and to think, these are the people running our national food supply and drug approval processes, too! Is it any wonder so many drugs are deadly? If the FDA thinks mercury is safe, no wonder they think deadly pharmaceuticals don't harm people either!
Exclusive interview with Charles Brown, Consumers for Dental Choice
In the days leading up to this lawsuit with the FDA, I spoke to Charles Brown over the phone and explored the timeline of events involving the FDA and mercury. This interview, published below, is nothing short of astonishing! In it, you'll learn about the FDA's stonewalling tactics, the lies and deceptions of the American Dental Association, and why it took an outside consumer group suing the FDA to get the agency to do its job of protecting consumers from toxic mercury.
Here's the full interview. Be sure to learn more at www.ToxicTeeth.org
Mike: The story here is that you and the organization � Consumers for Dental Choice are now suing the Food & Drug Administration to seek removal of mercury fillings from the U.S. marketplace. Can you give us some details about this lawsuit? Why you think suing the FDA is the best way to go here.
Charlie: Well sure Mike, the FDA is the spoke of the wheel here. I mean they are the ones that make decisions on whether products should be on the market or should not be on the market. They approve, they classify. In the case of devices � a device is something that is used in healthcare and it is separately regulated under a set of rules. One category of devices is implants. Implants are what goes in the body but does not dissolve. It stays in the body at least six months and does not dissolve.
Dental fillings are an implant. The FDA is deciding instead of classifying, instead of regulating it, it will do nothing and it has done nothing on mercury amalgam � encapsulated mercury fillings - decade after decade. They continue to promise to act and actually, last year they made me a written promise and I foolishly believed them. I actually thought when they promised, in writing, that they would begin the classifying process and put together the first step.
They promised me specifically what the step would be, I naively thought, "Well, gee maybe these people are honorable and telling the truth." Actually, once again, they have just pretended. Under pressure, they will say they are going to do something � pressure from Congress, pressure from the Courts, pressure from petitioners, pressure from the press.
They will say, "Sure, we are going to do something." They do nothing. They have left this mercury amalgam out there unclassified, unregulated with no warnings and just a few news releases, which have nothing to do with what they are supposed to be doing.
Mike: So mercury fillings � let me just get this straight from the beginning here, have never been classified by the FDA, which means they have never been really approved by the FDA, correct?
Charlie: Correct, this is a primitive filling in the first place but the pre-primitive � the pre-historic system in the 19th and early 20th Century was where was the dentist mixed the mercury with a powder. That lasted until the 20th Century with the old-fashioned offices. It is now prohibited in several states but that was the way where the dentists would mix a bottle of mercury and powder. That has been classified � not together, but the powder has been classified and the bottle of mercury.
No dentist does that anymore. They are not allowed to do it that way where the ADA tells them not to do it. The state government tells them not to do it. Everybody tells them they cannot do it that way and they do not do it that way. They take the capsule that they receive in the mail. The capsule has never been classified. The FDA knows to classify. Any step that the FDA takes, that the Food & Drug Administration takes toward addressing mercury fillings they know it is the beginning of the end.
Mike: That is my next question. Do you think there will be a cascading effect here? I mean if the FDA honestly begins to apply the law; it would then have to mean the end of mercury.
Charlie: It is the end of the mercury fillings if they apply law so they have intentionally done nothing. If they classify amalgam, they know they are going to have to classify it similar to other mercury devices so they do not do it.
Mike: They just try to delay this and hope no one notices.
Charlie: They will delay until they retire � not delay until next week. They will delay until they retire. Then they will get the golden retirement egg from the American Dental Association. They also know that if they did an Environmental Impact Statement it is the end of mercury fillings.
Mike: Well, that is my next question.
The environmental impact of mercury fillings in dentistry
Charlie: Environmental... yes, sure � the Environmental Impact Statement says it does not require you to go a certain step but if you say if we use mercury fillings, it is the largest source of mercury in the wastewater. Its cremation is the largest source of mercury in the air except in communities that have many power plants is something.
In communities with no other industrial mercury uses it is the largest source of mercury in the air and is the largest source of mercury in the water in every community in America -- the huge contributor in coming out of cemeteries and so on. So you say if we continue mercury fillings, it is an environmental disaster. If we ban them, it is environmentally the right thing to do. Once they have done that the logical step since you could go either way is to take the environmentally friendly move.
They will not do an Environmental Impact Statement. It is a conscious decision inside FDA of protectors of mercury fillings � people like Susan Runner, people like Norris Alderson who have decided that they will protect the use of these fillings on behalf of organized dentistry and they will defy the laws of the land to do so.
Mike: I have so many questions to ask you about this. Let us start with one that I think any intelligent reader would be asking himself or herself and that is if this mercury is so toxic to human biochemistry and if it has such a detrimental impact on the environment, how could so many dentists and the American Dental Association be in such strong support of it.
Charlie: Yes, it is amazing. It is amazing. It really goes to the foundation stone. Clearly if we had it to do over again we would not build the combustion engine. The invention of the combustion engine may have been the decision that destroys our planet unless we can reverse that. I mean clearly that is the main reason we are turning our planet into a heat box.
However, the foundation stone is the combustion engine in which Henry Ford put us. The foundation stone of dentistry is mercury fillings. If there had been no mercury fillings, there would have been no dental profession. That is a certainty. We now have physicians of the ear, nose, and throat. In the 19th Century, there were physicians of the mouth. They said to use mercury is malpractice.
The barbers put the mercury in. It worked better than gold, which was very hot then. It hurt you to go in. Whereas, the mercury was nice and smooth and people were drinking mercury for syphilis so they were able to put it in there because medicine had not yet pushed it out of their profession. They pushed it out again not counting vaccines but they pushed it out of medicine around 1900, but dentistry was something different.
By then dentistry had gotten their market niche. Their market niche was we are going to take care of the mouth. They created an entirely different profession � one that basically is not related to healthcare. They take the position the mouth is so different from the rest of the body we will just worry about the mouth and nothing else and you doctors will not worry about the mouth at all. We have the most grotesque healthcare system where physicians even refuse to look at the mouth. People in the hospital � you can be in the hospital, you can be so sick and nobody is going to look at your mouth except the dentist.
It is like a division of labor where they both make their money and the person harmed is the public, so organized dentistry took the position since mercury is safe by definition because we use it and we are doctors, anything we put in the mouth is safe. They just put in... they put beryllium in there.
They put anything in there with the idea of we are immune because we are doctors. We know what we are doing and it is just a tragedy. It is just unbelievable that we ended up with a profession so wedded to the most neuro-toxic element on the planet.
Why dentists are walking away from mercury fillings
Mike: Well, you hinted at the arrogance of the professionals who continue to support this mercury and you mentioned the history quite a bit there. I have to wonder that given that nearly a hundred years have passed since this was being widely introduced into dentistry and with all the information about mercury's toxicity over the years, how could dentists still say that this substance is not harmful? What is their argument now?
Charlie: Well, half of them do not use it now. See half of them have walked away from it. Here is what happened � enter the institutional powerhouse, the American Dental Association, to impose a top down system. The ADA realizing that they had a secret. The ADA became the whole player on the field. The ADA is opposite the AMA in many ways and I am not � believe me I am not a supporter of the American Medical Association. I do not mean to say that but in this one area the AMA has a set of ethics that make sense, which is we do not endorse products for money. The AMA ventured into that I think in about the '30s and decided they had better stop and then they ventured into it again in the '90s and they realized they could not.
They promised their membership. They had to fire their executive director, break this contract with Sunbeam, and promise they will never endorse products for money. That is the AMA's ethical position and it is an ethical position. The ADA � the American Dental Association has no such ethics, Mike. They endorse products for money.
The ADA, starting in the '50s really, the 1950's, they really took off at that point. A product endorsement system, business studies show that Crest was a minor toothpaste product compared to Colgate. Crest surpassed Colgate because the they poured money into the ADA coffers and the ADA, in turn, gave their name to Crest to say we endorse this Crest toothpaste. It became such an advantage for Crest that the other toothpaste makers decided they would slop money to the ADA too, which they did.
The ADA was not only unethically telling the public a product is safe when they did not know if it was safe. They were not testing it. The ADA was even taking money from their members for joining and then turning around and saying to their members you should use this product because we endorse it, because it is safe and effective when they had no idea if it was safe and effective.
They were serving two masters but the corporate master to ADA was paramount and so they took these sums of money from every dental products manufacturer, became a dental products endorsement machine more than a professional group � much more than a professional group. You had that basic powerhouse � the ADA saying go buy these products.
Then the ADA saw the criticism of mercury amalgam coming in the 1980's and they knew they had to do something because they were getting money from the manufacturers and they had dentists that did not want the public to know. The ADA adopted a gag rule in their code of ethics in 1987 and it said that dentists should not tell anybody about the toxicity of mercury.
Mike: Really?
Charlie: Yes, absolutely.
Mike: They adopted a gag rule about mercury fillings?
Charlie: They adopted a gag rule. In the Goldwater Center, the Phoenix based Goldwater Center wrote an essay condemning the gag rule in 1998 � a decade later. They were the first ones to do it.
They are a think tank, kind of a libertarian think tank I guess you would call it � the Goldwater Center. Modeled after the thinking of their namesake of the group, of course, Senator Goldwater... he did not found it but it was founded on his principles and Congressman Flake was the executive director. He is now a Congressman.
When he was executive director, Mark Gingrich � a former reporter at the Arizona Republic, who joined that group, wrote a whole report on the gag rule and how bad it was. That was the libertarian from the right if you will. The libertarian on the left � the American Civil Liberties Union, took the same position. They sued the Connecticut Dental Board here on the other coast, said you cannot have this gag rule, and won.
Then the attorney general of Oregon, the attorney general of Iowa said you have to stop the gag rule so bit by bit, piece by piece, the gag rule has been dismantled but the value of it was the ADA protecting its product.
I will tell you something else when they adopted the gag rule, I left this out: the ADA had patents on mercury amalgam. Not only did they get money for promoting the product. They even got patents on amalgam to protect its use, then told dentists do not talk about this product.
Mike: This sounds like just a financial racket here.
Charlie: The ADA is a financial racket. There is no question about it. To break the control over mercury fillings you not only have the history, they have to protect their profession, which was founded on mercury. I mean it is not that now but it was founded on mercury � the foundation stone. They have to protect their own history and their own pocketbooks.
Now with the gag rule crumbling they have many problems. The ADA has huge problems with this. They are in retreat. Mike, the one thing is they are definitely this year they began retreating. We gave them an exit strategy. December of 2006 I sat down in the ADA headquarters and said you guys know you have to get out of this and I have a cost-free exit strategy that will not destroy your reputation. We presented � Consumers for Dental Choice presented the ADA � the American Dental Association with an exit strategy on mercury fillings based on the environment where the ADA could say they would not have to concede any health issues. They would say we recognize that mercury amalgam is an environmental problem. Alternatives exist, therefore, we are announcing a phase out over the following number of years.
I asked for one year and they said it would have to be longer and I said okay, but I said we have to have an end. People have said to me well let us take them on like cigarettes and I will tell that is about the worst prototype I can think of where the lawyers became billionaires and kids are still smoking.
I am not going to tolerate that kind of end where a bunch of people get rich and the kids are still harmed... because poor kids are still getting mercury fillings and poor Latino pregnant women and Native American children and so on are getting this. We are not going to accept that. There has to be an end date.
They were willing to do it. The lawyers were willing to do it at this discussion � December 14, 2006 at the ADA offices in Chicago but they just could not pull the trigger with the ADA. They just could not have a second meeting. They have decided instead through 2007 they are doing a gradual retreat. There is no question they are. It is coming, but the gradual retreat continues to harm millions of people in America and around the world. Their gradual retreat is not acceptable. We are not going to have a Vietnam ending where we have eight years to withdraw.
Mike: Right, now, I mean obviously the ADA does not want to admit that mercury fillings were ever a hazard because then they could open themselves up to huge class-action lawsuits, right.
Charlie: Absolutely and I told them I hope they do get huge class-action lawsuits and some day they will because they would not walk away from it. They had their chance and they continued to give this nonsensical stuff about how mercury exposure is okay as long as they do it. It is just outrageous. It is morally outrageous and they know it.
The scientific reports that they produce are cooked. They are unethical. They have no scientific aspect. They are simply PR machines where they find some dentist � not a real scientist but just their fellow dentists to write reports. It is an effort to say we are going to protect ourselves, we are going to have our government do it, the government is going to do it for us, and the FDA is about as compliant a government agency as ever existed.
Mike: Now, what happens if your lawsuit succeeds with the FDA? I mean essentially, what has to happen next for the FDA to ban mercury fillings?
Charlie: Well, they could take many routes. They could just ban it. They could start doing their job. If they start the classifying process then amalgam is gone. The ADA has admitted that. The ADA warned its members the FDA is probably going to put restrictions on amalgam. That process has started. They promised us they were starting then the FDA just stopped. They just stopped because within the organization they reversed the course and decided effectively that dentists are more important to them than consumers. It is just so tragic that dental economics out-trumps children's health but that is the way the FDA operates.
Mike: Well but that cannot be a surprise to anyone who follows the FDA...
Charlie: Well it is a surprise to those of us that had an assumption that we actually believed what we were told. I know if you follow FDA, it is not a surprise. The FDA needs to be totally reorganized. They need to stop having a system where those with a self-interest in the product are the ones that get to make the decisions.
The idea that Susan Runner, a practicing dentist, is at the FDA doing the work for the ADA and has actually had a sort of agenda to cover up mercury decade after decade and it is still being covered up in the Dental Devices Branch. The fact that Dan Schultz � the physician who's head of Devices will not remove her or allow anybody but a dentist to be in charge, this shows the professional courtesy that physicians give to dentists. Schultz simply closes his eyes.
He knows it is a problem but he is a physician. He wants dentists in charge because that is the deal they made a hundred years ago that dentists are in charge of the mouth and the public is shut out and physicians are to blame as well on this for shutting their eyes. Dan Schultz is as morally culpable and legally culpable at the FDA as Susan Runner is. That is why we sued him and sued her both and several other people.
Arresting top FDA officials and charging them with crimes against the People
Mike: Now, I am on the record saying that I believe the FBI should march into the FDA offices and arrest these individuals and we should prosecute them for criminal behavior against the American people. Do you think that is going way too far or do you think that's quite reasonable?
Charlie: That is probably not going too far. We filed a series of complaints with the Inspector General. We filed complaints with the in-house FDA Inspector and then filed a complaint with the U.S. Inspector General last Fall. They have decided they will not comply with the law. They know they have to classify mercury amalgam. They will not do it.
They know environmental impact statements are required or environmental assessments are required � the first step. They will not do it. They know that they warn about all of the mercury exposures such as fish or they warn against as a matter of precaution mercury exposure to children from all other sources. They banned mercurochrome years ago. They took it out of childhood vaccines � actually not of them but they said they would take it out of all of them.
They gave warnings on fish for children and pregnant women. They have decided that they will stand silent on mercury and it is truly a conspiracy of silence. That is why our lawsuit did not just sue the FDA. We sued five deep into the bureaucracy. We know whom the players are who are ignoring their duty and we have named them because we are tired of the FDA having a system where they all can hide behind each other. I hope that system ends and our lawsuit plays a role in exposing it.
Mike: Now, you just mentioned mercury in fish and that is a great point. Do you happen to know how many times more mercury there is in a typical filling than would be found in a serving of fish?
Charlie: Well, it is a more severe exposure because in the fish it is locked in. The mercury from the fish is mainly going through the body. It is a lesser exposure. The mercury in the amalgam is implanted. The mercury in the fillings is thousands of times more because it is half a gram. That is 500,000 micrograms per filling.
Mike: Where we are talking micrograms in the fish, right?
Charlie: Yes, yes we are. We are so I mean it is so much more but it is a way for medicine and dentistry to change the subject and to blame the fish. It is the fish's fault.
Mike: So the FDA says well, mercury in fish is dangerous to you but mercury in your mouth, in your teeth is harmless.
Charlie: Well, the FDA has said that. You know the FDA does not speak through its news releases. The FDA speaks through its regulations and its warnings. It has never officially said anything about mercury amalgam. They know it cannot stand the light of day. Yes, they make off-the-cuff comments.
They come out with a white paper, which has nothing to do with a regulation � and they refuse to say who wrote it. If FDA staff has furtively sneaked out interviews, white papers, other ways to say mercury fillings are safe but officially, FDA is not saying that at all. Officially, FDA is taking the position that they have never taken a position that it is safe.
When forced by the Court to say is mercury safe or not in the first lawsuit we filed, the first bombs against mercury versus FDA, the FDA admitted five times that it does not know if mercury fillings are safe. I can give you all five quotations from their brief or I can give people the website to look it up.
Meet Consumers for Dental Choice
Mike: Can you tell us a little bit, about where your passion comes from on this topic and people would like to know a bit about your background and your organization � Consumers for Dental Choice.
Charlie: Well, sure. Consumers for Dental Choice were founded a decade ago. Came up with the idea in 1996 � it was an idea of Bob Jones who is an inventor from Colorado and now in Texas. He is a former airline pilot, former U2 pilot earlier than that. He is just an outstanding man and inventor and an engineer. He has many patents.
He got very sick from mercury fillings and realized the impact of them was severe. He got to know many of the pioneering dentists like Hal Huggins and Scott McAdoo. He was out west and in the east Sue Ann Taylor, a journalist in Atlanta came up with the idea that we really need a consumer movement to fight this. Bob Jones had a conference, which he paid for and sponsored in Denver in 1996.
I was in a law firm that represented a lot of alternative health practitioners and interests and consumer groups in the kind of cutting edge alternative health issues many of which no longer were cutting edge because of the work of the senior partner, Jim Turner.
Anyway so Jim Turner and I went to that and we decided we would start up the group but Jim came up with the idea we called it the Consumers for Dental Choice and it became a project of another non-profit and then became its own organization in 1999.
Then it became a spin off, I left the law firm with it in 2002 to become a full-time consumer group with an office and so on. It has been around for 12 years. It has been a stand-alone organization for six. I got into it representing alternative health groups. I represented many alternative health ideas. I have been a state attorney general of West Virginia in the 1980's. I have been a political activist in the past and had interesting kinds of legal challenges I think.
This has just appealed to me and I guess the more I get into it the more I realize how many children are being hurt and how many animals are being poisoned and we have to do something. The way to do it is to have a very aggressive activist organization. It needs to get right in the face of federal or state regulators or the private sector interests like manufacturers or the ADA.
Mike: What about your funding? Where does your funding come from?
Charlie: We get some money from foundations � the Garfield Foundation is a wonderful funder, has funded us for seven years. For a long time we were funded by the Wallis Research Foundation, a family foundation. The patriarch was H. B. Wallis, an inventor from Iowa. He then lived in Scottsdale near you Mike.
He died a couple of years ago and that funding ended at that point from the Wallis Research Foundation but Garfield funds us and then individual dentists and that number grows each year... dentists who have decided to give money off their credit card every month or give an annual contribution and it is very exciting. These people are mercury-free. They are the people who know the ADA is wrong and know we need to fight and they are so much a part of our team that quite a few of them give money. It is terrific.
Mike: How quickly is that movement accelerating towards mercury-free dental care?
Charlie: Well, fast. The number of mercury-free dentists, if that is any measurement, was 9% in 1995. This is according to the Clinical Research Associates run by the preeminent dentist scholar, very neutral. He has no dog in our fight � Gordon Christensen out of Orem, Utah.
One of the things he surveys in dentists is who is mercury-free and it was 9% in 1995. Then 27% of dentists were mercury-free by 2001; by 2005, it was 32%. In 2007, a different survey � this was by a dental magazine said that 52% of the dentists are now mercury-free. It may have reached that number. It may have reached half. It may have reached the tipping point. The progress on dentists is huge. The progress of consumers, the number of mercury fillings was far over 50% when we started, like 60% or something like that I believe or more.
The ADA says it is fewer than 30%. I am sure it is but that is the good news. The bad news is it could well get frozen at that number where we have two-tier dentistry where middle-class adults get no mercury but the poor, the children, the working class people, minorities, children, they keep getting mercury and that is absolutely both immoral and unacceptable.
Mike: How much mercury is actually released into the environment or put into people's mouths each year through dentistry?
Charlie: Well, I do not have that but the expert is the Mercury Policy Project and Michael Bender. They are really the experts. Their website is www.MercuryPolicy.org . Michael has written just some seminal reports on this. About every two years, he writes another one. If the folks want to go to www.MercuryPolicy.org they will definitely see what they need to do.
Mike: While we are mentioning websites, I want to mention yours again. It is www.ToxicTeeth.org
Charlie: Yes it is.
Mike: Can consumers also financially support your organization with a donation?
Charlie: Sure, our address is 316 F Street Northeast, Suite 316, Washington, D.C. 20002 and again our website is www.ToxicTeeth.org
Why conventional dentists are so arrogant about mercury and fluoride
Mike: Okay and I will check out www.MercuryPolicy.org too. I will take a close look at that. Getting back to the dentists themselves it is encouraging to see that perhaps as many as half of practicing dentists are now shunning the use of mercury. You have to wonder what the other half are thinking though.
I have had numerous conversations, debates, arguments with dentists. I find that those who are still using mercury also still support mass fluoridation of the water supply. They are some of the most arrogant people I have ever met. It is infuriating because his or her position is that no one has any right to question mercury or fluoridation. It makes you wonder. Where are these people coming from that they think they already know so much about mercury that they have declared it to be harmless and no one can challenge that?
Charlie: Albert Einstein once said it is always unusual to find someone for whom curiosity survives a formal education. There are so many dentists and they are not alone in this among professionals who get that degree and now they can turn off their brain and make money. These people have decided just to read the ADA propaganda and that is it.
You hear that these pro-mercury dentists defend their use of mercury fillings and they will not use the word "mercury" they will give false information as if it is inert. It is not. They know it is not. If they read anything, they know it is not inert.
They may just decide to believe it themselves and their big rationale and every pro-mercury dentist that you talk to will give this rationale within the first two minutes. We know it is safe because we have used it for 150 years. Now, I guess the first response to that is what other part of pre-civil war medicine do you endorse?
The second point is that it is the most absurd scientific reasoning to say something has been used a long time and therefore is safe. I mean cigarettes must be safe. I have this article, a copy of it, from the British Lancet. Lancet is the British equivalent of the American Medical Association Journal but it is much better. It is much less sleazy in its connection to special interest groups, which the AMA Journal certainly is.
The Lancet had an article in 1860, an editorial in 1860 that said cigarettes are the universal product around. If it were dangerous as if its critics said people would be dropping dead in the streets, and clearly its universal use proves that it is safe and it is time to quit criticizing it. That is what things are with amalgam. They make jokes. Well, nobody dropped dead in my office, they say.
Well, if somebody gets sick later he or she does not go back to the dentist. The dentist says I am just in charge of the mouth and just the metals I put in the mouth. I do not have any other role. If I cut you while I am putting it in, well I know I have to deal with that because then I have done something that is in the mouth.
Any total body effect of what I do leaves with the patient. They get that patient out of the office. They are done with them and then they have this wall of silence and nobody can get back in and beat them in court, although we are going to beat them in court soon. Dentists literally say it is safe because we have done it for 150 years. Does that make it good? � is this good if we do it for 150 years?
It was the same argument for slavery. It was the same argument for cigarettes. It is the same argument for everything. If we do it long enough it must be good. That is just the most absurd thing for a man of science or a woman of science to say but by goodness, they do.
Mike: Yes, they do. I know you are not focusing on fluoridation but of course, this issue extends to fluoridation where I personally find many of the same similarities � a complete lack of scientific evidence supporting it, a denial of the dangers of fluoridation and the extreme arrogance and unwillingness to consider any possibility that they might be wrong.
Charlie: Yes, absolutely, absolutely and I think that is why you would say well how could this continue for so long. I mean how segregation could continue for a hundred years. I mean how could it take 70 years to ban lead in gasoline?
In the early 1920's as they started to mass produce gasoline with lead in it the people started dying. Workers died. Workers died in large numbers and everyone knew lead was the culprit... I mean everyone knew. Just as everyone knows mercury is toxic. Everyone knew lead in the 1920's knew lead was toxic.
The gasoline industry and the oil industry came up with two solutions. One is they thought of the funny word that said we have added ethyl to the gas. It means lead but they thought just as the dentists say silver fillings or amalgam. To protect the workers they raised the steam stacks in the plants where the gasoline was made.
In other words, rather than the workers getting sick and dying immediately from the lead exposure, the chimneys were raised so high that the lead went into the higher atmosphere and started just polluting the whole country. The workers were semi-saved in the sense they were not dying on the spot and the whole country was getting to the point of huge toxicity.
The study showed that as we took the lead out of gasoline in the '70s the level of violence committed by teenagers started going down immediately because each year they were less lead-toxic and the ones growing up were not starting out with lead toxicity. Lead toxicity like mercury toxicity causes people to be violent because they are poisoned. They just strike out.
It took from the '20s to the late '70s and everybody knew it was toxic and again with mercury fillings because the oil industry had such well-placed lobbyists and they were able to revert the question, saying we do not have to prove it is safe, you have to prove it is unsafe. That is what the dentists keep doing. We have done it for 150 years so prove it. Well, okay we can prove it. But they say, now you are not going to prove it with us having the government in our pocket.
The government people are in their pocket. Randall Luter, who had a lot of promise, he was Deputy Commissioner. He has just decided to sleep on it. Let the dentists and the bureaucrats' be back in charge of this issue at FDA; those people have decided we do not care. We are going to protect special interest groups or we are going to let others at FDA protect special interest groups so we have a similar resolve.
How to stop the FDA with a lawsuit
Mike: To conclude this � getting back to the lawsuit itself, if you win the lawsuit can it force the FDA to rule on this? Why cannot the FDA just say we will deal with it later? I mean can they not just continue to delay even if you win the lawsuit?
Charlie: Well, that is a challenge. You pointed to that. I mean if a court just looks at the FDA and says hurry up and do it, the FDA will nod, oh your honor we certainly will. We will hurry as fast as we can. In that sense, it may not do anything. We are trying to build accountability of public officials and that is why we have asked for the remedy that the court should simply take it off the market until FDA does its job.
Then I will bet they start moving fast. That is a challenge � a challenge to get that kind of remedy. Nonetheless, we have to begin. We sued them in the U.S. Court of Appeals. The Court of Appeals gave us a roadmap to go to district court. We were all set to file in May of 2007 and the FDA said no they would like a meeting. Please do not file. They would like a meeting. We had a meeting. We said we need an answer in 30 days.
In 30 days, the FDA answered and said yes, we will do an advanced notice and a proposed rule. I got a letter from the lawyer for the FDA, Wendy Vincente saying speaking for the FDA we will do this... we assumed that the FDA was telling us the truth. We were wrong so we waited and waited and waited because we would have filed this suit in June.
The FDA just bought six, seven months of time simply by telling another bald faced lie, which was that they were going to start moving forward to classify amalgam when... I think some people at the FDA probably have that intention. I think there was good faith from some people but the bureaucrats � the ones that want to keep mercury fillings unclassified, protected for dentistry like Susan Runner - have won out.
The FDA is so badly organized, its lead scientist � the Associate Commissioner for Science, the top science person of the agency, degree is in veterinarian medicine.
Mike: Their degree is in veterinarian medicine?
Charlie: Veterinarian medicine � not a toxicologist, not a chemist, the top person has a degree in veterinarian medicine.
Mike: Well, let me just say right here let me offer that when it comes time to apply grassroots pressure give me a call because we can put out an action alert to our reader base, which is now over one million people.
Charlie: That is fantastic.
Mike: If we coordinate it with what you are doing then we can create this real surge of grassroots pressure because I think what you are finding out is that if you take the FDA's word on anything, then nothing is done. If we can pressure them from another angle that can really assist your lawsuit effort or other efforts in applying pressure. What we need is a re-launch of a campaign as you had "Mothers Against Mercury." We need, what I call, a Web sticker � like a bumper sticker on the Web. We need a little graphic, name like that "Mothers Against Mercury", launch this campaign, and let it go viral all across the Web tied to action items such as grass roots complaints or protests � those kinds of things.
Charlie: Well, I will tell you where we are going to work grass roots and I am happy because I have already told the company we are, Dentsply, is the second largest manufacturer of mercury fillings. They make others. They make resin. They make composite.
They also make the alternatives � porcelain and so on I think. I know they make a resin composite. They make many other dental products and Wall Street report said Dentsply would be better off if amalgam was banned, they would be more profitable. Dentsply nonetheless has dug in its heels and said we are going to keep making mercury fillings. Basically, Dentsply has turned its back on its own shareholders.
The Wall Street has said stop and they said we are not going to stop. Now whether this is just some kind of backroom deal with the ADA or pressure from the ADA that they cannot stand or some other reason that they will not explain to me. I have written them and their counsel wrote me back a "back of the hand" letter... about a two-paragraph letter or three paragraphs saying [nothing substantial]. Dentsply is not only harming consumers and dentists � dental employees, dental workers, the environment all of which they could be sued for.
They have an easy exit route. They could make the non-mercury fillings. That is an area we are going to work on � they are based in York, Pennsylvania. I think their day is going to come.
Mike: Well, what if we can organize all kinds of protests around that company even maybe not in person but phone calls, faxes, emails...
Charlie: Well, why not in person? Anybody who is listening to this and wants to contact me or anybody around the York, PA area or anybody in Pennsylvania that wants to help us ought to contact me that want to go in person. My email is [email protected] We would like to get people to write but we want folks that are somewhere in the Maryland, eastern half of Pennsylvania...
Mike: We have readers all over the country and I know we could get people there. I do not know how many. I do not know if it is ten, 100, or what but I know we have people emailing us all the time asking what we can do. What can we do to fight these evil corporations? If we get some people out there protesting with signs � "Mercury poisoned my child" on their sign. If we get that up on YouTube this could have just a huge domino effect not only make more people aware of your organization but also the mercury toxicity issue.
Charlie: Okay, I will. Thank you sir.
Prologue
Following this interview, Charles Brown won a significant court victory over the FDA, and now the FDA has promised it will reclassify mercury by June, 2009. Between now and then, NaturalNews will be working closely with ToxicTeeth.org to rally grassroots support for an outright ban on mercury amalgam fillings.
Stand by for action alerts on internet protests, petitions, and perhaps even in-person protests. We must work together to demand that toxic mercury fillings be banned. Then we will end the hundred-year reign of neurotoxic terror that has been orchestrated by the ADA, the FDA and the conventional dentistry industry. We will also support a national class-action lawsuit against not just the ADA and FDA, but even against the individual dentists who have installed these toxic mercury fillings into the mouths of children over the last ten years, despite the incredible amount of scientific evidence proving that mercury fillings cause irreparable harm to human health.
It is time to stop poisoning our children and our planet with mercury. The era of mercury poisoning must come to an end. NOW. And those responsible for this chemical attack against our people must be made to compensate for the harm they have unleashed and serve time for their crimes against the People.
The revolution will be announced via e-mail.
If you're not already subscribed to NaturalNews, get on our e-mail list right now by signing up here: www.NaturalNews.com/readerregistration.html
In the months ahead, we'll announce key action items via e-mail. Join us in protesting against the ADA and FDA about the toxicity of mercury fillings, and be prepared to hammer your Senators and other lawmakers in Washington to urge them to support an outright ban on mercury in dental care.
This poison must be stopped! And it is up to you to help us achieve this important goal for the future of the human race. Literally, it is that important. We are talking about the future of human life on this planet. If we hope to live, if we hope to have seafood, or ocean ecosystems, or fully-functioning brains and healthy babies, we must stop mercury now.
Join the revolution. Stay tuned to NaturalNews. Watch your e-mail for important announcements from us.
And be sure to visit www.ToxicTeeth.org and join their e-mail list, too. Stay informed. Empower yourself. Demand real change. And when the day comes, I ask for your support in urging the arrest and prosecution of the criminals at the ADA the FDA who have orchestrated this mass poisoning of the American people. It is time to arrest, prosecute and imprison these criminals who are, in every sense, an imminent threat to the health and safety of the American people.
I do not believe in using violence to resolve problems, and I do not believe that these people should be dragged out of their offices and hanged in a public forum, as some other writers have suggested, but I do believe that we must strip them of their power and influence, and we must hold a public court session so that all the world can see the degree of evil that has been operating inside the ADA and FDA for so many years. We must bring this issue into the light, and let the truth be told about this hundred-year lie so that future generations can learn what happens when you allow corporate profits to dictate health regulatory decisions in any society.
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Obama wants to poison children! Proposal to stop using toxic mercury fillings on children, pregnant women shot down by feds
About the author:
Mike Adams (aka the " Health Ranger ") is a best selling author (#1 best selling science book on Amazon.com) and a globally recognized scientific researcher in clean foods. He serves as the founding editor of NaturalNews.com and the lab science director of an internationally accredited (ISO 17025) analytical laboratory known as CWC Labs . There, he was awarded a Certificate of Excellence for achieving extremely high accuracy in the analysis of toxic elements in unknown water samples using ICP-MS instrumentation. Adams is also highly proficient in running liquid chromatography, ion chromatography and mass spectrometry time-of-flight analytical instrumentation.
Adams is a person of color whose ancestors include Africans and Native American Indians. He's also of Native American heritage , which he credits as inspiring his "Health Ranger" passion for protecting life and nature against the destruction caused by chemicals, heavy metals and other forms of pollution.
Adams is the founder and publisher of the open source science journal Natural Science Journal , the author of numerous peer-reviewed science papers published by the journal, and the author of the world's first book that published ICP-MS heavy metals analysis results for foods, dietary supplements, pet food, spices and fast food. The book is entitled Food Forensics and is published by BenBella Books.
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Which famous literary character said: “I am but mad north-northwest”? | Mercury Fillings Shattered! FDA, ADA Conspiracy to Poison Children with Toxic Mercury Fillings Exposed in Groundbreaking Lawsuit - NaturalNews.com
Mercury Fillings Shattered! FDA, ADA Conspiracy to Poison Children with Toxic Mercury Fillings Exposed in Groundbreaking Lawsuit
Thursday, June 05, 2008
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(NaturalNews) The FDA has, for decades, ridiculously insisted that mercury fillings pose no health threat whatsoever to children. While dismissing hundreds of studies showing a clear link between mercury amalgam fillings ("silver fillings") and disastrous neurological effects in the human body, the FDA denied the truth about mercury and effectively protected the mercury filling racket that has brought so much harm to so many people. For over a hundred years, a cabal of "mercury mongers" made up of the American Dental Association, mercury filling manufacturers and indignant dentists have reaped windfall profits by implanting toxic fillings into the mouths of children, all while insisting that mercury -- one of the most toxic heavy metals known to modern science -- posed no health threat whatsoever.
Today, that reign of toxicity is about to end. Thanks to the tireless, multi-year efforts of people like Charles Brown, National Counsel for Consumers for Dental Choice ( www.ToxicTeeth.org ), the FDA has now been forced to acknowledge a fact so fundamental that, by any measure of honest science, it should have adopted the position decades ago. What position is that? Simply that mercury is toxic to humans.
Why the FDA has to be sued to do its job of protecting consumers
The FDA's stonewalling on this issue has been nothing less than a circus of politically-motivated denials, much like the Big Tobacco executives swearing under oath that "Nicotine is not addictive." In similar style, the FDA insisted for decades that "Mercury is not toxic." Both statements, as any sane person can readily conclude, are the outbursts of lunatics. Sadly, those lunatics somehow remain in charge of our nation's food, drugs and cosmetics (and dental care), meaning that any real progress to protect the People must come from outside the FDA.
And that's exactly what just happened. Consumers for Dental Choice teamed up with Moms Against Mercury ( www.MomsAgainstMercury.org ) to sue the FDA and its commissioner whose name sounds like an evil-minded villian right out of a Marvel comic book: Von Eschenbach. The lawsuit, entitled, Moms Against Mercury et al. v. Von Eschenbach, Commissioner, et al was concluded earlier this week with a reluctant agreement by the FDA to both change its website on the issue of mercury and to reclassify mercury within one year, following a period of public comment (which the agency will no doubt try to drag out as long as possible in order to avoid actually sticking to the terms of the lawsuit agreement).
Remarkably, the FDA's website no longer claims mercury is harmless. The language has now been changed in dramatic fashion, reading: "Dental amalgams contain mercury, which may have neurotoxic effects on the nervous systems of developing children and fetus."
There's still a lot of fudging there. Note the careful use of the word "may," which means the FDA still isn't sure whether mercury is neurotoxic, but it might be. This is the FDA's way of continuing to stonewall this issue, even as it lost its lawsuit. For any FDA officials who don't yet think mercury is toxic to the human nervous system, I invite them to chug a few milliliters of the substance themselves and find out what the effects might be. It certainly couldn't make them any more mad than they are already!
Why the FDA is as mad as a hatter
Speaking of people going mad with mercury, that's the history of the term "as mad as a hatter." As explained by Wikipedia:
There is scientific evidence behind the meaning of insanity. Mercury was used in the process of curing felt used in some hats. It was impossible for hatters to avoid inhaling the mercury fumes given off during the hat making process. Hatters and other men in working mills died early due to the residual mercury caused neurological damage, as well as confused speech and distorted vision. As the mercury poisoning progressed to dangerously high levels, sufferers could also experience psychotic symptoms, such as hallucinations. See http://en.wikipedia.org/wiki/Mad_hatter#.22M... to read more.
Interestingly, the symptoms of mercury toxicity quite accurately describe the mental state of the top decision makers at both the FDA and the American Dental Association, both of which have hallucinated for decades that mercury was safe for children to swallow! These people also exhibit symptoms of serious neurological damage such as malfunctioning frontal lobes -- the part of the brain responsible for reasoning. They also seem to lack proper functioning in the part of brain responsible for empathy and compassion towards fellow human beings.
Perhaps top FDA and ADA officials have been chemically lobotomized in some way, and there's no question that the leaders in conventional dentistry suffer from advanced stages of psychosis, too. This could very well be due to the fact that their ongoing use of mercury fillings has exposed them to decades of mercury vapors and airborne particles which have entered their nervous systems and damaged their brains, making them appear quite mad.
Thus, the modern version of "mad as a hatter" might be, "mad as a dentist ."
Not all dentists are mad, mind you, but the ones that still work with mercury no doubt suffer very real neurological damage as a result.
What's next for the FDA
Despite this lawsuit victory, please keep in mind that the FDA has not agreed to immediately ban toxic mercury fillings. They have merely agreed to consider reclassifying mercury at some future date -- a commitment they will probably break, given their history of lying about mercury and refusing to do what they've agreed to do on this subject (see the interview, below, for more details on that).
At every opportunity throughout recent history, the FDA has gone out of its way to censor the truth about the toxicity of mercury fillings, thereby directly supporting the continued exposure of literally hundreds of millions of children, adults and senior citizens to a substance that every reasonable scientist in the modern world knows to be highly toxic to the human nervous system. And in this way, the FDA is guilty of crimes against the People. To know that a substance is highly toxic, and yet to continue allowing it to be implanted into the mouths of children, teens and adults (even when you have the power to ban it) is not merely irresponsible, it is downright criminal.
I can only hope that a nationwide class action lawsuit against the ADA, the FDA, local dentists and mercury manufacturers will emerge from this action. Countless Americans have been poisoned by mercury fillings, and the whole scam has been orchestrated by the usual suspects: Powerful corporations and industry groups that sought to exploit the People for profits, regardless of the harm it might cause them. The fact that a substance as toxic as mercury has been allowed to be implanted into the mouths of children for so long reveals precisely how corrupt, outdated and downright dangerous our system of modern dentistry has really become. Much of what comes out of the mouths of dentists, it turns out, is pure poison... and not coincidentally, that's exactly what those same dentists put into the mouths of their own patients!
But I don't want to give the impression that all dentists are evil. In fact, more and more dentists are now practicing mercury-free dentistry, and I strongly recommend that if you need to see a dentist in the future, insist on seeing one that has given up using mercury. This is more than a personal health issue, it's also an environmental issue. Where do you think all the mercury goes after you chew on those silver fillings and swallow little mercury bits? The mercury molecules that aren't absorbed by your body and lodged in your brain cells are eliminated from the body and flow right into the environment. Ever wonder why all the seafood bring harvested from the ocean these days is contaminated with mercury? Well now you know: It's due to all the toxic consumers peeing away the mercury they've swallowed from their silver fillings!
See my related CounterThink Cartoon, Seafood Mercury Warning at http://www.naturalnews.com/021690.html
The FDA remains steadfastly clueless about mercury
So now, thanks to this lawsuit, the FDA has changed its website to read: "Pregnant women and persons who may have a health condition that makes them more sensitive to mercury exposure, including individuals with existing high levels of mercury bioburden, should not avoid seeking dental care, but should discuss options with their health practitioner."
This sentence says nothing conclusive of course, and it doesn't urge consumers to avoid mercury in any way, but it does at least imply that perhaps there is a link between dental care and mercury poisoning. If you're interested in being amused, you can read all this distorted language yourself at: http://www.fda.gov/cdrh/consumer/amalgams.ht...
This document, by the way, reveals the outright stupidity of FDA "experts" as they stumble from one topic to the next. For example, one question asked on the page is:
Should pregnant women and young children use or avoid amalgam fillings?
The FDA's answer to that is: The recent advisory panel believed that there was not enough information to answer this question.
In other words, the FDA advisory panel selectively chose to avoid all the evidence showing mercury to be extremely harmful to the nervous system of a fetus or a child, and they have decided to pretend to be uninformed on the subject rather than take any real stance on protecting human beings from the toxicity of mercury. Wow, and to think, these are the people running our national food supply and drug approval processes, too! Is it any wonder so many drugs are deadly? If the FDA thinks mercury is safe, no wonder they think deadly pharmaceuticals don't harm people either!
Exclusive interview with Charles Brown, Consumers for Dental Choice
In the days leading up to this lawsuit with the FDA, I spoke to Charles Brown over the phone and explored the timeline of events involving the FDA and mercury. This interview, published below, is nothing short of astonishing! In it, you'll learn about the FDA's stonewalling tactics, the lies and deceptions of the American Dental Association, and why it took an outside consumer group suing the FDA to get the agency to do its job of protecting consumers from toxic mercury.
Here's the full interview. Be sure to learn more at www.ToxicTeeth.org
Mike: The story here is that you and the organization � Consumers for Dental Choice are now suing the Food & Drug Administration to seek removal of mercury fillings from the U.S. marketplace. Can you give us some details about this lawsuit? Why you think suing the FDA is the best way to go here.
Charlie: Well sure Mike, the FDA is the spoke of the wheel here. I mean they are the ones that make decisions on whether products should be on the market or should not be on the market. They approve, they classify. In the case of devices � a device is something that is used in healthcare and it is separately regulated under a set of rules. One category of devices is implants. Implants are what goes in the body but does not dissolve. It stays in the body at least six months and does not dissolve.
Dental fillings are an implant. The FDA is deciding instead of classifying, instead of regulating it, it will do nothing and it has done nothing on mercury amalgam � encapsulated mercury fillings - decade after decade. They continue to promise to act and actually, last year they made me a written promise and I foolishly believed them. I actually thought when they promised, in writing, that they would begin the classifying process and put together the first step.
They promised me specifically what the step would be, I naively thought, "Well, gee maybe these people are honorable and telling the truth." Actually, once again, they have just pretended. Under pressure, they will say they are going to do something � pressure from Congress, pressure from the Courts, pressure from petitioners, pressure from the press.
They will say, "Sure, we are going to do something." They do nothing. They have left this mercury amalgam out there unclassified, unregulated with no warnings and just a few news releases, which have nothing to do with what they are supposed to be doing.
Mike: So mercury fillings � let me just get this straight from the beginning here, have never been classified by the FDA, which means they have never been really approved by the FDA, correct?
Charlie: Correct, this is a primitive filling in the first place but the pre-primitive � the pre-historic system in the 19th and early 20th Century was where was the dentist mixed the mercury with a powder. That lasted until the 20th Century with the old-fashioned offices. It is now prohibited in several states but that was the way where the dentists would mix a bottle of mercury and powder. That has been classified � not together, but the powder has been classified and the bottle of mercury.
No dentist does that anymore. They are not allowed to do it that way where the ADA tells them not to do it. The state government tells them not to do it. Everybody tells them they cannot do it that way and they do not do it that way. They take the capsule that they receive in the mail. The capsule has never been classified. The FDA knows to classify. Any step that the FDA takes, that the Food & Drug Administration takes toward addressing mercury fillings they know it is the beginning of the end.
Mike: That is my next question. Do you think there will be a cascading effect here? I mean if the FDA honestly begins to apply the law; it would then have to mean the end of mercury.
Charlie: It is the end of the mercury fillings if they apply law so they have intentionally done nothing. If they classify amalgam, they know they are going to have to classify it similar to other mercury devices so they do not do it.
Mike: They just try to delay this and hope no one notices.
Charlie: They will delay until they retire � not delay until next week. They will delay until they retire. Then they will get the golden retirement egg from the American Dental Association. They also know that if they did an Environmental Impact Statement it is the end of mercury fillings.
Mike: Well, that is my next question.
The environmental impact of mercury fillings in dentistry
Charlie: Environmental... yes, sure � the Environmental Impact Statement says it does not require you to go a certain step but if you say if we use mercury fillings, it is the largest source of mercury in the wastewater. Its cremation is the largest source of mercury in the air except in communities that have many power plants is something.
In communities with no other industrial mercury uses it is the largest source of mercury in the air and is the largest source of mercury in the water in every community in America -- the huge contributor in coming out of cemeteries and so on. So you say if we continue mercury fillings, it is an environmental disaster. If we ban them, it is environmentally the right thing to do. Once they have done that the logical step since you could go either way is to take the environmentally friendly move.
They will not do an Environmental Impact Statement. It is a conscious decision inside FDA of protectors of mercury fillings � people like Susan Runner, people like Norris Alderson who have decided that they will protect the use of these fillings on behalf of organized dentistry and they will defy the laws of the land to do so.
Mike: I have so many questions to ask you about this. Let us start with one that I think any intelligent reader would be asking himself or herself and that is if this mercury is so toxic to human biochemistry and if it has such a detrimental impact on the environment, how could so many dentists and the American Dental Association be in such strong support of it.
Charlie: Yes, it is amazing. It is amazing. It really goes to the foundation stone. Clearly if we had it to do over again we would not build the combustion engine. The invention of the combustion engine may have been the decision that destroys our planet unless we can reverse that. I mean clearly that is the main reason we are turning our planet into a heat box.
However, the foundation stone is the combustion engine in which Henry Ford put us. The foundation stone of dentistry is mercury fillings. If there had been no mercury fillings, there would have been no dental profession. That is a certainty. We now have physicians of the ear, nose, and throat. In the 19th Century, there were physicians of the mouth. They said to use mercury is malpractice.
The barbers put the mercury in. It worked better than gold, which was very hot then. It hurt you to go in. Whereas, the mercury was nice and smooth and people were drinking mercury for syphilis so they were able to put it in there because medicine had not yet pushed it out of their profession. They pushed it out again not counting vaccines but they pushed it out of medicine around 1900, but dentistry was something different.
By then dentistry had gotten their market niche. Their market niche was we are going to take care of the mouth. They created an entirely different profession � one that basically is not related to healthcare. They take the position the mouth is so different from the rest of the body we will just worry about the mouth and nothing else and you doctors will not worry about the mouth at all. We have the most grotesque healthcare system where physicians even refuse to look at the mouth. People in the hospital � you can be in the hospital, you can be so sick and nobody is going to look at your mouth except the dentist.
It is like a division of labor where they both make their money and the person harmed is the public, so organized dentistry took the position since mercury is safe by definition because we use it and we are doctors, anything we put in the mouth is safe. They just put in... they put beryllium in there.
They put anything in there with the idea of we are immune because we are doctors. We know what we are doing and it is just a tragedy. It is just unbelievable that we ended up with a profession so wedded to the most neuro-toxic element on the planet.
Why dentists are walking away from mercury fillings
Mike: Well, you hinted at the arrogance of the professionals who continue to support this mercury and you mentioned the history quite a bit there. I have to wonder that given that nearly a hundred years have passed since this was being widely introduced into dentistry and with all the information about mercury's toxicity over the years, how could dentists still say that this substance is not harmful? What is their argument now?
Charlie: Well, half of them do not use it now. See half of them have walked away from it. Here is what happened � enter the institutional powerhouse, the American Dental Association, to impose a top down system. The ADA realizing that they had a secret. The ADA became the whole player on the field. The ADA is opposite the AMA in many ways and I am not � believe me I am not a supporter of the American Medical Association. I do not mean to say that but in this one area the AMA has a set of ethics that make sense, which is we do not endorse products for money. The AMA ventured into that I think in about the '30s and decided they had better stop and then they ventured into it again in the '90s and they realized they could not.
They promised their membership. They had to fire their executive director, break this contract with Sunbeam, and promise they will never endorse products for money. That is the AMA's ethical position and it is an ethical position. The ADA � the American Dental Association has no such ethics, Mike. They endorse products for money.
The ADA, starting in the '50s really, the 1950's, they really took off at that point. A product endorsement system, business studies show that Crest was a minor toothpaste product compared to Colgate. Crest surpassed Colgate because the they poured money into the ADA coffers and the ADA, in turn, gave their name to Crest to say we endorse this Crest toothpaste. It became such an advantage for Crest that the other toothpaste makers decided they would slop money to the ADA too, which they did.
The ADA was not only unethically telling the public a product is safe when they did not know if it was safe. They were not testing it. The ADA was even taking money from their members for joining and then turning around and saying to their members you should use this product because we endorse it, because it is safe and effective when they had no idea if it was safe and effective.
They were serving two masters but the corporate master to ADA was paramount and so they took these sums of money from every dental products manufacturer, became a dental products endorsement machine more than a professional group � much more than a professional group. You had that basic powerhouse � the ADA saying go buy these products.
Then the ADA saw the criticism of mercury amalgam coming in the 1980's and they knew they had to do something because they were getting money from the manufacturers and they had dentists that did not want the public to know. The ADA adopted a gag rule in their code of ethics in 1987 and it said that dentists should not tell anybody about the toxicity of mercury.
Mike: Really?
Charlie: Yes, absolutely.
Mike: They adopted a gag rule about mercury fillings?
Charlie: They adopted a gag rule. In the Goldwater Center, the Phoenix based Goldwater Center wrote an essay condemning the gag rule in 1998 � a decade later. They were the first ones to do it.
They are a think tank, kind of a libertarian think tank I guess you would call it � the Goldwater Center. Modeled after the thinking of their namesake of the group, of course, Senator Goldwater... he did not found it but it was founded on his principles and Congressman Flake was the executive director. He is now a Congressman.
When he was executive director, Mark Gingrich � a former reporter at the Arizona Republic, who joined that group, wrote a whole report on the gag rule and how bad it was. That was the libertarian from the right if you will. The libertarian on the left � the American Civil Liberties Union, took the same position. They sued the Connecticut Dental Board here on the other coast, said you cannot have this gag rule, and won.
Then the attorney general of Oregon, the attorney general of Iowa said you have to stop the gag rule so bit by bit, piece by piece, the gag rule has been dismantled but the value of it was the ADA protecting its product.
I will tell you something else when they adopted the gag rule, I left this out: the ADA had patents on mercury amalgam. Not only did they get money for promoting the product. They even got patents on amalgam to protect its use, then told dentists do not talk about this product.
Mike: This sounds like just a financial racket here.
Charlie: The ADA is a financial racket. There is no question about it. To break the control over mercury fillings you not only have the history, they have to protect their profession, which was founded on mercury. I mean it is not that now but it was founded on mercury � the foundation stone. They have to protect their own history and their own pocketbooks.
Now with the gag rule crumbling they have many problems. The ADA has huge problems with this. They are in retreat. Mike, the one thing is they are definitely this year they began retreating. We gave them an exit strategy. December of 2006 I sat down in the ADA headquarters and said you guys know you have to get out of this and I have a cost-free exit strategy that will not destroy your reputation. We presented � Consumers for Dental Choice presented the ADA � the American Dental Association with an exit strategy on mercury fillings based on the environment where the ADA could say they would not have to concede any health issues. They would say we recognize that mercury amalgam is an environmental problem. Alternatives exist, therefore, we are announcing a phase out over the following number of years.
I asked for one year and they said it would have to be longer and I said okay, but I said we have to have an end. People have said to me well let us take them on like cigarettes and I will tell that is about the worst prototype I can think of where the lawyers became billionaires and kids are still smoking.
I am not going to tolerate that kind of end where a bunch of people get rich and the kids are still harmed... because poor kids are still getting mercury fillings and poor Latino pregnant women and Native American children and so on are getting this. We are not going to accept that. There has to be an end date.
They were willing to do it. The lawyers were willing to do it at this discussion � December 14, 2006 at the ADA offices in Chicago but they just could not pull the trigger with the ADA. They just could not have a second meeting. They have decided instead through 2007 they are doing a gradual retreat. There is no question they are. It is coming, but the gradual retreat continues to harm millions of people in America and around the world. Their gradual retreat is not acceptable. We are not going to have a Vietnam ending where we have eight years to withdraw.
Mike: Right, now, I mean obviously the ADA does not want to admit that mercury fillings were ever a hazard because then they could open themselves up to huge class-action lawsuits, right.
Charlie: Absolutely and I told them I hope they do get huge class-action lawsuits and some day they will because they would not walk away from it. They had their chance and they continued to give this nonsensical stuff about how mercury exposure is okay as long as they do it. It is just outrageous. It is morally outrageous and they know it.
The scientific reports that they produce are cooked. They are unethical. They have no scientific aspect. They are simply PR machines where they find some dentist � not a real scientist but just their fellow dentists to write reports. It is an effort to say we are going to protect ourselves, we are going to have our government do it, the government is going to do it for us, and the FDA is about as compliant a government agency as ever existed.
Mike: Now, what happens if your lawsuit succeeds with the FDA? I mean essentially, what has to happen next for the FDA to ban mercury fillings?
Charlie: Well, they could take many routes. They could just ban it. They could start doing their job. If they start the classifying process then amalgam is gone. The ADA has admitted that. The ADA warned its members the FDA is probably going to put restrictions on amalgam. That process has started. They promised us they were starting then the FDA just stopped. They just stopped because within the organization they reversed the course and decided effectively that dentists are more important to them than consumers. It is just so tragic that dental economics out-trumps children's health but that is the way the FDA operates.
Mike: Well but that cannot be a surprise to anyone who follows the FDA...
Charlie: Well it is a surprise to those of us that had an assumption that we actually believed what we were told. I know if you follow FDA, it is not a surprise. The FDA needs to be totally reorganized. They need to stop having a system where those with a self-interest in the product are the ones that get to make the decisions.
The idea that Susan Runner, a practicing dentist, is at the FDA doing the work for the ADA and has actually had a sort of agenda to cover up mercury decade after decade and it is still being covered up in the Dental Devices Branch. The fact that Dan Schultz � the physician who's head of Devices will not remove her or allow anybody but a dentist to be in charge, this shows the professional courtesy that physicians give to dentists. Schultz simply closes his eyes.
He knows it is a problem but he is a physician. He wants dentists in charge because that is the deal they made a hundred years ago that dentists are in charge of the mouth and the public is shut out and physicians are to blame as well on this for shutting their eyes. Dan Schultz is as morally culpable and legally culpable at the FDA as Susan Runner is. That is why we sued him and sued her both and several other people.
Arresting top FDA officials and charging them with crimes against the People
Mike: Now, I am on the record saying that I believe the FBI should march into the FDA offices and arrest these individuals and we should prosecute them for criminal behavior against the American people. Do you think that is going way too far or do you think that's quite reasonable?
Charlie: That is probably not going too far. We filed a series of complaints with the Inspector General. We filed complaints with the in-house FDA Inspector and then filed a complaint with the U.S. Inspector General last Fall. They have decided they will not comply with the law. They know they have to classify mercury amalgam. They will not do it.
They know environmental impact statements are required or environmental assessments are required � the first step. They will not do it. They know that they warn about all of the mercury exposures such as fish or they warn against as a matter of precaution mercury exposure to children from all other sources. They banned mercurochrome years ago. They took it out of childhood vaccines � actually not of them but they said they would take it out of all of them.
They gave warnings on fish for children and pregnant women. They have decided that they will stand silent on mercury and it is truly a conspiracy of silence. That is why our lawsuit did not just sue the FDA. We sued five deep into the bureaucracy. We know whom the players are who are ignoring their duty and we have named them because we are tired of the FDA having a system where they all can hide behind each other. I hope that system ends and our lawsuit plays a role in exposing it.
Mike: Now, you just mentioned mercury in fish and that is a great point. Do you happen to know how many times more mercury there is in a typical filling than would be found in a serving of fish?
Charlie: Well, it is a more severe exposure because in the fish it is locked in. The mercury from the fish is mainly going through the body. It is a lesser exposure. The mercury in the amalgam is implanted. The mercury in the fillings is thousands of times more because it is half a gram. That is 500,000 micrograms per filling.
Mike: Where we are talking micrograms in the fish, right?
Charlie: Yes, yes we are. We are so I mean it is so much more but it is a way for medicine and dentistry to change the subject and to blame the fish. It is the fish's fault.
Mike: So the FDA says well, mercury in fish is dangerous to you but mercury in your mouth, in your teeth is harmless.
Charlie: Well, the FDA has said that. You know the FDA does not speak through its news releases. The FDA speaks through its regulations and its warnings. It has never officially said anything about mercury amalgam. They know it cannot stand the light of day. Yes, they make off-the-cuff comments.
They come out with a white paper, which has nothing to do with a regulation � and they refuse to say who wrote it. If FDA staff has furtively sneaked out interviews, white papers, other ways to say mercury fillings are safe but officially, FDA is not saying that at all. Officially, FDA is taking the position that they have never taken a position that it is safe.
When forced by the Court to say is mercury safe or not in the first lawsuit we filed, the first bombs against mercury versus FDA, the FDA admitted five times that it does not know if mercury fillings are safe. I can give you all five quotations from their brief or I can give people the website to look it up.
Meet Consumers for Dental Choice
Mike: Can you tell us a little bit, about where your passion comes from on this topic and people would like to know a bit about your background and your organization � Consumers for Dental Choice.
Charlie: Well, sure. Consumers for Dental Choice were founded a decade ago. Came up with the idea in 1996 � it was an idea of Bob Jones who is an inventor from Colorado and now in Texas. He is a former airline pilot, former U2 pilot earlier than that. He is just an outstanding man and inventor and an engineer. He has many patents.
He got very sick from mercury fillings and realized the impact of them was severe. He got to know many of the pioneering dentists like Hal Huggins and Scott McAdoo. He was out west and in the east Sue Ann Taylor, a journalist in Atlanta came up with the idea that we really need a consumer movement to fight this. Bob Jones had a conference, which he paid for and sponsored in Denver in 1996.
I was in a law firm that represented a lot of alternative health practitioners and interests and consumer groups in the kind of cutting edge alternative health issues many of which no longer were cutting edge because of the work of the senior partner, Jim Turner.
Anyway so Jim Turner and I went to that and we decided we would start up the group but Jim came up with the idea we called it the Consumers for Dental Choice and it became a project of another non-profit and then became its own organization in 1999.
Then it became a spin off, I left the law firm with it in 2002 to become a full-time consumer group with an office and so on. It has been around for 12 years. It has been a stand-alone organization for six. I got into it representing alternative health groups. I represented many alternative health ideas. I have been a state attorney general of West Virginia in the 1980's. I have been a political activist in the past and had interesting kinds of legal challenges I think.
This has just appealed to me and I guess the more I get into it the more I realize how many children are being hurt and how many animals are being poisoned and we have to do something. The way to do it is to have a very aggressive activist organization. It needs to get right in the face of federal or state regulators or the private sector interests like manufacturers or the ADA.
Mike: What about your funding? Where does your funding come from?
Charlie: We get some money from foundations � the Garfield Foundation is a wonderful funder, has funded us for seven years. For a long time we were funded by the Wallis Research Foundation, a family foundation. The patriarch was H. B. Wallis, an inventor from Iowa. He then lived in Scottsdale near you Mike.
He died a couple of years ago and that funding ended at that point from the Wallis Research Foundation but Garfield funds us and then individual dentists and that number grows each year... dentists who have decided to give money off their credit card every month or give an annual contribution and it is very exciting. These people are mercury-free. They are the people who know the ADA is wrong and know we need to fight and they are so much a part of our team that quite a few of them give money. It is terrific.
Mike: How quickly is that movement accelerating towards mercury-free dental care?
Charlie: Well, fast. The number of mercury-free dentists, if that is any measurement, was 9% in 1995. This is according to the Clinical Research Associates run by the preeminent dentist scholar, very neutral. He has no dog in our fight � Gordon Christensen out of Orem, Utah.
One of the things he surveys in dentists is who is mercury-free and it was 9% in 1995. Then 27% of dentists were mercury-free by 2001; by 2005, it was 32%. In 2007, a different survey � this was by a dental magazine said that 52% of the dentists are now mercury-free. It may have reached that number. It may have reached half. It may have reached the tipping point. The progress on dentists is huge. The progress of consumers, the number of mercury fillings was far over 50% when we started, like 60% or something like that I believe or more.
The ADA says it is fewer than 30%. I am sure it is but that is the good news. The bad news is it could well get frozen at that number where we have two-tier dentistry where middle-class adults get no mercury but the poor, the children, the working class people, minorities, children, they keep getting mercury and that is absolutely both immoral and unacceptable.
Mike: How much mercury is actually released into the environment or put into people's mouths each year through dentistry?
Charlie: Well, I do not have that but the expert is the Mercury Policy Project and Michael Bender. They are really the experts. Their website is www.MercuryPolicy.org . Michael has written just some seminal reports on this. About every two years, he writes another one. If the folks want to go to www.MercuryPolicy.org they will definitely see what they need to do.
Mike: While we are mentioning websites, I want to mention yours again. It is www.ToxicTeeth.org
Charlie: Yes it is.
Mike: Can consumers also financially support your organization with a donation?
Charlie: Sure, our address is 316 F Street Northeast, Suite 316, Washington, D.C. 20002 and again our website is www.ToxicTeeth.org
Why conventional dentists are so arrogant about mercury and fluoride
Mike: Okay and I will check out www.MercuryPolicy.org too. I will take a close look at that. Getting back to the dentists themselves it is encouraging to see that perhaps as many as half of practicing dentists are now shunning the use of mercury. You have to wonder what the other half are thinking though.
I have had numerous conversations, debates, arguments with dentists. I find that those who are still using mercury also still support mass fluoridation of the water supply. They are some of the most arrogant people I have ever met. It is infuriating because his or her position is that no one has any right to question mercury or fluoridation. It makes you wonder. Where are these people coming from that they think they already know so much about mercury that they have declared it to be harmless and no one can challenge that?
Charlie: Albert Einstein once said it is always unusual to find someone for whom curiosity survives a formal education. There are so many dentists and they are not alone in this among professionals who get that degree and now they can turn off their brain and make money. These people have decided just to read the ADA propaganda and that is it.
You hear that these pro-mercury dentists defend their use of mercury fillings and they will not use the word "mercury" they will give false information as if it is inert. It is not. They know it is not. If they read anything, they know it is not inert.
They may just decide to believe it themselves and their big rationale and every pro-mercury dentist that you talk to will give this rationale within the first two minutes. We know it is safe because we have used it for 150 years. Now, I guess the first response to that is what other part of pre-civil war medicine do you endorse?
The second point is that it is the most absurd scientific reasoning to say something has been used a long time and therefore is safe. I mean cigarettes must be safe. I have this article, a copy of it, from the British Lancet. Lancet is the British equivalent of the American Medical Association Journal but it is much better. It is much less sleazy in its connection to special interest groups, which the AMA Journal certainly is.
The Lancet had an article in 1860, an editorial in 1860 that said cigarettes are the universal product around. If it were dangerous as if its critics said people would be dropping dead in the streets, and clearly its universal use proves that it is safe and it is time to quit criticizing it. That is what things are with amalgam. They make jokes. Well, nobody dropped dead in my office, they say.
Well, if somebody gets sick later he or she does not go back to the dentist. The dentist says I am just in charge of the mouth and just the metals I put in the mouth. I do not have any other role. If I cut you while I am putting it in, well I know I have to deal with that because then I have done something that is in the mouth.
Any total body effect of what I do leaves with the patient. They get that patient out of the office. They are done with them and then they have this wall of silence and nobody can get back in and beat them in court, although we are going to beat them in court soon. Dentists literally say it is safe because we have done it for 150 years. Does that make it good? � is this good if we do it for 150 years?
It was the same argument for slavery. It was the same argument for cigarettes. It is the same argument for everything. If we do it long enough it must be good. That is just the most absurd thing for a man of science or a woman of science to say but by goodness, they do.
Mike: Yes, they do. I know you are not focusing on fluoridation but of course, this issue extends to fluoridation where I personally find many of the same similarities � a complete lack of scientific evidence supporting it, a denial of the dangers of fluoridation and the extreme arrogance and unwillingness to consider any possibility that they might be wrong.
Charlie: Yes, absolutely, absolutely and I think that is why you would say well how could this continue for so long. I mean how segregation could continue for a hundred years. I mean how could it take 70 years to ban lead in gasoline?
In the early 1920's as they started to mass produce gasoline with lead in it the people started dying. Workers died. Workers died in large numbers and everyone knew lead was the culprit... I mean everyone knew. Just as everyone knows mercury is toxic. Everyone knew lead in the 1920's knew lead was toxic.
The gasoline industry and the oil industry came up with two solutions. One is they thought of the funny word that said we have added ethyl to the gas. It means lead but they thought just as the dentists say silver fillings or amalgam. To protect the workers they raised the steam stacks in the plants where the gasoline was made.
In other words, rather than the workers getting sick and dying immediately from the lead exposure, the chimneys were raised so high that the lead went into the higher atmosphere and started just polluting the whole country. The workers were semi-saved in the sense they were not dying on the spot and the whole country was getting to the point of huge toxicity.
The study showed that as we took the lead out of gasoline in the '70s the level of violence committed by teenagers started going down immediately because each year they were less lead-toxic and the ones growing up were not starting out with lead toxicity. Lead toxicity like mercury toxicity causes people to be violent because they are poisoned. They just strike out.
It took from the '20s to the late '70s and everybody knew it was toxic and again with mercury fillings because the oil industry had such well-placed lobbyists and they were able to revert the question, saying we do not have to prove it is safe, you have to prove it is unsafe. That is what the dentists keep doing. We have done it for 150 years so prove it. Well, okay we can prove it. But they say, now you are not going to prove it with us having the government in our pocket.
The government people are in their pocket. Randall Luter, who had a lot of promise, he was Deputy Commissioner. He has just decided to sleep on it. Let the dentists and the bureaucrats' be back in charge of this issue at FDA; those people have decided we do not care. We are going to protect special interest groups or we are going to let others at FDA protect special interest groups so we have a similar resolve.
How to stop the FDA with a lawsuit
Mike: To conclude this � getting back to the lawsuit itself, if you win the lawsuit can it force the FDA to rule on this? Why cannot the FDA just say we will deal with it later? I mean can they not just continue to delay even if you win the lawsuit?
Charlie: Well, that is a challenge. You pointed to that. I mean if a court just looks at the FDA and says hurry up and do it, the FDA will nod, oh your honor we certainly will. We will hurry as fast as we can. In that sense, it may not do anything. We are trying to build accountability of public officials and that is why we have asked for the remedy that the court should simply take it off the market until FDA does its job.
Then I will bet they start moving fast. That is a challenge � a challenge to get that kind of remedy. Nonetheless, we have to begin. We sued them in the U.S. Court of Appeals. The Court of Appeals gave us a roadmap to go to district court. We were all set to file in May of 2007 and the FDA said no they would like a meeting. Please do not file. They would like a meeting. We had a meeting. We said we need an answer in 30 days.
In 30 days, the FDA answered and said yes, we will do an advanced notice and a proposed rule. I got a letter from the lawyer for the FDA, Wendy Vincente saying speaking for the FDA we will do this... we assumed that the FDA was telling us the truth. We were wrong so we waited and waited and waited because we would have filed this suit in June.
The FDA just bought six, seven months of time simply by telling another bald faced lie, which was that they were going to start moving forward to classify amalgam when... I think some people at the FDA probably have that intention. I think there was good faith from some people but the bureaucrats � the ones that want to keep mercury fillings unclassified, protected for dentistry like Susan Runner - have won out.
The FDA is so badly organized, its lead scientist � the Associate Commissioner for Science, the top science person of the agency, degree is in veterinarian medicine.
Mike: Their degree is in veterinarian medicine?
Charlie: Veterinarian medicine � not a toxicologist, not a chemist, the top person has a degree in veterinarian medicine.
Mike: Well, let me just say right here let me offer that when it comes time to apply grassroots pressure give me a call because we can put out an action alert to our reader base, which is now over one million people.
Charlie: That is fantastic.
Mike: If we coordinate it with what you are doing then we can create this real surge of grassroots pressure because I think what you are finding out is that if you take the FDA's word on anything, then nothing is done. If we can pressure them from another angle that can really assist your lawsuit effort or other efforts in applying pressure. What we need is a re-launch of a campaign as you had "Mothers Against Mercury." We need, what I call, a Web sticker � like a bumper sticker on the Web. We need a little graphic, name like that "Mothers Against Mercury", launch this campaign, and let it go viral all across the Web tied to action items such as grass roots complaints or protests � those kinds of things.
Charlie: Well, I will tell you where we are going to work grass roots and I am happy because I have already told the company we are, Dentsply, is the second largest manufacturer of mercury fillings. They make others. They make resin. They make composite.
They also make the alternatives � porcelain and so on I think. I know they make a resin composite. They make many other dental products and Wall Street report said Dentsply would be better off if amalgam was banned, they would be more profitable. Dentsply nonetheless has dug in its heels and said we are going to keep making mercury fillings. Basically, Dentsply has turned its back on its own shareholders.
The Wall Street has said stop and they said we are not going to stop. Now whether this is just some kind of backroom deal with the ADA or pressure from the ADA that they cannot stand or some other reason that they will not explain to me. I have written them and their counsel wrote me back a "back of the hand" letter... about a two-paragraph letter or three paragraphs saying [nothing substantial]. Dentsply is not only harming consumers and dentists � dental employees, dental workers, the environment all of which they could be sued for.
They have an easy exit route. They could make the non-mercury fillings. That is an area we are going to work on � they are based in York, Pennsylvania. I think their day is going to come.
Mike: Well, what if we can organize all kinds of protests around that company even maybe not in person but phone calls, faxes, emails...
Charlie: Well, why not in person? Anybody who is listening to this and wants to contact me or anybody around the York, PA area or anybody in Pennsylvania that wants to help us ought to contact me that want to go in person. My email is [email protected] We would like to get people to write but we want folks that are somewhere in the Maryland, eastern half of Pennsylvania...
Mike: We have readers all over the country and I know we could get people there. I do not know how many. I do not know if it is ten, 100, or what but I know we have people emailing us all the time asking what we can do. What can we do to fight these evil corporations? If we get some people out there protesting with signs � "Mercury poisoned my child" on their sign. If we get that up on YouTube this could have just a huge domino effect not only make more people aware of your organization but also the mercury toxicity issue.
Charlie: Okay, I will. Thank you sir.
Prologue
Following this interview, Charles Brown won a significant court victory over the FDA, and now the FDA has promised it will reclassify mercury by June, 2009. Between now and then, NaturalNews will be working closely with ToxicTeeth.org to rally grassroots support for an outright ban on mercury amalgam fillings.
Stand by for action alerts on internet protests, petitions, and perhaps even in-person protests. We must work together to demand that toxic mercury fillings be banned. Then we will end the hundred-year reign of neurotoxic terror that has been orchestrated by the ADA, the FDA and the conventional dentistry industry. We will also support a national class-action lawsuit against not just the ADA and FDA, but even against the individual dentists who have installed these toxic mercury fillings into the mouths of children over the last ten years, despite the incredible amount of scientific evidence proving that mercury fillings cause irreparable harm to human health.
It is time to stop poisoning our children and our planet with mercury. The era of mercury poisoning must come to an end. NOW. And those responsible for this chemical attack against our people must be made to compensate for the harm they have unleashed and serve time for their crimes against the People.
The revolution will be announced via e-mail.
If you're not already subscribed to NaturalNews, get on our e-mail list right now by signing up here: www.NaturalNews.com/readerregistration.html
In the months ahead, we'll announce key action items via e-mail. Join us in protesting against the ADA and FDA about the toxicity of mercury fillings, and be prepared to hammer your Senators and other lawmakers in Washington to urge them to support an outright ban on mercury in dental care.
This poison must be stopped! And it is up to you to help us achieve this important goal for the future of the human race. Literally, it is that important. We are talking about the future of human life on this planet. If we hope to live, if we hope to have seafood, or ocean ecosystems, or fully-functioning brains and healthy babies, we must stop mercury now.
Join the revolution. Stay tuned to NaturalNews. Watch your e-mail for important announcements from us.
And be sure to visit www.ToxicTeeth.org and join their e-mail list, too. Stay informed. Empower yourself. Demand real change. And when the day comes, I ask for your support in urging the arrest and prosecution of the criminals at the ADA the FDA who have orchestrated this mass poisoning of the American people. It is time to arrest, prosecute and imprison these criminals who are, in every sense, an imminent threat to the health and safety of the American people.
I do not believe in using violence to resolve problems, and I do not believe that these people should be dragged out of their offices and hanged in a public forum, as some other writers have suggested, but I do believe that we must strip them of their power and influence, and we must hold a public court session so that all the world can see the degree of evil that has been operating inside the ADA and FDA for so many years. We must bring this issue into the light, and let the truth be told about this hundred-year lie so that future generations can learn what happens when you allow corporate profits to dictate health regulatory decisions in any society.
CHIEF Organics Whey Protein helps protect Native American waters from pollution
From the Health Ranger: As a Native American, I'm committed to protecting our waters from pollution and contamination using the best science available today. To fund the effort, I'm launching CHIEF Organics Whey Protein, which redirects 1% of revenues to offer free lab testing to Native American communities across North America. Sourced from New Zealand, CHIEF Organics Whey Protein is ultra clean, completely non-GMO and incredibly delicious.
Obama wants to poison children! Proposal to stop using toxic mercury fillings on children, pregnant women shot down by feds
About the author:
Mike Adams (aka the " Health Ranger ") is a best selling author (#1 best selling science book on Amazon.com) and a globally recognized scientific researcher in clean foods. He serves as the founding editor of NaturalNews.com and the lab science director of an internationally accredited (ISO 17025) analytical laboratory known as CWC Labs . There, he was awarded a Certificate of Excellence for achieving extremely high accuracy in the analysis of toxic elements in unknown water samples using ICP-MS instrumentation. Adams is also highly proficient in running liquid chromatography, ion chromatography and mass spectrometry time-of-flight analytical instrumentation.
Adams is a person of color whose descendents include Africans and American Indians. He self-identifies as being of American Indian heritage , which he credits as inspiring his "Health Ranger" passion for protecting life and nature against the destruction caused by chemicals, heavy metals and other forms of pollution.
Adams is the founder and publisher of the open source science journal Natural Science Journal , the author of numerous peer-reviewed science papers published by the journal, and the author of the world's first book that published ICP-MS heavy metals analysis results for foods, dietary supplements, pet food, spices and fast food. The book is entitled Food Forensics and is published by BenBella Books.
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In 1984, who became the first comedian to die during a live performance on tv? | Tommy Cooper Biography -Biography Online
About
Tommy Cooper Biography
Tommy Cooper (1921 – 1984) was one of Britain’s best loved comedians and magicians. Due to his exposure on British TV, he became one of best recognised comedians and magicians in the UK. Cooper was a member of the Magic Circle and incorporated magic into his comedy routine.
Tommy Cooper was born in Caerphilly, Wales on March 19, 1921. He was born 2 months prematurely and the doctors warned he might not make it through infancy, but he did survive and grew to be a impressive presence of 6” 4 inches. At the age of 8 an aunt bought Tommy a magic set and he would spend hours perfecting all the tricks. By the age of 16, he got a job as magician on a boat. His first performance was a disaster. Due to stage fright all his tricks went wrong, people started laughing and he ran away in tears. However on reflection he realised that if he concentrated on making people laugh he could develop a very good routine. Soon after the outbreak of World War Two, Tommy Cooper joined the army and served for 7 years until 1947. For much of this time his regiment was posted to the Middle East. When opportunity allowed, he worked on his performances as a failed magician. It was during his time in Cairo that Tommy Cooper got his trademark hat. – a middle eastern Fez. He was about to perform, but realised he had lost his hat. Therefore he swiped a hat of a passing waiter and performed with that. It got a big laugh so he stuck with it becoming a trademark of Tommy Cooper.
On leaving the army he decided to pursue a career in show business. By 1948, he had made his début on TV performing in the BBC programme, New to You. This led to a very successful TV career mostly with Thames television. For many years he had his own show as a stand up comedian. Later in his career he also performed with other comedians such as Erik Sykes.
Tommy Cooper the Magician
In addition to being a comedian Tommy Cooper was an expert magician and member of the Magician’s circle. Although an accomplished magician he mastered the art of often failing to complete his tricks for comic effect. Although many tricks would fail, he could also show that he was capable of performing magic tricks with a great degree of professionalism.
The comic material of Tommy Cooper was nothing special, what made him one of Britain’s favourite comedians of the time was his intrinsically comic nature. He embodied great innocence and childlike qualities which made his failed jokes particularly funny. Many comedians have commended his ability to bring the house down with the thinnest of materials.
Paul Daniels remembers Tommy Cooper giving an after dinner speech at a club in London.
“ This great big man just stood up. That’s all he did. He just stood up and the place was in absolute hysterics at a man standing up. Now, I don’t care how much you study comedy, you can’t define that, that ability to fill a room with laughter because you are emanating humour. After several minutes of laughter he turned to his wife and said, “I haven’t said anything yet.” And the whole place went up again.”
It was his style to often start laughing even before he had started to tell a joke. In a similar vein he would often walk on to the stage to start off with lines like.
“I must say you’ve been a wonderful audience” or
“Have we got time for more?”
He had wonderful comic timing and relied on fairly simple family material. Tommy Cooper particularly liked plays on words and used to enjoy ironic twists in the meaning of words.
Tommy Cooper Quotes
“A man walks into a greengrocer’s and says, I want five pounds of potatoes please. And the greengrocer says, we only sell kilos. So the man says, alright then, I’ll have five pounds of kilos.”
“He said ‘I’m going to chop off the bottom of one of your trouser legs and put it in a library.’ I thought ‘That’s a turn-up for the books.”
“I went to Blackpool on holiday and knocked at the first boarding house that I came to. A women stuck her head out of an upstairs window and said ‘What do you want?’. ‘I’d like to stay here’ ‘Ok. Stay there’.”
“I went to Millets and said ‘I want to buy a tent.’ He said ‘To camp?’, I said (butchly) ‘Sorry, I want to buy a tent.’ I said ‘I also want to buy a caravan.’ He said ‘Camper?’ I said (campily) ‘Make your mind up.’ “
Outside of TV Tommy Cooper was a great practical joker. At a memorable Royal Variety performance he even made a joke with the Queen. On being introduced to the Queen, Tommy Cooper asked the Queen.
“Do you mind if I ask you a personal question?”
“No, but I might not be able to give you a full answer.”
“Do you like football?”
“Well, not really.”
“Can I have your Cup Final tickets?”
He had a wonderfully inventive mind, with the ability to turn any situation to comic effect. One time he son was caught stealing something from Woolworth’s. On being brought home Tommy Cooper maintained an absolute silence. Eventually he pulled his son to one side and said in a very serious voice.
“If you ever, ever steal again …. get me a packet of my favourite cigars.”
It was said his son never stole again.
Tommy Cooper was not without his vices, unfortunately he became more dependent on drink as his life progressed. Also whilst under the heavy influence of alcohol he sometimes behaved in a violent way towards his wife. Gwen wry noted that Brandy didn’t bring the best out in people. However after his first serious health scare his behaviour improved. Despite arguments and fights and an affair,r Gwen still appreciated her husbands many good qualities she said of him
“He was the nicest, kindest – and most awkward – man in the world.”
Tommy Cooper died, perhaps appropriately, whilst in the middle of a live TV performance. It was on April 15, 1984, during a Royal variety performance when he collapsed from a massive heart attack halfway through his act. Initially people thought it was part of his act, but it was soon realised he was genuinely ill. Despite attempts to revive him, he died later in hospital.
Citation : Pettinger, Tejvan . "Biography of Tommy Cooper", Oxford, www.biographyonline.net , 25th Feb. 2008
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What is the two-word name of Llandudno’s large limestone headland? | Died Onstage : snopes.com
Died Onstage
Died Onstage
A quick romp through a list of various deaths that took place either onstage or in front of the cameras.
Claim: Several actors have kicked the bucket in front of an audience.
Status: True.
Long part of the canon of contemporary lore is the tale of
an unfortunate actor who expires on stage, his adoring audience unaware of his sudden deceasement because they think his collapse part of the show — while they clap and cheer at the brilliance of his death scene performance, unknown to them he is gasping his last.
What follows is a quick romp through a growing list of those who died in the blaze of the footlights or on camera, or who were rumored to have met the Grim Reaper while treading the boards. At least one thespian death actually does match the legend (see if you can find it).
Sports figures are not included in this compilation, even though a great many of them have expired while doing their thing as the public watched.
Moliere (died 21 February 1673)
This French playwright and actor-manager collapsed during the fourth performance of his newly penned Le Malade Imaginaire (The Hypochondriac). Overwhelmed by a coughing fit, he was carried to his home in the Rue de Richelieu, Paris, where he died.
Felix Mottl (died 2 July 1911)
This Austrian conductor died in Munich at the age of 55 while conducting
Act II
of Wagner's Tristan and Isolde.
Alexander Woolcott (died 23 January 1943)
During a radio show (a round table discussion with four others on Hitlerism), Woolcott suffered a heart attack at
7:15 p.m.
and died in hospital four hours later. Hundreds of people tuned into the show were unaware anything was amiss. Indeed, listeners reported that the writer, known for his incisive and sometimes stinging comments, seemed to have taken less than his usual part in the broadcast.
Johnny Ace (died 25 December 1954)
Rhythm and blues recording star Johnny Ace died during a show he was giving in Houston, but did so offstage. During a five minute break, the singer was amusing himself with a game of Russian Roulette (one bullet in the chamber). He lost.
Tyrone Power (died 15 November 1958)
Tyrone Power suffered a heart attack during the filming of a fencing scene in Solomon and Sheba in Madrid, Spain. He died only minutes after being loaded into an ambulance.
Harry Einstein (died 24 November 1958)
As famed comedian Parkyakarkus, Harry Einstein expired while performing at a Friars Club roast for Lucille Ball and Desi Arnaz. He collapsed onto Milton Berle's shoulder.
Eduard van Beinum (died 13 April 1959)
Chief conductor at the Royal Concertgebouw in Amsterdam, van Beinum was taken ill after rehearsing the first two movements of a Brahms symphony, and died immediately after stepping off the podium aged 58.
Leonard Warren (died 4 March 1960)
Just after he completed his second-act aria in Verdi's La Forza del Destino (The Force of Destiny) at the New York's Metropolitan Opera, Warren plunged face-forward onto the stage. The curtain was rung down, and it was announced a half hour later the singer had died of a massive stroke.
Paul Mantz (died 8 July 1965)
This aviation pioneer and legendary movie stunt pilot died in Yuma, Arizona, during the filming of The Flight Of The Phoenix. As three motion picture cameras ground away, his plane hit a small sand dune, overturned and disintegrated. Though semi-retired from stunt work, Mantz was covering for his partner, Frank Tallman, who'd six weeks earlier broken his leg pushing his son's
go-cart.
Nelson Eddy (died 6 March 1967)
This famous actor and singer suffered a fatal stroke while performing onstage at the Doral Country Club in Miami at age 65. He died in hospital the next day.
Joseph Keilberth (died 20 July 1968)
This 60-year-old conductor died at the National Theatre in Munich while leading Tristan and Isolde.
George Ostroska (died January 1970)
While playing the lead in Macbeth at the Crawford Livingston Theatre in
St. Paul,
Minnesota, Ostroska dropped dead of a heart attack at the beginning of the second act. He was 32.
David Burns (died March 12 1971)
This 70-year-old actor died onstage of a heart attack during a performance of 70 Girls 70 in Philadelphia.
Jerome Rodale (died 5 June 1971)
In a New York Times Magazine interview, this 72-year-old longevity guru announced, "I'm going to live to be 100, unless I'm run down by a sugar-crazed taxi driver." A guest on the Dick Cavett Show the next day, while Cavett was discussing politics with journalist Pete Hamill, Rodale's head dropped to his chest and he was heard to let out what sounded like a snore. "Are we boring you,
Mr. Rodale?"
asked Cavett. There was no response — Rodale was dead. The show was never broadcast.
Leslie Harvey (died 3 May 1972)
The lead guitarist of the Glasgow band Stone the Crows died after being electrocuted onstage at Swansea's Top Rank Ballroom.
Irene Ryan (died 26 April 1973)
Best known as "Granny" on TV's Beverly Hillbillies, this spritely 71-year-old suffered a stroke while performing in the Broadway musical Pippin and died six weeks later.
Carl Barnett (died 23 April 1974)
This 59-year-old expired of a heart attack while conducting Bach's Come, Sweet Death at the Will Rogers High School in Tulsa. It was his first and last performance of that piece.
Chris Chubbuck (died 15 July 1974)
After surprisingly opening her morning community affairs talk show with a newscast, this 30-year-old reporter announced, "In keeping with
Channel 40's
policy of bringing you the latest in blood and guts and in living color, you are going to see another first — attempted suicide." She then drew a revolver and shot herself in the head. Chubbuck expired
14 hours
later in a hospital.
Sid James (died 26 April 1976)
Best known for his Carry On roles, the grand old man of dirty laughter collapsed onstage at the Sunderland Empire during a performance of The Mating Game and died in hospital shortly thereafter. He'd suffered a heart attack.
Cyril Ritchard (died 19 December 1977)
This 83-year-old actor suffered a heart attack during a
25 November
1977 performance in Chicago of the musical Side By Side, causing him to slip into a coma from which he never recovered.
Karl Wallenda (died 22 March 1978)
This famed aerialist died at age 73 while attempting to walk a wire suspended
123 feet
in the air between two hotels in
San Juan,
Puerto Rico.
Bill Stewart (died 20 June 1979)
While attempting to film war destruction in Nicaragua, this ABC television news correspondent and his interpreter, Juan Espinosa, were executed by a National Guard soldier. Surviving members of the ABC crew managed to catch the murder on tape, and the footage was later shown on news broadcasts.
Arnold Soboloff (died 28 October 1979)
This 48-year-old actor suffered a heart attack during a New York City performance of Peter Pan.
Vic Morrow (died 23 July 1982)
In Hollywood's most infamous on-set tragedy, Vic Morrow and two child actors in Twilight Zone, The Movie were killed when struck by a helicopter during the late-night filming of a mock Vietnam battle scene in Valencia, California. All exposed film was immediately seized, but some eventually made its way into the 1992 compilation film Death
Scenes 2
.
Jackie Wilson (died 23 January 1984)
Eight years after collapsing on stage during a performance and slipping into a coma, this singer died. He'd been felled in Cherry Hill, N.J. on
25 September
1975 while touring with Dick Clark's touring rock-'n'-roll revival. Though Wilson emerged from the coma a year later, treatment in medical facilities failed to restore his health.
Tommy Cooper (died 15 April 1984)
Known as the fez-wearing magician whose tricks always seemed to go wrong, this British comedian suffered a heart attack during a televised performance. Given the usual nature of his act, the audience took some time to realize that this really wasn't part of it. He died later in hospital.
Eric Morecambe (died 29 May 1984)
This half of Britain's Morecambe and Wise comedy team died in hospital the day after suffering a heart attack during a curtain call of a performance in Tewkesbury, Gloucestershire. He was 58 years old.
Jon-Erik Hexum (died 12 October 1984)
Hexum died of a gunshot wound after he accidentally shot himself in the head with a .44-caliber magnum pistol loaded with blanks while on the set of the TV series Cover-Up. Wadding from the blank cartridge had been driven into his skull. Hexum was replaced in the series by Antony Hamilton, but the show didn't last all that long, running only from
22 September
1985 before being canceled.
Yoshiuki Takada (died 10 September 1985)
The Sankai Juku Dance Company of Toyko had been performing The Dance Of Birth And Death on the side of Seattle's Mutual Life building when Takada's rope broke and he plunged six stories to his death. The film of his demise was shown on the nightly news.
Jane Dornacker (died 22 October 1986)
Millions heard the final broadcast of this traffic reporter for WNBC radio in New York City as the helicopter she was in crashed into the Hudson River. She died on the way to the hospital. The pilot survived. This was Dornacker's second helicopter crash that year.
Edith Webster (died 22 November 1986)
After singing several choruses of "Please Don't Talk About Me When I'm Gone" during a performance of The Drunkard, this 60-year-old actress collapsed on stage for her scripted death scene and suffered an unscripted fatal heart attack. She was pronounced dead at the hospital.
Nancy McCormick (died 25 November 1986)
This Cincinnati reporter for radio station WKRC was killed along with the pilot in the crash of the station's helicopter. She was not broadcasting at the time.
R. Budd Dwyer (died 22 January 1987)
This Pennsylvania state treasurer staged the best-known televised suicide. About to be sentenced on charges of conspiracy, mail fraud, perjury, and racketeering for taking a $300,000 kickback on a state computer contract, Dwyer convened a press conference in his office. While the film rolled, he handed out a twenty-page press statement, made a few remarks, then placed the barrel of a
.357 revolver
in his mouth and pulled the trigger. The tape was shown on the nightly news.
Dick Shawn (died 18 April 1987)
While giving a comedy performance at the UC San Diego campus, Shawn fell and struck his head on the stage. The comedian lay there for nearly five minutes before the audience realized it was not part of his act and an ambulance was called. He died forty-five minutes later in hospital, apparently of a heart attack.
Warne Marsh (died 18 December 1987)
This jazz saxophonist died of heart attack after collapsing onstage while giving a performance at Donte's in North Hollywood. According to another member of the quartet, Marsh "just slipped off his stool." He was pronounced dead at the hospital.
Brian Jewell (died 20 October 1990)
Thrill seekers on "haunted hayride" in New Jersey got more of a thrill than they'd bargained for when it was discovered the teen playing the part of the hanged man was the real thing. The stunt had gone fatally wrong.
William Anthony Odom (died 26 October 1990)
This North Carolina 15-year-old who'd been staging a gallows scene at a Halloween party accidentally hanged himself when the noose somehow tightened.
Joseph Burrus (died 30 October 1990)
An amateur magician and resident of Fresno, California, Burrus came up with an escape stunt that would have done his idol Houdini proud — he'd be bound, confined in a plastic coffin, then buried under seven tons of soil and concrete. Handcuffed and chained, he was lowered into the hole. Assistants shoveled three feet of soil onto the casket, then a truck poured concrete into the hole. As they were topping up the cement, the level suddenly dropped eighteen inches. Fifteen minutes of excavating later, rescuers reached Burrus, but it was too late — he'd been crushed.
Redd Foxx (died 11 October 1991)
Actor/comedian Redd Foxx underwent a heart attack on the set of The Royal Family, a new sitcom he was to appear in. Best known for his curmudgeonly role in Sanford and Son, this time it really was the big one, Elizabeth.
Brandon Lee (died 31 March 1993)
A stunt gone wrong during the filming of The Crow cost the son of Bruce Lee his life. A blank fired from a
.44 magnum
revolver felled him. He died hours later in hospital. The metal tip of one of the dummy bullets had somehow pulled loose from its brass casing. When the dummies were unloaded and replaced with blanks, the metal tip remained behind in the gun's cylinder. As soon as the blank went off, its explosive force propelled the dummy tip through the gun barrel — and into Lee's body.
Rumor to the contrary, footage of Lee's fatal accident is not included in The Crow.
Tip Tipping (died 6 February 1993)
While filming a segment for BBC's 999 (a show which dramatically reconstructs real-life narrow escapes), this veteran stuntman died when his main parachute and two reserves failed to open.
Jack Spector (died 8 March 1994)
This popular radio host suffered a fatal heart attack while broadcasting popular music on WHLI in Garden City, Long Island. Though he was rushed to the hospital, he was pronounced dead on arrival. The song playing at the time of his heart attack was I'm in the Mood For Love.
Crash Morgan (died 6 October 1995)
This drummer for the group Big Sugar died mid-number while performing in Waterloo, Iowa. He was 36.
Daniel McLain (died 8 November 1995)
Better known as Country Dick Montana of the underground rock band The Beat Farmers, McLain expired on stage of a heart attack during a sold out performance at the Longhorn Saloon in Whistler, B.C.
Rob Harris (died 14 December 1995)
During the filming of a Mountain Dew commercial, this sky surfer's parachute failed to open and he plunged to his death. Despite rumors to the contrary, though the finished commercial contains some footage of Harris, none comes from his final jump.
Richard Versalle (died 5 January 1996)
This 63-year-old tenor died onstage at New York's Metropolitan Opera immediately after delivering the line: "Too bad you can only live so long" in Janacek's The Makropulos Case. It was the first performance and Versalle, who was playing the legal clerk Vitek alongside Jessye Norman, climbed a
20 ft
ladder to file a legal brief, but had a heart attack and plunged to the ground. Janacek's opera is about the secret of eternal life.
Johnny "Guitar" Watson (died 17 May 1996)
While performing at Yokohama's Blues Cafe, this 61-year-old rhythm and blues legend suffered a heart attack. He was pronounced dead upon arrival at the hospital.
Herbert Khaury aka "Tiny Tim" (died 30 November 1996)
Performing at a Minneapolis fund raiser, Tiny Tim cut short his rendition of "Tiptoe Through The Tulips." Turning to leave the stage, he was felled by a heart attack and was pronounced dead on arrival at the hospital.
Gordon Williams (died 25 April 1997)
This 63-year-old British magician died on stage during a charity show in Sheffield, Yorks.
Antony Wheeler (died 17 August 1997)
Playing Judas in a Greek production of Jesus Christ Superstar, Wheeler's performance was supposed to conclude with Judas hanging himself, a stunt he'd successfully negotiated
20 previous
times. This time he forgot to fasten the rope to his safety harness.
Antario Teodoro Filho (died 2 January 1998)
During a live show, this Brazilian radio presenter and local politician was shot dead by a gunman who burst into the studio. He was hit by
10 bullets
Owen Hart (died 23 May 1999)
This professional wrestler lost his life when he fell from a height of
90 feet
as he was being lowered into the ring for the "Over the Edge" sports entertainment event in Kansas City, Missouri.
Mark Sandman (died 5 July 1999)
Lead singer of the Boston-based rock band Morphine, 47-year-old Mark Sandman collapsed on stage during a concert in Rome. He had suffered a heart attack and was pronounced dead in the ambulance on the way to the hospital.
Grover Washington Jr. (died 17 December 1999)
This jazz saxophonist and composer suffered a heart attack and collapsed after taping four songs that Friday evening for The Saturday Early Show on CBS. He died in hospital in New York City.
Ron Watson (died 17 March 2000)
While putting on a magic show for a group of hospital patients at Tokoroa Hospital in
New Zealand,
"Uncle Ron the Magician" collapsed and was pronounced dead
45 minutes
later. The patients at first believed his crumpling onstage was part of the act.
Renato Di Paolo (died 22 April 2000)
Another actor playing Judas mistakenly hanged himself in Camerata Nuova, a town
45 miles
death was captured on film by someone shooting a video of the outdoor play.
James Tuozzolo (died 31 December 2000)
This principal trumpet player with the Greater Trenton Symphony Orchestra collapsed of a heart attack on stage just after performing a solo and died in hospital.
Giuseppe Sinopoli (died 20 April 2001)
This 54-year-old conductor collapsed and died of a heart attack in Berlin while conducting perhaps the most emotionally charged scene in Verdi's Aida.
John Ritter (died 11 September 2003)
During the taping of the TV sitcom 8 Simple Rules for Dating My Teenage Daughter, the 54-year-old actor was stricken by a previously undiagnosed heart problem. He died in hospital later that night.
Darrell Abbott (died 9 December 2004)
'Dimebag' Darrell Abbott, formerly of the metal act Pantera, was shot by a jilted fan while performing with his new group, Damageplan.
Barbara "curtain call" Mikkelson
Last updated: 20 January 2007
| i don't know |
In legend, who or what were said to be incapable of crossing a stream or river? | River Styx ***
The River Styx
River Styx - Hades, the Underworld
The place called Hades, the Underworld was the domain of the god Hades and other gods and goddesses associated with the inexplicable, such as death, sleep, witchcraft, ghosts, dreams and enchantments. According to Greek mythology the River Styx was a great black river that completely encircled the Underworld. The River Styx formed the boundary between Earth and the Underworld. The word 'stygian' came to refer to anything dark, dismal, and murky. Hades the Underworld consisted of different areas where the souls of dead mortals resided. The souls of mortals who had led good lives were sent to Elysium and the Elysian Fields (paradise) . The souls of mortals who had led both good and evil lives on earth were sent to endless toil in the Asphodel Meadows. Those evil mortals that had led sinful lives were confined in the dark depths of Tartarus , in the bowels of the earth where the souls of the wicked suffered endless torture. The River Styx was connected all of the places via four tributaries.
Picture of Charon the Ferryman and the River Styx
Map of the Underworld showing the location of River Styx
The name 'Styx' comes from a Greek word that denotes both hatred and extreme cold and it expresses loathing of death. The following picture of the imaginary Map of the Underworld provides an overview of the realm of the dead, and the location of River Styx and the and the other rivers of Hades.
Map of Hades, the Underworld and the tributaries of the River Styx
The River Styx & Charon in Greek Mythology
The River Styx had to be crossed to reach life after death and the only way to cross the River Styx was in a ferryboat rowed by a terrible old boatman named Charon. The boatman would only take a soul if their bodies had received funereal rites on earth. Charon the ferryman also demanded to be paid. The funeral rites of the Ancient Greeks therefore included placing a small coin or obolus under the tongue of a dead person for this purpose. An obolus was a small silver coin of Athens. A single coin buried with the dead and made of silver or gold was referred to as a danake or as Charon's obol. The coin to pay Charon for passage was also called 'naulum' from the Greek word meaning "boat fare". If these conditions had not been fulfilled, the souls were left behind to wander up and down the banks of the River Styx for 100 years as restless spirits.
The River Styx & Cerberus
Hades the Underworld was guarded by Cerberus the monstrous three-headed dog whose howls could be heard across the dark domain. Cerberus permitted all shades to enter, but none to return. The sight of the huge and monstrous Cerebus was the first to confront the souls of the dead when they alighted from the ferryman's boat following their journey across the River Styx.
Picture of the River Styx and Tartarus (Hell)
River Styx - The Five Rivers of Hades the Underworld
Five infernal rivers flowed through Hades the Underworld, each of them had a specific function and meaning. Four of the rivers were tributaries of the River Styx. The following chart defines each of the infernal rivers in the Underworld:
Mythical Facts about the River Styx & the other Rivers of Hades
Names of Rivers: Information and Facts about the Styx
River Styx: The River Styx (meaning Hateful and detestable) was a great black waterway that encircled Hades the Underworld . The Styx separated the world of the living on Earth from the world of the dead in Hades. The Styx had to be crossed to reach life after death. The only way to cross the Styx was in a ferryboat rowed by a terrible old boatman named Charon . The Styx was said to be filled with lost hopes, dreams and wishes that never came true.
River Phlegethon: The River Phlegethon (meaning flaming) was the river around Tartarus (Hell) . The waves of the Phlegethon rolled flames of fire, and lit up, with their vivid glare, the appalling realm of Tartarus. It was described as "a stream of fire, which coils round the earth and flows into the depths of Tartarus". Legend tells that the Phlegethon flowed with fire that burned but did not consume fuel, some say it was made of boiling blood.
River Acheron: The Acheron (meaning the river of woe or sorrow) was also known as the River of Pain that flowed from the Styx and believed to carry pains intended for mortals back to earth. It also carried the good souls from the Underworld that were sent back to earth after 1000 years to be reincarnated as mortals. The ferryman Charon was tasked with taking souls across the Acheron.
River Lethe: The worthy souls of the dead had to drink from the River Lethe (meaning oblivion & forgetfulness) which made them forget all they had done and suffered when they were living on earth. Lethe was also the name of the Greek spirit of forgetfulness and oblivion, with whom the waters was often identified.
River Cocytus: The souls that had committed a terrible sin in a moment of passion but had lived in repentance for the rest of their mortal lives were sent to Tartarus. But after one year suffering the torments of hell were sent down the Cocytus (meaning lamentation or the 'river of wailing') to face a further judgement. The souls of the unburied dead were said to wander along its marshy banks
Mythical Facts about the River Styx & the other Rivers of Hades
River Styx
Interesting information and Facts about River Styx and its inhabitants
Legends in Greek Mythology associated with River Styx
Facts and information about the Ancient World for schools and kids
Greek mythology and legends about River Styx
| Witchcraft |
In 1985, which funny man was the first UK citizen to make a mobile phone call? | River Styx ***
The River Styx
River Styx - Hades, the Underworld
The place called Hades, the Underworld was the domain of the god Hades and other gods and goddesses associated with the inexplicable, such as death, sleep, witchcraft, ghosts, dreams and enchantments. According to Greek mythology the River Styx was a great black river that completely encircled the Underworld. The River Styx formed the boundary between Earth and the Underworld. The word 'stygian' came to refer to anything dark, dismal, and murky. Hades the Underworld consisted of different areas where the souls of dead mortals resided. The souls of mortals who had led good lives were sent to Elysium and the Elysian Fields (paradise) . The souls of mortals who had led both good and evil lives on earth were sent to endless toil in the Asphodel Meadows. Those evil mortals that had led sinful lives were confined in the dark depths of Tartarus , in the bowels of the earth where the souls of the wicked suffered endless torture. The River Styx was connected all of the places via four tributaries.
Picture of Charon the Ferryman and the River Styx
Map of the Underworld showing the location of River Styx
The name 'Styx' comes from a Greek word that denotes both hatred and extreme cold and it expresses loathing of death. The following picture of the imaginary Map of the Underworld provides an overview of the realm of the dead, and the location of River Styx and the and the other rivers of Hades.
Map of Hades, the Underworld and the tributaries of the River Styx
The River Styx & Charon in Greek Mythology
The River Styx had to be crossed to reach life after death and the only way to cross the River Styx was in a ferryboat rowed by a terrible old boatman named Charon. The boatman would only take a soul if their bodies had received funereal rites on earth. Charon the ferryman also demanded to be paid. The funeral rites of the Ancient Greeks therefore included placing a small coin or obolus under the tongue of a dead person for this purpose. An obolus was a small silver coin of Athens. A single coin buried with the dead and made of silver or gold was referred to as a danake or as Charon's obol. The coin to pay Charon for passage was also called 'naulum' from the Greek word meaning "boat fare". If these conditions had not been fulfilled, the souls were left behind to wander up and down the banks of the River Styx for 100 years as restless spirits.
The River Styx & Cerberus
Hades the Underworld was guarded by Cerberus the monstrous three-headed dog whose howls could be heard across the dark domain. Cerberus permitted all shades to enter, but none to return. The sight of the huge and monstrous Cerebus was the first to confront the souls of the dead when they alighted from the ferryman's boat following their journey across the River Styx.
Picture of the River Styx and Tartarus (Hell)
River Styx - The Five Rivers of Hades the Underworld
Five infernal rivers flowed through Hades the Underworld, each of them had a specific function and meaning. Four of the rivers were tributaries of the River Styx. The following chart defines each of the infernal rivers in the Underworld:
Mythical Facts about the River Styx & the other Rivers of Hades
Names of Rivers: Information and Facts about the Styx
River Styx: The River Styx (meaning Hateful and detestable) was a great black waterway that encircled Hades the Underworld . The Styx separated the world of the living on Earth from the world of the dead in Hades. The Styx had to be crossed to reach life after death. The only way to cross the Styx was in a ferryboat rowed by a terrible old boatman named Charon . The Styx was said to be filled with lost hopes, dreams and wishes that never came true.
River Phlegethon: The River Phlegethon (meaning flaming) was the river around Tartarus (Hell) . The waves of the Phlegethon rolled flames of fire, and lit up, with their vivid glare, the appalling realm of Tartarus. It was described as "a stream of fire, which coils round the earth and flows into the depths of Tartarus". Legend tells that the Phlegethon flowed with fire that burned but did not consume fuel, some say it was made of boiling blood.
River Acheron: The Acheron (meaning the river of woe or sorrow) was also known as the River of Pain that flowed from the Styx and believed to carry pains intended for mortals back to earth. It also carried the good souls from the Underworld that were sent back to earth after 1000 years to be reincarnated as mortals. The ferryman Charon was tasked with taking souls across the Acheron.
River Lethe: The worthy souls of the dead had to drink from the River Lethe (meaning oblivion & forgetfulness) which made them forget all they had done and suffered when they were living on earth. Lethe was also the name of the Greek spirit of forgetfulness and oblivion, with whom the waters was often identified.
River Cocytus: The souls that had committed a terrible sin in a moment of passion but had lived in repentance for the rest of their mortal lives were sent to Tartarus. But after one year suffering the torments of hell were sent down the Cocytus (meaning lamentation or the 'river of wailing') to face a further judgement. The souls of the unburied dead were said to wander along its marshy banks
Mythical Facts about the River Styx & the other Rivers of Hades
River Styx
Interesting information and Facts about River Styx and its inhabitants
Legends in Greek Mythology associated with River Styx
Facts and information about the Ancient World for schools and kids
Greek mythology and legends about River Styx
| i don't know |
Which city is at the northern end of the Suez Canal? | Google Map of Suez, Egypt - Nations Online Project
Egypt .
Suez is situated at the southern entrance of the Suez Canal, where the canal leads into the Gulf of Suez, the northern end of the Red Sea.
The Suez Canal is an artificial waterway that transits through Egypt and opens out into the Mediterranean Sea near Port Said . The port of Suez with its extensive port facilities serves ships and vessels traveling to and from the canal.
Port Suez has a population of about half a million people. Official language is Arabic.
The city is also an important port for Muslim pilgrims en route to undertake their Hajj to Mecca in Saudi Arabia .
The Map shows a city map of Suez with expressways and main roads, and the southern terminus of the Suez Canal.
To find a location type: street or place, city, optional: state, country.
Local Time Suez:
Standard time zone is Eastern European Time (EET): UTC / GMT +2 hours
Egypt does not observe Daylight Saving Time (DST) since 2011
φ Latitude, λ Longitude (of Map center; move the map to see coordinates):
,
Google Map: Searchable Map of the City of Suez, Egypt.
City Coordinates: 29°58′N 32°33′E
| Port Said |
Which Hollywood star died of a drug overdose in June 1969, aged 47? | Suez Canal, Port Said : Image of the Day
News & Notes
acquired June 10, 2015 download large image (2 MB, JPEG, 2464x1640)
Using a powerful lens, an astronaut aboard the International Space Station photographed the north end of the Suez Canal, along with the city centers and port facilities of Port Said and Port Fuad. Local ship traffic takes on and discharges cargo at the angular shaped docks. A long breakwater protects ships in canal from the prevailing westerly winds and waves that blow across the canal entrance. Muddy, light-brown water from the Nile delta banks up against the west side of the breakwater.
Both ports lie on the west fork of the canal. The east fork was specifically built to allow ships on long hauls—typically between Europe and Asia, via the Mediterranean Sea—to avoid congestion at the west-fork ports. In 2014, Egypt announced plans to ease congestion by digging another canal parallel to the present one; canal tolls provide much needed foreign exchange for Egypt. Current plans only include a parallel canal along half pf the 160 kilometer (100 mile) length.
Related Images
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Who had a hit with ‘Raining in My Heart’ in 1959? | Raining in My Heart - Buddy Holly | Song Info | AllMusic
Raining in My Heart
google+
Song Review by Richie Unterberger
Toward the very end of his life, Buddy Holly started to incorporate strings into some of his recordings, on some material that was more pop-oriented than anything he'd previously done. With his premature death in early 1959, this has excited speculation and arguments among his fans ever since, as to whether this portended an eclectic experimentalism that would have seen his genius expand in unexpected directions, or a gradual sellout to diluted mainstream pop. Regardless of how that unanswerable question is resolved, it's undeniable that "Raining in My Heart" is one of his poppiest recordings, and one in which string arrangements play a huge role. Released as the B-side of his hit "It Doesn't Matter Anymore," "Raining in My Heart" was written by the team of Boudleaux Bryant and Felice Bryant, who were responsible for penning many of the Everly Brothers' hits. Certainly the strings on "Raining in My Heart" verge toward the over-the-top in their melodrama, swooping downwards at the point in the tune where Buddy announces it's raining in my heart. As has often been noticed, the pluck-plucks of the strings at various points mimic the pitter-patter of actual raindrops. Arguably, then, "Raining in My Heart" is overdone, some might say smothered, by the orchestration. But at its heart is a pretty solid bittersweet country-pop tune, delivered with a sunny-sad taste by Holly rather at odds with the background setting. One does wish it might have done as a relatively straightforward pop-rock ballad with acoustic guitars, either by Holly or someone like the Everly Brothers. The song was revived with some success by Leo Sayer, who took it almost into the British Top Twenty in 1978. The Buddy Holly track "Raining in My Heart," incidentally, is an entirely different song from bluesman Slim Harpo's "Raining in My Heart," which made the Top Forty in 1961 and was covered by the Pretty Things.
Appears On
| Buddy Holly |
What are fan-tan and faro? | Raining in My Heart (A Tribute to Buddy Holly)
Raining in My Heart (A Tribute to Buddy Holly)
Updated on January 9, 2016
Source
It has been raining here almost continuously for 24 hours and the weather bureau predicts even heavier rainfall tomorrow. For some reason, my mind wandered to the Buddy Holly song "Raining in My Heart". I found it on YouTube and had a listen, now I can't get it out of my head. I took it as a sign to write an acrostic poem using the letters of the words of the song title and ultimately to write an entire tribute hub to Buddy Holly.
Buddy Holly 1957 | Source
The Buddy Holly Story
Charles Hardin Holley was born on September 7, 1936 in Lubbock, Texas. He was the fourth and youngest child in his family and was nicknamed "Buddy" by his mother, who felt that his given name, Charles, was too big for her little boy. "Holly," the altered form of his last name, would later result from a misspelling in his first recording contract.
Buddy's parents were very supportive of their son's musical talents and arranged for him to learn piano and fiddle at a young age. His older brothers taught him the basics of the guitar.
Even at an early age it was obvious he had higher ambitions. A preacher at the local church once asked him, "What would you do if you had $10?" Buddy reportedly answered, "If I had $10, I wouldn't be here."
Buddy's parents were very supportive of their son's musical talents, giving him song ideas and encouragement.
Buddy fell in love with Elvis and we began to change. The next day we became Elvis clones
— Sonny Curtis
Elvis Presley 1955 | Source
The Crickets: Jerry Allison, Buddy Holly, Joe B. Mauldin | Source
After high school, Holly formed a band, Buddy and Bob, playing country and western songs regularly on the local radio station. They frequently opened for more prominent national acts touring through the town. The band's opening for Elvis Presley in 1955 was a crucial turning point for the singer. "When Elvis came along," one of the band members, Sonny Curtis, recalls, "Buddy fell in love with Elvis and we began to change. The next day we became Elvis clones." Although the bespectacled, bow-tied youth lacked Elvis's natural sex appeal, Buddy Holly's conversion from country to rock 'n' roll was soon noticed by a talent scout who saw his act at a skating rink and signed him to a contract.
In 1956, Holly and his band began recording in Nashville under the name Buddy Holly and the Three Tunes, but the group's line-up later changed and so did the name of the band to “The Crickets.” Holly wrote and recorded his breakthrough hit, "That'll Be the Day," with The Crickets in 1957. The song's title is a reference to a line uttered by John Wayne in the 1956 film The Searchers. Between August 1957 and August 1958, Buddy Holly and the Crickets charted seven different Top 40 singles. "That'll Be the Day" topped the U.S. chart exactly 500 days before Holly's untimely death.
He was joined on this flight by fellow performers Ritchie Valens and The Big Bopper
BBC On This Day: 3rd February 1959
Buddy Holly Killed in Plane Crash
"Three young rock 'n' roll stars have been killed in a plane crash in the United States.
Buddy Holly, 22, Jiles P Richardson - known as the Big Bopper - 28, and Ritchie Valens, 17, died in a crash shortly after take-off from Clear Lake, Iowa at 0100 local time.
The pilot of the single-engined Beechcraft Bonanza plane was also killed.
Early reports from the scene suggest the aircraft spun out of control during a light snowstorm."
Buy Now
Buddy Holly's death was immortalized by Don McLean in his legendary song "American Pie" with the words "the day the music died." Holly's music never died though, despite the singer's tragic and untimely death. Due to the continued popularity of his music and film adaptations of his life's story, Holly's distinctive geeky looks and horn-rimmed glasses are easily recognizable today.
Though his professional career spanned just there short years, Buddy Holly recorded over 35 original songs as well as covers of many songs by others who inspired him (78 songs that I can count in total) on seven albums, most released after his death. A compilation called "Not Fade Away: the complete studio recordings and more" released in 2008 in fact features 203 tracks. His songs influenced the likes of Elvis Costello and Bob Dylan. The Rolling Stones’ first Top 10 single in 1964 was a cover of Holly's "Not Fade Away." Many other artists have released covers of Holly's songs including Anne Murray and Leo Sayer doing versions of "Raining In My Heart", the latter's being quite a hit in 1971. The Beatles actually chose their name as homage to The Crickets, and Paul McCartney has since purchased Holly's publishing rights.
(references: www.biography.com; en.wikipedia.org)
Two Poems, Not One
I tried to write an acrostic poem using only the titles of songs that Buddy Holly had performed. It was much more difficult than expected and although I managed to complete it, I wasn't happy with the flow. Being limited by only song titles really restricted me. Nevertheless, I have included it here. However, I decided to write another one in rhyme, and still acrostic, but not confined by the names of his songs. I have included it in this hub as well, but I'm not 100% happy with it either. Please tell me which you prefer. I may continue to work on both and try to improve them.
Source
Raining in My Heart (a Free Verse Acrostic Poem)
Raining in my heart,
| i don't know |
What is the Swahili word for journey? | BBC - Languages - Swahili - A Guide to Swahili - 10 facts about the Swahili language
A Guide to Swahili
A Guide to Swahili - 10 facts about the Swahili language
Check the Swahili-only version
1. Where is Swahili spoken?
Swahili has official language status in Tanzania and Kenya and is also widely spoken in Uganda, the Democratic Republic of Congo and the Comoros Islands. It’s also spoken by smaller numbers in Burundi, Rwanda, Northern Zambia, Malawi and Mozambique.
The word for the Swahili language is
Kiswahili. The name comes from the plural sawahili of the Arabic word sahil, which means boundaries or coast. With ki- at the beginning of the word, Kiswahili means coastal language.
2. What you already know about Swahili
Other than Arabic, Swahili has been influenced and taken some words from English, for example:
polisi, police
redio, radio
The word
safari means journey in Swahili. In English it means an expedition to observe, hunt animals in their natural habitats e.g. National Parks in Africa or even Australia. The word
chai means tea.
3. How hard is it to learn?
Swahili is said to be the easiest African language for an English speaker to learn. It’s one of the few sub-Saharan African languages that have no lexical tone, just like in English. It’s also much easier to read as you read out Swahili words just the way they are written.
Someone who speaks Arabic may find it easier to learn Swahili because Swahili is a combination of words from Arabic and the Bantu-speaking communities of East Africa.
One of the main differences with English is that Swahili uses particles at the beginning of the word to indicate verb tense (present, past, future) and person (I, you, we, they, etc).
For example, from the verb
kwenda, to go, I am going is
nina-kwenda. Ni indicates I and na the present tense. The main pronoun prefixes are:
Ni, I - singular
4. The most difficult words and tongue twisters
Wale wari wa Liwale wala wali wa Liwali
Those from Liwale eat the rice of chief Liwale
(Here Liwale is both a district in Tanzania and the name of a chief).
Mjomba mjomba kamchapa mkia wa komba
Uncle beats someone with a tail of a bush baby.
Kichwa cha twiga.
Mpishi mbishi kapika mchicha mbichi.
A chef has cooked spinach that turned out undercooked.
Kipikikusikitishacho?
Kikusikitishacho is the longest word in Swahili. It is not a word that can stand on its own, but when combined with
kipi means What’s bugging you?
5. Know any good Swahili jokes?
Mtoto alitumwa gazeti la tarehe nane (8), akaenda kwa muuza magazeti kununua gazeti lakini alipofika alikuta gazeti la tarehe nane hakuna kwa hiyo akachukua magazeti ya tarehe nne (4) mawili.
A kid was told to go buy a newspaper dated 8th. The kid went to the magazine stand but a newspaper on that date wasn’t available anymore so he took two magazines dated 4th.
6. If I learn Swahili, will it help me with any other languages?
Around 35% of the Swahili vocabulary comes from Arabic. This is due to more than twelve centuries of contact with Arabic-speaking inhabitants of the coast of Zanj. Swahili has also gained Persian, English, Portuguese, German and French words through contact during the last five centuries.
Swahili is becoming the lingua franca of East Africa and many parts of Central Africa, which is another useful reason to learn some.
7. What not to say and do
One word which can lead to confusion depending on the way you pronounce it is
barabara - it can mean either a road if you just ease up your tongue or exactly if you're strong on the r:
barabara.
Some words have different meanings, like
maziwa. It can refer to milk but sometimes Swahili speakers also use it as a word for breast. The most widely-used word for breast, however, is
matiti.
8. Famous idioms and proverbs
Hakuna matata is the most popular quote and means no worries. The phrase gained international recognition after it was used in the animated movie The Lion King.
Swahili proverbs known as
methali usually feature puns. They are often used in the lyrics of local musicians. Examples of some famous proverbs are:
Dalili ya mvua ni mawingu
Literal translation: Clouds are a sign of rain
Meaning: You can predict your success by watching for the right signs.
Hakuna masika yasiyokuwa na mbu
Literal translation: There isn't a rainy season without mosquitoes
Meaning: With anything good comes something that is bad.
Haraka haraka haina baraka
Wapiganapo tembo wawili ziumiazo nyasi
Literal translation: When two elephants fight it's the grass that gets hurt
Meaning: When the rich and powerful contend with each other it is the weak and powerless who pay the price.
9. First written records
Letters written in 1711 in the region of Kilwa are believed to be the first ever documents to be written in Swahili. These letters were sent to the Portuguese people of Mozambique, as well as local allies. The original copies of the letters are preserved in the Historical Archive of Goa in India.
An ancient document dated 1728 shows an epic poem called
Utendi wa Tambuka, History of Tambuka which is in Swahili, but written in the Arabic script. Due to the influence of European colonial rule, Latin script (the same script used in English and other European languages) is now used for writing Swahili.
10. How to be polite and show respect
If you need to ask anything, just start a sentence with the word
kwa meaning please. For example,
kwa hisani yako naomba kikombe cha chai, meaning Can I have a cup of tea please?
If you step on someone by mistake you can say
kumradhi or
| Safari |
A Cariocan is a native of which city? | Swahili phrasebook - Wikitravel
Swahili phrasebook
2.15 On safari
Swahili or Kiswahili, is an official language of Tanzania , Kenya (English is the official language the government of Kenya and is widely spoken in urban areas), the Democratic Republic of the Congo , and Uganda . Swahili speakers can also be found in surrounding countries, such as Burundi , Rwanda , and Mozambique . While only 5-10 million people speak Swahili as their first language, as a second language, there are over 50 million speakers, making it the most widely spoken African language in the world. As a part of the Bantu language family, Swahili is related to a variety of languages from Southern Africa to Central to West Africa. While some Bantu languages, like Xhosa and Zulu are click languages, Swahili does not use clicks, so pronunciation is generally not difficult for English speakers.
Vowels[ edit ]
Swahili has five vowels: a, e, i, o, u. If you are familiar with Spanish , Italian or Japanese , the vowels are pronounced the same. If not, they are pronounced:
A - ah (Like the "a" in "father")
E - eh (Like the "e" in "egg" )
I - ee (Like the "ee" in "see")
O - oh (Like the "o" in "dot" )
U - oo (Like the "oo" in "doom")
Vowels in Swahili always make the same sounds, even when combined with other vowels. There are no silent letters or diphthongs in Swahili, so vowels will always make the same sound, and it is important that you pronounce each vowel, even when one vowel follows another. For example, in the word "daawa" (lawsuit), you must say "dah-ah-wah", pronouncing both of the a's. Simply saying "dah-wah" (dawa) changes the meaning to "drug/medicine".
The following consonants are pronounced the same as in English:
b
Basics[ edit ]
Note that greetings in Swahili are very important and long and drawn out - you can go back and forth several times, using not one but all of the greetings you know.
Hello, how are you?. (to one person)
Hujambo (response: Sijambo: I am fine.)
Hello, how are you all. (to a group) : Hamjambo (response: Hatujambo, we're fine)
Hello to an older person or authority figure.
Shikamoo (shee-kah-moh) (response: Marahaba). Some people frown on the use of Shikamoo because it started out as a servant's greeting to his/her master.
Hello. (informal)
Sasa / Mambo / Jambo (generally said only to tourists). This is 'Sheng' or Swahili slang. Most locals are not impressed if you greet them using Sheng.
Response to informal hello
What time is it?
Saa ngapi?
In Swahili, the morning does not begin at midnight (12 AM); instead, it begins at 4:00 AM. Daytime revolves around the rising and setting of the sun, which typically begins to rise around 4 AM and set at 8 PM in the areas where Swahili is spoken. For English speakers, this can be confusing; however, those who learn how to tell time in Swahili will admit that it is more logical than the English system, in which midnight is considered "morning", even though no one begins their day at midnight.
To say the time in Swahili, you need to add (or subtract) 6 from the English time. 7:00 in America will be expressed as the first hour (1:00) in Swahili. AM is expressed with asubuhi (morning, 4.00 to 11.59) or usiku (night, midnight to 3.59) and PM is typically marked with mchana (daytime, noon to 7.59) or usiku (night, 8.00 to 11.59). Because the daytime begins at 4 AM, hours from midnight to 3.59 AM will be expressed with usiku, as these are nighttime hours in Swahili. Jioni (evening) can be used in place of mchana for last 2 hours of mchana, i.e. 6.00 PM to 7.59 PM.
1 o'clock AM
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What state is governed by the Bishop of Urgell and the President of France? | Andorra country profile - BBC News
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The tiny principality of Andorra is located in the high mountains of the Pyrenees between France and Spain.
The mainstay of the highly-prosperous economy is tourism, accounting for about 80% of GDP. An estimated 10 million people visit each year, drawn by winter sports, a warm summer climate and duty-free goods.
The country's banking sector enjoys partial tax-haven status.
For more than 700 years Andorra was ruled jointly by the leader of France and the Spanish Bishop of Urgell.
The first Andorran Constitution was passed in 1993, establishing parliamentary government. It then joined the United Nations and Council of Europe.
The co-princes remain Andorra's heads of state, but the roles are honorary.
Andorra is not a member of the EU, but enjoys a special relationship with it and uses the euro.
Major languages Catalan (official language), Spanish, French
Major religion Christianity
Life expectancy 81 years (men), 87 years (women)
Currency euro
Area 468 sq km (180.55 sq miles)
UN, World Bank
Getty Images
LEADERS
Co-heads of state: Joan Enric Vives i Sicilia, Bishop of Urgell, Spain, and President Francois Hollande of France
Head of government: Antoni Marti
Image copyright AFP/Getty Images
Antoni Marti took over as head of government after his Democrats for Andorra coalition heavily defeated the incumbent Social Democratic Party (PS) in an early parliamentary election in May 2011.
Mr Marti campaigned on a platform of opposing the introduction of an income tax proposed by Mr Cassany, but in June 2013 he bowed to European Union pressure and announced that Andorra would bring in personal income tax after all.
His predecessor, Jaume Bartumeu Cassany, had called the snap election when the opposition blocked the government's budget in parliament for the second year running.
MEDIA
The Andorran media scene is partly shaped by the proximity to France and Spain.
Andorrans have access to broadcasts from both countries, and for many years Andorra was home to Sud Radio, a powerful station broadcasting to southwest France.
There is a public service TV station, TVA, and Radio Nacional d'Andorra operates several radio stations.
TIMELINE
Some key dates in the history of Andorra:
AD 803 - Emperor Charlemagne recovers area of present-day Andorra from Moors and is said to grant charter to its residents. After Charlemagne's death Andorra is granted to Spain's Count of Urgell by Charles II, grandson of Charlemagne.
1133 - Count of Urgell cedes Andorra to bishop of Urgell.
Image copyright AFP/Getty Images
Image caption A view of Andorra's capital Andorra la Vella
1278 - Under terms of "pareage" agreement, Andorra adopts joint allegiance to a French and a Spanish prince after disputes between French heirs to the Urgel countship and the Spanish bishops of Urgell.
1419 - Elected body, Council of the Land, is established to deal with local issues.
1607 - French royal edict establishes French head of state and bishop of Urgell as co-princes.
1936-39 - French troops sent to protect Andorra from spillover from the Spanish Civil War.
1939-45 - Andorra is neutral during the Second World War, becomes important smuggling route from Vichy France into neutral Spain.
Image copyright AFP/Getty Images
Image caption The Bishop of Urgell in Spain (l) and the French president (r) are Andorra's co-princes and heads of state
1982 - First executive branch of government - "Govern" in Catalan - takes office. Its head is elected by Council of the Land.
1990 - Andorra signs customs union with EU.
1993 - First constitution adopted by referendum. Document reduces feudal powers of two princes. New executive, legislative and judicial arms of government are set up. Andorra joins United Nations. France, Spain establish embassies.
| Andorra |
In the 1977 film Demon Seed what takes over the house in which Julie Christie is trapped? | Andorra rulers with brief history and their coins
Guisad I....................................................940 � 981
Sal-la S/o Isarn............................................981 � 1010
He receives mention in some sixty-three surviving contemporary documents. As bishop, Sal-la dated documents by the reign of Hugh the Great. Although his episcopate largely preceded the Peace of God movement in Catalonia, his excommunication of high-ranking public figures during a church�state dispute in 991 anticipated it. He also pioneered feudal practices such as the granting of fiefs and was frequently "ahead of the feudalising wave".
Ermengol...................................................1010 � 1035
Saint Ermengol (also Armengol or Armengod) or Hermengaudius was the nephew and successor of the Bishop Sal-la and a member of the family of the counts of Conflent. He began his episcopate by reforming the cathedral canons, along the lines of the life of Saint Augustine of Hippo, and granting them land in Vallespir, Cerdanya, and Alt Urgell. In 1012, he travelled to Rome for an audience with Pope Benedict VIII, who confirmed the possessions of his bishopric and its jurisdiction, including over Ribagorza. In 1017, he consecrated Borrell as bishop of Roda and received recognition by that bishop of his superiority in the local hierarchy.
Eribau.....................................................1035 � 1040
Guillem Guifredo...........................................1040 � 1075
Bernat Guillermo...........................................1075 � 1092
Folc II of Cardona.........................................1092 � 1095
Guillem Arnau..............................................1092 � 1095
Ot.........................................................1095 � 1122
Pere Berenguer.............................................1122 � 1141
Bishopric of Urgel.........................................1133 - 1278
Bernat San�................................................1141 � 1162
Bernat Roger...............................................1162 � 1166
Arnau de Preixens..........................................1166 � 1195
Bernat de Castell�.........................................1195 � 1198
Bernat de Vilamur..........................................1198 � 1203
Pere de Puigvert...........................................1203 � 1230
Pon� de Vilamur............................................1230 � 1257
Abril P�rez Pel�ez.........................................1257 � 1269
Pere de Urtx (Pedro de Urg)................................1269 � 08 Sep 1278
Bishops of URGEL
Andorra was established on 08 Sep 1278 by the Treaty of Joint Suzerainty from Aragon between the Spanish Bishop of Urgel and the French Count of Foix, whose descendants inherited Navarre in 1479 and then France in 1589. This listing is designed to reflect this joint sovereignty.
Pere de Urtx i de Mataplana (continued).............08 Sep 1278 - 12 Jan 1293
...Counts of FOIX
...Roger Bernard III S/o Roger IV...................08 Sep 1278 - 03 Mar 1302
...He was the eldest son of Roger IV and Brunissenda of Cardona. Roger Bernard was the Count of Foix from 1265 to his death.
Guillem de Montcada i de Narbona....................19 Dec 1295 - 03 Nov 1308
...Counts of FOIX-B�arn
...Gaston I S/o Roger Bernard III...................03 Mar 1302 - 13 Dec 1315
Ram�n Trebaylla.....................................29 Jul 1309 - 12 May 1326
...Gaston II S/o Gaston I...........................13 Dec 1315 - 26 Sep 1343
Arnau Guillem de Llord� ............................27 Jun 1326 - 03 Oct 1341
Pere de Narbona i d'Illa-Jorda......................17 Dec 1341 - 1347
...Gaston III Phoebus S/o Gaston II.................26 Sep 1343 - 01 Aug 1391
Niccolo Capocci dei Monti...........................13 Jun 1348 - 17 Dec 1350
Hug� Desbach........................................25 Oct 1351 - 20 Feb 1361
Guillem Arnau de Patau..............................12 Jan 1362 - 29 Jun 1364
Pere de Luna........................................10 Feb 1365 - 1370
Berenguer D'Erill i de Pallars Sobir�...............20 Sep 1370 - 03 May 1387
Galcerand de Vilanova...............................11 Mar 1388 - 15 Apr 1415
...Matthew S/o Roger Bernard IV, Viscount of Castelbon.....1391 - 1396 d. 1398
Aragon............................................................1396
...Matthew (2nd time) S/o Roger Bernard IV.................1396 - Aug 1398
...Isabella (female) D/o Roger Bernard IV..................1398 - 1412 with...
...FOIX-GRAILLY
...Archibauld S/o Pierre II de Grailly......................1398 - 1412
...Jean I (John I) S/o Archibauld...........................1413 - 04 May 1436
Francesc de Tovia....................................15 Nov 1416 - 14 Apr 1436
...Gaston IV S/o Jean I..............................04 May 1436 - 25 Jul 1472
Arnau Roger de Pallars i d'Orcau.....................19 Jul 1437 - 16 Aug 1461
Miquel d'�pila.............................................1400s - 14 Dec 1957
He was in dispute over the See from till his death on 14 Dec 1457.
Jaume Francesc Folc de Cardona i d'Arag�.............23 Sep 1461 - 01 Dec 1466
From 18 Dec 1461, he was known as Cardenal de la Santa Romana Esgl�sia.
Roderic de Borja (Pope as Alexander VI 1492-1503)....27 Nov 1467 - 11 Dec 1472
Full name: Roderic de Borja i Escriv� Fenollet i Proixita. Pope Alexander VI, born Roderic Llan�ol i de Borja (Castilian Spanish: Rodrigo Lanzol; 01 January 1431 � 18 August 1503) was the head of the Catholic Church from 11 August 1492 to his death in 1503. He is one of the most controversial of the Renaissance popes, and his Italianized Valencian surname, Borgia, became a byword for libertinism and nepotism, which are traditionally considered as characterizing his papacy. However, his reputation is mostly drawn from his enemies, the Italian prelates and barons whose power he subverted. Two of Alexander's successors, Sixtus V and Urban VIII, described him as one of the most outstanding popes since St. Peter. His reputation rests more on his considerable skills as a diplomat, politician, and civil administrator rather than as a pastor, although regarding the latter he was no less effective than any of the other renaissance pontiffs.
...Francois Phoebus S/o Gaston, Prince of Viana......28 Jul 1472 - 07 Jan 1483
Pere Folc de Cardona.................................11 Dec 1472 - 08 Jan 1515
...Catherine (female) D/o Gaston, Prince of Viana....07 Jan 1483 - 25 Jul 1512
Aragon...............................................25 Jul 1512 - 23 Mar 1513
...Catherine (2nd time - female).....................23 Mar 1513 - 12 Feb 1517
...D' ALBRET
...Jean II (John II) S/o Alain I of Albret..........(1483-) 1512 - 14 Jun 1516
Joan d'Esp�s i Sescomes..............................18 Apr 1515 - 24 Oct 1530
...Henri I S/o Jean II...............................12 Feb 1517 - 25 May 1555
Pere Jordan de Urries................................15 May 1532 - 10 Jan 1533
Francesc de Urries...................................08 Jun 1534 - 26 Oct 1551
Joan Punyet, bisbe de Cirene.........................26 Oct 1551 - 22 Oct 1552
He was apostolic administrator.
Miquel Despuig i Vacarte.............................22 Oct 1552 - 13 Apr 1556
...Jeanne III (female) D/o Henri I...................25 May 1555 - 09 Jun 1572
...CAPET-BOURBON
...Antoine S/o Charles, Duke of Vend�me .............25 May 1555 - 17 Nov 1562
Joan P�rez Garc�a de Oliv�n..........................24 Apr 1556 - 23 Sep 1560
Pere de Castellet i d'Icart..........................08 Aug 1561 - 01 Feb 1571
...Henri III S/o Antoine.............................09 Jun 1572 - 14 May 1610
...He inherited the throne of Navarre in 1572 on the death of his mother and upon the assassinated of his childless cousin Henry III on 31 July 1589, became King of France as Henry IV on 02 Aug 1589.
Joan Dimes Lloris....................................09 Jun 1572 - 04 Jul 1576
Miquel Jeroni Morell.................................21 Feb 1578 - 23 Aug 1579
Hug� Ambr�s de Montcada i Cardona....................09 May 1580 - 08 Dec 1586
Full name: Hug� Ambr�s de Montcada i Cardona Tolca i Manrique de Lara.
Andreu Capella.......................................29 Jan 1588 - 22 Sep 1609
...Louis XIII (K. of Fra.) S/o Henry III (IV)........14 May 1610 - 14 May 1643
...He ruled as King of France from 1610 to 1643 and King of Navarre (as Louis II) from 14 May 1610 to 20 Oct 1620, when the crown of Navarre was merged to the French crown. Louis succeeded his father Henry IV as king of France and Navarre a few months before his ninth birthday. His mother, Marie de' Medici, acted as regent during Louis's minority. Mismanagement of the kingdom and ceaseless political intrigues by Marie de' Medici and her Italian favourites led the young king to take power in 1617 by exiling his mother and executing her followers, including Concino Concini, the most influential Italian at the French court.
Bernat de Salb� i de Salb�...........................26 May 1610 - 24 Feb 1620
Lu�s D�es Aux de Armend�riz i Saavedra...............08 Aug 1622 - 03 Jan 1627
Antoni P�rez.........................................17 May 1627 - 21 Feb 1632
Pau Duran............................................25 Oct 1634 - 12 Feb 1651
...Louis XIV (K. of Fra.) S/o Louis XIII.............14 May 1643 - 01 Sep 1715
...In the spring of 1643 (when Louis XIV was four years old), sensing imminent death, put his mother, Anne of Austria as sole regent until 1651. Louis began his personal rule of France in 1661 after the death of his chief minister, the Italian Cardinal Jules Mazarin. Mazarin served as France's chief minister from 1643 to 1661.
Joan Manuel de Espinosa..............................25 Oct 1655 - 26 Nov 1663
Melcior de Palau i Bosc�.............................23 Jun 1664 - 29 Apr 1670
Pere de Copons i de Teixidor.........................22 Dec 1670 - 16 Mar 1681
Joan Baptista Desbach i Martorell....................16 Feb 1682 - 16 Aug 1688
Oleguer de Montserrat i Rufet........................23 May 1689 - 19 Oct 1694
Francisco Juli�n Cano y Tovar (Thebar)...............04 Jul 1695 - 17 Jan 1714
Sime�n de Guinda y Ap�ztegui.........................17 Sep 1714 - 27 Aug 1737
...Louis XV (K. of Fra.) S/o Louis, La Petit Dauphin.01 Sep 1715 - 10 May 1774
...He succeeded his great-grandfather Louis XIV at the age of five as his father Louis, Grand Dauphin died on 18 Feb 1712 at the age of 29 (He was the eldest son of Louis, Dauphin of France. Until be became the official Dauphin of France upon his father's death on 14 Apr 1711 at the age of 49. He was known as Le Petit Dauphin to distinguish him from his father, who was known as le Grand Dauphin). Until he reached maturity in 1723, his kingdom was ruled by Philippe II, Duke of Orl�ans, his first cousin twice removed, as Regent of France. Cardinal Fleury (Andr�-Hercule de Fleury, Bishop of Fr�jus) was his chief minister from 1726 until the Cardinal's death in 1743, at which time the young king took over sole control of the kingdom.
Jordi Curado y Torreblanca M�ndez de Sotomayor.......05 May 1738 - 12 May 1747
Sebasti�n Josep de Victoria de Empar�n y de Loyola...15 May 1747 - 02 Oct 1756
Francisco Josep Catal�n de Oc�n......................06 May 1757 - 08 Sep 1762
Francisco Fern�ndez de X�tiva y Contreras............10 May 1763 - 22 Apr 1771
Joaqu�n de Santiy�n y Valdivielso....................07 Jan 1772 - 15 May 1779
...Louis XVI (K. of Fra.) S/o Louis, Dauphin.........10 May 1774 - 21 Sep 1792
...Louis, Dauphin of France (04 September 1729 � 20 December 1765) was the only surviving son of King Louis XV of France and his wife, Queen Marie Leszczyńska. Son of the king, Louis was styled Fils de France. As heir apparent, he became Dauphin of France. However, he died before ascending to the throne. Three of his sons became kings of France: Louis XVI, Louis XVIII and Charles X. Louis XVI (23 August 1754 � 21 January 1793) was King of France and Navarre from 1774 until 1791, after which he was subsequently King of the French from 1791 to 1792, before his deposition and execution during the French Revolution. Louis XVI was suspended 21 Jun - 14 Sep 1791 (controlled by National Constituent Assembly) and 10 Aug - 21 Sep 1792 (controlled by Presidents of the National Assembly).
Juan (Joan) de Garc�a y Montenegro...................27 Nov 1780 - 23 May 1783
Jos� (Josep) de Boltas i V�lez.......................31 Mar 1785 - 08 Dec 1795
Francisco Antonio de la Due�a y Cisneros.............29 Oct 1797 - 23 Sep 1816
He was born in Villanueva de la Fuente, Ciudad Real. He was a Spanish clergyman. Andorra was annexed to France from 26 Jan 1812 to 01 Dec 1813.
...Presidents of the National Convention.............21 Sep 1792 - 02 Nov 1795
...Presidents of the Executive Directory.............02 Nov 1795 - 10 Nov 1799
...Consular Executive Commission.....................11 Nov 1799 - 25 Dec 1799
...Napol�on Bonaparte (first consul).................25 Dec 1799 - 18 May 1804
...BONAPARTE
...Napoleon I Bonaparte (continued as Emp. of Fr.)...18 May 1804 - 11 Apr 1814
...President of the Provisional Government
...Charles Maurice de Talleyrand-P�rigord............03 Apr 1814 - 14 Apr 1814
...Lieutenant-general of the Kingdom
...Charles-Philippe de France, comte d'Artois........14 Apr 1814 - 02 May 1814
...He was known as prince de B�n�vent.
...CAPET-BOURBON
...Louis XVIII (K. of Fra.) S/o Louis, Dauphin.......02 May 1814 - 19 Mar 1815
...BONAPARTE
...Napoleon I Bonaparte (2nd time)...................13 Mar 1815 - 22 Jun 1815
...Napoleon II & Commission of Government............22 Jun 1815 - 07 Jul 1815
...Napol�on Fran�ois Charles Joseph Bonaparte, Prince Imperial, King of Rome, Prince of Parma (born: 20 March 1811 � died: 22 July 1832), after 1818 known as Franz, Duke of Reichstadt, was the son of Napoleon I, Emperor of the French, and his second wife, Marie Louise of Austria. He lived in Austria and never came to rule France during his reign.
...CAPET-BOURBON
...Louis XVIII (K. of Fra.) S/o Louis, Dauphin.......08 Jul 1815 - 16 Sep 1824
Bernardo Franc�s Caballero i Mathet..................28 Jul 1817 - 27 Sep 1824
...Charles X (K. of Fra.) S/o Louis, Dauphin.........16 Sep 1824 - 02 Aug 1830
Isidor Bonifacio L�pez i Pulido......................20 Dec 1824 - 22 May 1827
Sim�n Rojas de Guardiola i Hortoneda.................04 Nov 1828 - 22 Aug 1851
...Lieutenant-General of the Kingdom
...Louis-Philippe, duc d'Orl�ans.....................02 Aug 1830 - 09 Aug 1830
...CAPET-BOURBON-ORLEANS
...Louis Philippe (continued as K. of Fr.)...........09 Aug 1830 - 24 Feb 1848
...President of the Provisional Government of the Republic
...Jacques Charles Dupont de l'Eure..................24 Feb 1848 - 09 May 1848
...President of the National Constituent Assembly
...Philippe Joseph Benjamin Buchez...................09 May 1848 - 10 May 1848
...Chairman of the Executive Power Commission
...Dominique Fran�ois Jean Arago.....................10 May 1848 - 24 Jun 1848
...President of the National Constituent Assembly
...Antoine Marie Jules S�nard........................24 Jun 1848 - 28 Jun 1848
...Chief of the Executive Power
...Louis Eug�ne Cavaignac............................28 Jun 1848 - 20 Dec 1848
...2nd Republic (1848-1852) - President
...Louis-Napol�on Bonaparte..........................20 Dec 1848 - 02 Dec 1852
...Louis-Napol�on Bonaparte (20 April 1808 � 09 January 1873) was the first President of the French Republic and, as Napoleon III, the ruler of the Second French Empire. He was the nephew and heir of Napoleon I. Elected President in France's first ever popular vote in 1848, he initiated a coup d'�tat in 1851, before ascending the throne as Napoleon III on 02 December 1852, the forty-eighth anniversary of Napoleon I's coronation. He ruled as Emperor of the French until 04 September 1870. He holds the distinction of being both the first titular president and the last monarch of France.
...2nd Empire BONAPARTE (1852-70)
...Louis Napoleon III (continued as Emp. of Fr.).....02 Dec 1852 - 04 Sep 1870
Jos� Caixal i Estrada................................10 Mar 1853 - 26 Aug 1879
He studied at Tarragona, where he taught the Holy Scriptures, and obtained a canonry (1831). He was professor of philosophy at the University of Cervera. During the first Carlist War, he was exiled to Montalban, Guyana. On November 30, 1851 he is named as the successor of Sim� de Guardiola as bishop of Urgell. In 1853 he becomes the bishop of Urgell and therefor co-prince of Andorra. In that time he is considered as a very conservative catholic. In 1855 he has to defend himself against the charge of conspiring, that the governor of Cataloni� had made. In 1867 he protests in Madrid against the confiscation of goods of the Church and the abusive use of it by the Spanish government. He attended the First Vatican Council during 1869-1870 (Vaticanum I), where he participated in the drafting of the structure of faith, and in discussions on the infallibility of the Pope, and the composition of the Church, as well as other issues of disciplinary nature. Ideologically a Carlist, driven by a strong and energetic spirit, he clashed seriously with the liberal authorities. During the reign of Amadeus I, he represented the ecclesiastical province of Tarragona (1870-72) in the Madrid Senate and became well known for his defense of Catholic unity in Spain. Once the Republic was proclaimed (1873), he moved to Andorra, and from there to Navarre, in order to serve in the field as vicar general to the Carlists who had taken arms. When they later occupied the Seu d'Urgell (1874), the Bishop Caixal returned to the city to join in its defence until his imprisonment in Alacant (1875), under the victorious occupiers led by Mart�nez de Campos. He afterwards travelled to Rome, but thereafter the Spanish government denied him permission to return to Spain. Pope Pius IX gave him the title of honorary Roman, and he became an aide to the Pontifical Throne. He died in Rome, and was buried at the Seu d'Urgell.
...President of the Government of National Defense
...Louis Jules Trochu................................04 Sep 1870 - 13 Feb 1871
...Presidents of the National Constituent Assembly
...Denis Emmanuel, comte Benoist d'Azy (acting)......13 Feb 1871 - 16 Feb 1871
...Fran�ois Paul Jules Gr�vy.........................16 Feb 1871 - 17 Feb 1871
...3rd Republic
...Marie Joseph Louis Adolphe Thiers.................17 Feb 1871 - 24 May 1873
...Marie Esme Patrice Maurice de Mac-Mahon...........24 May 1873 - 30 Jan 1879
...Jules Armand Stanislas Dufaure (acting)...........30 Jan 1879 - 30 Jan 1879
...Fran�ois Paul Jules Gr�vy ........................30 Jan 1879 - 02 Dec 1887
Salvador d'Horta Casa�as i Pag�s.....................26 Aug 1879 - 24 Sep 1901
He was acting apostolic administrator from 26 Aug 1879 to 22 Sep 1879 and from 27 Jul 1901 to 24 Sep 1901. He was a Spanish cardinal of the Roman Catholic Church. He served as Bishop of Barcelona from 1901 until his death, and was elevated to the cardinalate in 1895. Salvador Casa�as y Pag�s was born in Barcelona, and studied at the seminary in Barcelona and the University of Valencia, from where he obtained his licentiate in theology in 1857. He was ordained to the priesthood on 18 December 1858, and then did pastoral work in Barcelona for several years. He later became a professor and the rector of its seminary, and was made canon administrator of its cathedral chapter. On 22 June 1896, Casa�as was appointed Apostolic Administrator sede plena of Urgell on 18 January 1879 by Pope Leo XIII, and on the following 7 February Titular bishop of Ceramus. He received his episcopal consecration on 23 March that same year from Bishop Jos� de Urquinaona y Vidot, with Bishops Tom�s Sivilla y Gener and Tom�s Costa y Fornaguera serving as co-consecrators, in the Cathedral of Barcelona. Casa�as was later named Bishop of Urgell on the following 22 September; in this position he also served as Co-Prince of Andorra. The French Co-Princes of Andorra during his leadership were Jules Gr�vy, Sadi Carnot, Jean Casimir-Perier, and F�lix Faure. He was a senator for the ecclesiastical province of Tarragona as well. Pope Leo created him Cardinal Priest of Santi Quirico e Giulitta in the consistory of 29 November 1895. Casa�as was made Bishop of Barcelona on 18 April 1901, and later participated in the papal conclave of 1903, which selected Pope Pius X. On Christmas Day 1905, an anarchist made an unsuccessful attempt to assassinate the Cardinal in the cloister of the Barcelona cathedral. Casa�as died in his Barcelona, at the age of 74.
...Maurice Rouvier (acting)..........................02 Dec 1887 - 03 Dec 1887
...Marie Fran�ois Sadi Carnot .......................03 Dec 1887 - 25 Jun 1894
...Charles Alexandre Dupuy (1st time - acting).......25 Jun 1894 - 27 Jun 1894
...Jean Paul Pierre Casimir-Perier...................27 Jun 1894 - 16 Jan 1895
...Charles Alexandre Dupuy (2nd time - acting).......16 Jan 1895 - 17 Jan 1895
...Francois F�lix Faure..............................17 Jan 1895 - 16 Feb 1899
...Charles Alexandre Dupuyy (3rd time - acting)......16 Feb 1899 - 18 Feb 1899
...�mile Fran�ois Loubet.............................18 Feb 1899 - 18 Feb 1906
Ram�n Riu i Cabanes..................................24 Sep 1901 - 27 Dec 1901
Toribio Mart�n i Barranco (acting)...................02 Jan 1902 - 10 Sep 1902
He was apostolic vicar.
Joan Josep Laguarda i Fenollera......................10 Sep 1902 - 06 Dec 1906
...Clement Armand Fallieres..........................18 Feb 1906 - 18 Feb 1913
Josep Pujargimon i Camardons (acting)................30 Apr 1907 - 11 Jul 1907
He was apostolic vicar.
Joan Baptista Benlloch i Viv�........................11 Jul 1907 - 07 Jan 1919
He was a Valencian Cardinal of the Roman Catholic Church who served as Archbishop of Burgos from 1919 until his death, and was elevated to the cardinalate in 1921. Born in Valencia, Joan Benlloch i Viv� studied at its seminary, and obtained his doctorate in theology and in canon law in October 1887. He was ordained to the priesthood on 25 February 1888, and then served as an auxiliary professor at the Valenica seminary and coadjutor in Alm�ssera, teaching humanities and metaphysics. From 1893 to 1898, Benlloch was pastor of the parish of Santos Juan Evangelista y Bautista in Valencia. He then taught at the seminary of Segovia, where he was also chantre of the cathedral chapter, provisor and vicar general (1899-1900), and vicar capitular (1900-1901). On 16 December 1901, Benlloch was appointed Apostolic Administrator of Solsona and Titular Bishop of Hermopolis Maior. He received his episcopal consecration on 2 February 1902 from Bishop Jaime Cardona y Tur, with Bishops Jos� Cadena y Eleta and Salvador Castellote y Pinazo serving as co-consecrators, in Madrid. Benlloch was later named Bishop of Urgell on 6 December 1906; in this position, he was also Co-Prince of Andorra and composed the text for its national anthem. His tenure saw his country enter World War I on the side of the Allies, but Andorra was not included in the Treaty of Versailles and officially remained in a state of belligerency until 1957. The French Co-Princes of Andorra during Benlloch's leadership include Armand Falli�res and Raymond Poincar�. Benlloch was eventually advanced to Archbishop of Burgos on 7 January 1919. Pope Benedict XV created him Cardinal Priest of Santa Maria in Aracoeli in the consistory of 7 March 1921. Benlloch was one of the cardinal electors who participated in the 1922 papal conclave, which selected Pope Pius XI. He served as a special envoy of the Spanish Government to the Latin American republics from September 1923 to January 1924. He wrote the music to "El Gran Carlemany", the national anthem of Andorra. The Cardinal died in Madrid, at the age of 61. He is buried in the Real Bas�lica de la Virgen de los Desamparados in Valencia, Spain.
...Raymond Poincar�..................................18 Feb 1913 - 18 Feb 1920
Jaume Viladrich i Gaspar (acting)....................02 Jul 1919 - 01 Jun 1920
He was apostolic vicar.
Justino Guitart i Vilardeb�..........................01 Jun 1920 - 30 Jan 1940
Born in Barcelona on 16 Dec 1875, Vilaredb� was ordained as a priest in 1901, and was consecrated as Bishop of Urgell on May 23, 1920. He took the oath as Prince on July 27 of the same year. During his reign, numerous improvements, such as the introduction of electricity, the construction of roads, and establishment of Spanish post offices, came to Andorra. Vilardeb� died on 30 Dec 1940 in Barcelona.
...Paul Eug�ne Louis Deschanel.......................18 Feb 1920 - 21 Sep 1920
...Alexandre Millerand...............................21 Sep 1920 - 11 Jun 1924
...Fr�d�ric Fran�ois-Marsal (acting).................11 Jun 1924 - 13 Jun 1924
...Pierre-Paul-Henri-Gaston Doumergue................13 Jun 1924 - 13 Jun 1931
...Joseph Athanase Gaston Paul Doumer................13 Jun 1931 - 07 May 1932
...Andr� Pierre Gabriel Am�d�e Tardieu (acting)......07 May 1932 - 10 May 1932
...Albert Fran�ois Lebrun............................10 May 1932 - 11 Jul 1940
SKOSYREV
Boris I..............................................12 Jul 1934 - 20 Jul 1934
Skosyrev was a Russian adventurer, self-styled Count de Orange, who attempted to gain control of Andorra in the 1930's. In December 1933, Skossyreff obtained Andorran citizenship and after some time he presented a plan for administrative reform involving the creation of several offices to which he asked to be appointed himself. He quickly got into trouble, however, and was expelled around May 1934. On July 12 of the same year, he issued a proclamation in Urgell, Spain, declaring himself Boris I, King of Andorra and "regent for His Majesty the King of France" (though the family heads of the House of Bourbon disavowed him), and declaring war on the Bishop of Urgell, Just� Guitart i Vilardeb�, (the co-prince of Andorra). On July 20, he was arrested by Spanish Guardia Civil and taken out of Andorra, first to Barcelona and then on July 23 to Madrid where he was imprisoned until being expelled in November.
Ricard Fornesa i Puigdemasa (acting)................02 Feb 1940 - 15 Apr 1943
He was apostolic vicar.
...Henri Philippe Benoni Omer Joseph P�tain.........11 Jul 1940 � 20 Aug 1944
Ramon Igl�sias i Navarri............................15 Apr 1943 - 19 Jun 1969
Navarri was first ordained as a priest on 14 July 1912, at the age of 23.
...Provisional Government
...Charles Andr� Joseph Marie de Gaulle (1st time)..20 Aug 1944 � 20 Jan 1946
...F�lix Gouin......................................26 Jan 1946 � 24 Jun 1946
...Georges-Augustin Bidault.........................24 Jun 1946 - 16 Dec 1946
...Andr� L�on Blum..................................16 Dec 1946 - 22 Jan 1947
...4th Republic
...Vincent Jules Auriol.............................16 Jan 1947 - 16 Jan 1954
...Ren� Jules Gustave Coty..........................16 Jan 1954 - 08 Jan 1959
...5th Republic
| i don't know |
Which musical centres around the Kit Kat Club? | Cabaret Reviews & Ratings - IMDb
IMDb
17 January 2017 8:34 AM, PST
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137 out of 162 people found the following review useful:
Divine decadence
from Paris, France
15 February 2006
Director Bob Fosse hasn't achieved an immense degree of recognition, but his movies have a distinctive flavour. He seems to have an obsession with the world of music-hall, which is felt in other movies like "Sweet Charity" and "All that Jazz". In his other movies though, musical performances tend to steal the show almost entirely. "Cabaret" is an exception because it has an interesting background and storyline, and the music-hall performances are cleverly used here to illustrate and emphasize the plot. They play about the same role as the Chorus in ancient Greek play.
Of course, the depiction of Cabaret's "Kit Kat Club" deserves attention all by itself. It is not surprising that a cabaret buff such as Bob Fosse took interest in the Weimar Republic period in Germany, when "divine decadence " was the name of the game. Only Bob Fosse could recreate with such consumed application the grotesque sleaze of Berlin's lowlife during the rise of Nazism, a context which served as inspiration for expressionist painters, and for Brecht's "Threepenny Opera". During the credits, check out a woman in the public with short hair and glasses smoking a cigarette (something quite dodgy in 1931!). It is the exact reproduction of a famous painting by Otto Dix.
An outrageously grinning clown (Joel Grey) introduces every cabaret number. The girls appear in all possible contorted postures keeping deadpan faces. The Kit Kat club reminds of a roman arena, where the public is out for anything insane (even women fights in the mud...). To give an idea of what sort of den the club is, Michael York finds himself at one point standing next to a transvestite in a men's urinal...The cabaret performances get all the more provocative as the plot gets tense. The club is an essentially immoral place where anything is for sale, and it adapts shamelessly to the radical political changes coming up.
Liza Minelli's character is totally at home in such surroundings. Her persona is perfectly sketched in her song "Bye Bye Mein Herr". She is the incarnation of the vamp, both heartless and ingenuous, the sort of lethal woman who drives men crazy and then gives them up like toys. Indeed, a very typical stereotype of the interwar period, think of Marlene Dietrich in "the Blue Angel"...Minelli's performance onstage with garter belts and a bowler hat still looks elegantly naughty today.
Though, the real nature of her character is well studied as soon as she gets offstage. While Minelli can't help being extravagant all the time, she turns out to be a fragile woman neglected by her father, and in demand of constant and renewed attention. As predicted in her song, she proves basically unable to engage in any serious relationship, despite her involvement with Michael York ( "And though I used to care, I need the open air, you'd every cause to doubt me Mein Herr").
The script was based a story by British writer Christopher Isherwood, called "A Goodbye to Berlin", based on his own personal memories. He is allegedly the character played by Michael York. A serious upper class young man, he meets Liza Minelli out of blind chance, while looking for an apartment to share. She introduces him to all sorts of people, from riff-raff to aristocracy, including a gigolo, a Jewish heiress, and an ambiguous baron who dismisses them both after having "played" with the two of them.
Michael York's sober performance looks a bit pale as opposed to histrionic Liza Minelli, but of course, that was necessary in order to stress the essential difference between those two strangers. The movie ends as they part on a railway platform, but one can guess their experience together will have changed them both, as as far as he is concerned, was a definite coming of age.
One of the scenes, in the middle of the movie, is quite disturbing. At a countryside inn, a young S.A man sings a song called "Tomorrow belongs to me", which starts out nostalgic but gradually turns into an infectious Nazi march as the whole crowd joins him. This unexpected number seems to have embarrassed many viewers. If Nazism had presented itself as pure evil, would it have met any success? This daring scene makes evident that it was for many Germans of the time the symbol of positive values : beauty, tradition, order, pride, future. If you didn't know how things turned out, would you not have been tempted to sing along this powerful hymn to the fatherland as you watch this? Good question to ask oneself even, or especially, nowadays...
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75 out of 104 people found the following review useful:
Perfect On All Levels
from New York, NY
20 November 1999
On a historical level, a personal-story level, and as pure entertainment "Cabaret" works perfectly. The scene is Berlin, Germany, only two years before Hitler would come to total power. It is the Berlin that Christopher Isherwood lived in and wrote about: poverty, drug and alcohol escapism, criminals, sleazebags, fighting in the streets, venereal disease, the prostitution of both sexes, the desperation to escape through the film industry, the temporary escape from the harshness of life in "naughty" nightclubs like The Kit Kat Club, which encapsulates it all. It's a bad scene, and a good example of, perhaps, why so many Germans felt in need of a Hitler. There's not a single verbal reference to Hitler, and yet the presence of the growing Nazi movement all around these decadent misfits is ever present in this film. But you can't blame any of these apolitical people for that. Liza Minelli and Michael York's characters are so needy, so desperate just to find some personal happiness in life. They can't be bothered with what's going on in the bigger picture. Except for the Master Of Ceremonies at the Club: Joel Grey's character is a semi-supernatural all-seeing character, mocking, seeming to somehow know EXACTLY the further destruction Germany's headed for. His scary all-knowing grinning face pops in regularly to remind us. The musical number "Tomorrow Belongs To Me" is so effective an illustration of the appeal this new Nazi hope held for impoverished suffering Germans, and yet we have The Master Of Ceremonies' evil nodding grin to remind us, in retrospect, what it really led to.Just as every musical number (aside from being so beautifully choreographed and presented) reminds us of the desperation in Sally Bowles' life and in most of Germany. "Money Makes The World Go Around" is a perfect musical number, and so illustrative of the horrendous financial state of Germany at the time. Joel Grey's raunchy "Two Ladies" on the Kit Kat stage to the hysterical delight of the decadent crowd reminds us that all sexual propriety has broken down (including in the lives of the main characters, now involved in a threeway with one of the few Germans who still has some wealth intact). Everyone who wants an example of the artistic heights that film can reach should see "Cabaret".
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69 out of 104 people found the following review useful:
Definitely in the Top 10
from Washington, DC
10 August 1998
I have a very hard time picking a favorite, favorite film, but if forced to create a Top 10 List, this film would be there. Yes, Liza Minnelli CAN act , and brilliantly. The songs are wonderful and funny, the narrative is brilliant and dark. Those who typically don't like musicals might enjoy this, as there are none of those cheesy "I feel a song coming on" moments - - all of the music is confined to the stage of the Kit Kat Klub. Michael York's role is often overshadowed by Minnelli's brassy Sally Bowles, but his work is equally strong. A+.
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33 out of 44 people found the following review useful:
That's what I call a masterpiece
from Moscow, Russia
18 April 2002
It's a strongest film I know. Every time I watch it, it bewilders me so I can't turn my eyes away from the screen, even though I remember all what happens by heart. It fills me with a strange mixed feeling of interest-sympathy-admiration-disgust-and-horror. One of the reviewers here called this film depressing, and I inclined to agree. Any picture of Berlin in 1931 must be depressing and frightening. But, on the other hand, there is an atmosphere of desperate reckless joy in the movie. When the entire world goes mad and speeds to a catastrophe, life is a cabaret! Do what you can, come hear the music play, don't permit some prophet of doom wipe every smile away, and end as the happiest corpse! It's one idea. There is also another, more humanistic: live and let live. Brian fails to understand Sally, so they fall apart. Fritz for the sake of his love faces the danger of admitting that he is Jew in Germany. There is no hope for him and Natalia in this country in this time. But he couldn't do otherwise. There are plenty of other ideas too: about money, politics, corruption, perverseness, decadence, stupidity of middle classes, talent, success, etc. The story is very simple and incredibly complicated in the same time. No use retelling it. It must be seen. It's life as it was in 1931 and in many ways as it is nowadays. I suppose that Cabaret would be a great film even without any musical numbers, but with them it is a masterpiece. They say that history repeats itself, for the first time as a tragedy, for the second time as a farce. Well, I would say that in Cabaret every event repeats itself for the first time as a human drama in life and for the second time as a farce on the stage, but it would not be exactly true. Life and farce are shown synchronically or farce even go in advance. But every staged number in divinely decadency Kit Kat Klub ruthlessly shows the naked truth of life. (Only Mein Herr and Maybe This Time have more to do with the character of Sally Bowles.) And of course, Tomorrow Belongs To Me must be mentioned separately. The way of German people towards fascism is presented in one startling scene. And in finale too. That distorted reflection of the audience full of Nazi, accompanied by a tense silence after Master's of Ceremonies Aufwiedershen' is horrible. The movie due half of its unforgettable effect to the masterful camera shots. Actors' works are absolutely fantastical. Surely, Master Of Ceremonies is Joel Grey star role. He is amazing as that demonic shameless figure that seems to know everything, understand everything and deride everything. Liza Minnelli shines in every scene, acting, speaking, singing and dancing. I know few performances equally true, strong, brilliant and stylish as hers as Sally Bowles. Michael York is excellent as well, though he is often underestimated. It's only his character who is reserved, intelligent and avoids show-off. And he is perfectly British. I really admire York's acting in the movie. There are also beautiful Marisa Berenson as noble Natalia, Fritz Wepper very believable as tormented Fritz, repulsively attractive Helmut Griem as the rich scoundrel Maximilian and picturesque supporting cast. John's Kander's music is wonderful and haunting.
Shortly, Cabaret is a work of a genius, or it would be better to say of geniuses: Bob Fosse and the crew and the cast. And it's flawless.
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41 out of 60 people found the following review useful:
The Center Jewel in Bob Fosse's Triple Crown
from United States
6 December 2005
1973 was a very good year for legendary director/choreographer Bob Fosse. He won an Emmy for directing and choreographing the television special LIZA WITH A Z, he won a Tony for directing the Broadway musical PIPPIN, and blindsided Francis Ford Copolla by winning an Oscar for Best Director for CABARET, the dazzling 1972 film version, which is Fosse's re-thinking of the 1966 Broadway musical. The stage and screen versions are quite different and as independent works, they stand on their own as outstanding achievements and it is not necessary to have seen the play to appreciate the movie. The main focal point of Fosse's re-thinking of the musical is that he wanted it to be a more "realistic" musical and therefore made sure that all of the musical numbers (with the exception of "Tomorrow Belongs to Me")all took place within the walls of the Kit Kat Club. He cut several numbers from the original score, but if you listen, some of them can be heard as background music in several scenes. He also shifted the focus of the way the story is told...the play tells the story from the leading man's point of view, but Fosse switches the focus to the character of Sally Bowles, the brassy, sassy party girl who believes in "divine decadence' and wears bright green fingernail polish. Fosse also takes two secondary characters from the play, who are older, and makes them young and attractive in order to make their story more youth-friendly, I imagine. Liza Minnelli turns in a dazzling Oscar-winning performance as Sally, a gutsy, self-absorbed party girl who shows signs of vulnerability and a desperate need to be loved. Minnelli makes the most of her musical and non-musical moments in the film...her climactic confrontation with Brian (Michael York)is brilliantly performed. York is charming and sexy as Brian and Joel Grey's Oscar winning turn as the Master of Ceremonies is a delight. The musical numbers are all brilliantly staged and performed, from the opening number "Willkomenn" to the new "Money" song performed by Minnelli and Grey, to "Maybe this Time", the ballad belted out by Minnelli onstage in the empty club. Fosse cleverly counterparts the musical numbers with the realities of what is going on in Nazi Occupied 1931 Berlin with sometimes startling effect. "Tomorrow Belongs to Me" still gives me goosebumps every time I watch the film. This film ruled at the '73 Oscars, winning eight awards in all (it lost Best Picture to THE GODFATHER)and deserved every accolade it received. A sparkling, eye-popping, thought-provoking, haunting film experience that should be savored over and over again.
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31 out of 46 people found the following review useful:
The greatest musical film of the Seventies, winner of 8 Academy Awards...
*** This review may contain spoilers ***
'Cabaret' is a dazzling combination of music, drama, and social commentary...
'Cabaret' is more than a musical... It is tough, satirical, acrid, and provoking... None of the sweetness of Rodgers and Hammerstein, none of the joyous celebration of life of 'The Sound of Music.'
'Cabaret' is an exciting place for music...
'Cabaret' is the first musical to exploit the notion that life is fascinating because it is ambiguous...
'Cabaret' uses music in an exciting new way... His characters do not disintegrate into song to express their emotions... Rather, a sleazy night club becomes a place where satirical comment on the lives and problems of these characters is made in striking, entertaining, and often in ferocious dances and songs...
'Cabaret' is only one of three major elements that remains separate in the film and then gradually and inexorably become melted into one... These elements are the music of the cabaret, the lives of the principal characters, and the world outside of their narrow domain...
Director Bob Fosse captures the atmosphere and turmoil of the time and place, just before Hitler's rise to power, presenting a multifaceted portrait of a hedonistic, increasingly dangerous society, in which every brushstroke is significant and influential...
The cast, headed by Liza Minnelli as an American cabaret star and Michael York as the shy Englishman suffering with the fact that he "doesn't like girls," perfectly embodied the characters caught up in the currents of the tale...
The film begins with an amorphous view of Berlin's Kit Kat Club in 1930s Germany, and as the view becomes clearer, we meet the nightclub's depraved customers and its host, the charming painted emcee, who sings 'Willkommen' as the cabaret's girls play their musical instruments... At this moment, the Kit Kat Club shows a world unconcerned with events... Sally is a citizen of this world, deliberately shocking, cheerfully promiscuous, a lost child masquerading as a seductive woman...
Away from the nightclub, Sally plays the leading role in a fantasy of her own imagination... Speaking almost entirely in emotional hyperbole, she regards herself as 'a strange and extraordinary person'... She takes Brian under her wing and one day introduces him to Helmut Griem, a rich, suave, divinely sexy baron with whom they both have affairs...
Everyone becomes part of her free world: an unseen father who is indifferent to her; and Marisa Berenson, a young serious Jewish department-store heiress who is feverishly courted by an opportunistic, a fortune hunter, called Fritz Wendel (Fritz Wepper)..
At first Sally's insulated life bears little relation to the events propelling Germany toward its bleak destiny... Gradually, however, the cabaret becomes more threatening; the Master of Ceremonies provides the historical and social themes throughout his songs.. (he and Sally sing 'Money makes the world go 'round').. Later he sings a stimulating 'Two Ladies' about the joys of a ménage à trois.. He even dances with a girl in a gorilla costume, singing 'If You Could See Her' adding in a confidential whisper, 'If you could see her through my eyes, she wouldn't look Jewish at all!"
Only once does the film leave the nightclub for a musical number in an outdoor café, and then it is for one of the film's most haunting scenes, where a young boy begins to sing 'Tomorrow Belongs To Me'.. While Fosse's camera pans down to reveal his sinister insignia... started to sing along with patriotic passion... It is a sequence of frightening beauty, made even more memorable by several quick shots of an elderly man, silently sitting on a table.. disapproving the song...
When the pathetic Master of Ceremonies tells us once again that 'life is beautiful' and the Kit Kat Girls break into a reprise of 'Willkommen,' the irony is devastating... The final shot of the growing of Nazis in the audience reinforces the menace of the political horrors, and turns the cabaret into a daring place of diverting escapism...
As Sally, Liza Minnelli is entirely a creature of cabaret... She sings the title song in a number of stunning effectiveness... The song sums up the film's sardonic view... Minnelli is required to go from a girl of easy virtue proclaiming that 'certain cigarettes make her go wildly sensual' to a helpless person sobbing 'Maybe I am.. just nothing!' --- but she manages to control the connections of mood with style and sensitivity... In one song, 'Maybe This Time', she is too close to her mother Judy Garland.. as the two possess a similar intensity, warm vibrato, the blend of pathos and humor, and an over-eagerness to communicate with their audiences...
'Cabaret' is not unforgettable... It is great entertainment, a daring piece of diverting escapism that hopefully will revitalize a tired form...
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31 out of 49 people found the following review useful:
More than just an excellent movie
from Ukraine --> USA
6 September 2004
The movie is perfect. You will enjoy the bright play of brightest actors as well as tunes that have become classical. In any moment you can pause a movie and get a picture that you'd want to hang up on the wall in your house - so beautiful the movie is. If you can play any musical instrument, you will definitely try playing tunes from Cabaret. But the film has more than that : it also shows how Germany was slowly but inevitably turning to fascism. You feel scary when you listen to a song "Tomorrow belongs to me" and see that the boy singing the song wears the Nazi emblem on his shoulder. It gives you this sort of "I-know-what-will-be-in-the-end" feeling you have when you see newspapers and videos made years ago - yet it reveals some sides you didn't know about.
Cabaret is a very deep movie. There are lots of details in the movie - brightly exposed to us by an excellent cameraman - which create a second, historical storyline which you start to understand only after you watch the movie for a while. Cabaret is the kind of movie you'd want to see several times.
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34 out of 55 people found the following review useful:
The best musical & one of the best films ever made
from Coral Gables, Fl
11 July 2000
This landmark masterpiece defies strict classification. It is one of a few movies which defines cinema. It's undefinable as a genre because it works as a musical, as drama, as a comedy, as a war movie, as a social satire, as a historical epic, as a masterpiece of cinematic choreography, AND THE LIST GOES ON. Interestingly, it is over powering not only as a film, but as an original Broadway musical, a novel, a play, and most recently as a revamped musical which incorporates the new songs and choreography created especially for the film into the original show. And the Tony and other awards from other media keep pouring in. The new DVD version is a must. This is the movie that in a very tight Oscar race year (like 1939 with Gone with the Wind, etc.), won NINE Academy Awards. And that against the Godfather! (Part I, just for starters.) The late Bob Fosse did score a major coup by winning the Best Director Award over the favored legendary Director of the Godfather. Fosse's delegacy lives on...on film, and on stage right now in London, Berlin, and New York where the CABARET revival, did I mention CHICAGO?, and FOSSE, the musical- based on his life- including a piece from the movie of Cabaret continue to dazzle new generations. The DVD is a knock out too. Truly one of the best, a cliche often said. THIS CLAIM, however, IS A FACT.
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32 out of 52 people found the following review useful:
An eerie, glowing tinderbox full of grinning souls and desperate laughter...
from las vegas, nv
4 December 2005
Pre-Nazi Germany is a hotbed of escalating tensions, but decadent nightclub performer Sally Bowles is oblivious to the encroaching horrors. If you know a little about Liza Minnelli and you're curious, "Cabaret" should make you a fan; if you're not interested or just don't like her, "Cabaret" probably isn't the movie for you. Liza is the heart, soul, and centerpiece of the picture; when she's on-screen, everybody else is irrelevant. Movie-fans still discuss whether Liza was actually acting the role of Sally Bowles or just being herself (her Oscar-win still draws debates--Diana Ross in "Lady Sings The Blues" is oft-times described as 'robbed' for the Best Actress statue). Indeed, time has proved that Minnelli had a whole lot in common with Sally, the parallels are even echoed in much of the dialogue, but this part utilizes her entire range (sarcastic sass, vulnerable imp, high-powered musical presence) and she's fabulous. She doesn't do anything small, even her quiet moments are extraordinary. Her final speech to Michael York ("How soon would it be before we started hating each other?") is a knockout, as good as any of her musical numbers, and when he lashes out in anger, she sighs, "If you wanna hit me, why don't'cha just hit me?" She can be fragile and wounded, but it's in her spirit to get right back up and perform. The film is a burlesque nightmare, amazingly directed by Oscar winner Bob Fosse, who also choreographed the musical numbers, and photographed by Geoffrey Unsworth, another Oscar recipient. ***1/2 from ****
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15 out of 19 people found the following review useful:
Hugely successful tale set on Nazi Germany with classic musical sequences and unforgettable songs
Author: ma-cortes
21 July 2009
A young English man named Brian(Michael York, in a character based on Christopher Isherwood's experiences) develops a relationship with a reckless young American girl named Sally(Liza Minnelli at a wonderful performance to the edge of tragedy) in Berlin during the 30s in which Hitler is rising to power and racism, anti-Semitism and determinedly amoral behavior are growing. They're both then seduced by a German rich aristocrat named Max(Helmut Griem). Meanwhile Brian works as English teacher for an elegant young Jewish(Marisa Berenson) and his friend Fritz Wendel(Fritz Wippel), both of whom falling in love. All the roles are linked by the Kit-Kat club where perform Sally and an androgynous master of ceremonies(Joel Grey , he deservedly won Oscar to best support cast).
It's a magnificent musical-drama well set on Germany where are increasing horrors of Nazism taking place on its grim moments. Atmospheric nostalgia piece from the stories of Christopher Isherwood and successfully creating a portrait of a nation falling into moral decay. It's one of the most perfect examples of accurate timing over a sustained period ever put on cinema. This dynamic film packs excellent musical numbers full of aggression, fire and turn out to be unmissable experience. Liza Minnelli, Michael York and Joel Grey give the acting of their lives. Glamorous and evocative cinematography by Geoffrey Unsworth . Based on the John Kander's hit Broadway musical and soundtrack by Ralph Burns full of classic songs. This story was formerly brought to life by Henry Cornelius (1959) with Laurence Harvey(Brian role) and Julie Harris(Sally role) in a good drama no musicalized.
¨Cabaret¨ is an impressive picture splendidly directed by Bob Fosse(1927-1987) and winning three Oscars. Fosse was a director, actor, choreographer and dancer. He choreographed : ¨My sister Eileen, The Pijama game, Damn Yankees¨ and directed another films with awesome musical sequences such as ¨Sweet charity and All that jazz¨.
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| Cabaret |
Which twice-made movie features the villain Max Cady? | Creating Cabaret's Kit Kat Klub - TheaterMania.com
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Creating Cabaret's Kit Kat Klub
Scenic Designer Robert Brill explains what it took to rebuild Studio 54 — from the ground up.
Robert Brill is the scenic designer of Cabaret at Studio 54.
(© David Gordon)
"In here," says the Emcee at the beginning of John Kander, Fred Ebb, and Joe Masteroff's Cabaret , "life is beautiful." That mantra was the starting point for Robert Brill, the scenic and club designer behind Roundabout Theatre Company's legendary 1998 revival of the production, which he has currently re-created at Studio 54 for the show's highly anticipated return. When it premiered in 1966, this concept musical featured a giant mirror that allowed the audience to see themselves. Under Sam Mendes and Rob Marshall (who codirected both the 1998 and 2014 productions), the show was made even more conceptual when they and Brill chose to blur the lines of performance and spectator even further, setting the entire play within the Kit Kat Klub.
"I think the most important thing is that the audience feels like they're entering the world of this nightclub," Brill says amid previews of the show's remounting. "From the moment they pass through the doors of the theater, they're slowly transported into this world. What's been the key is to make that journey feel gradual, that they are slowly charmed into the world and taken on this journey. It's a great exercise to try and resist the temptation to do too much."
In fact, it's a simple set of accoutrements that takes the audience between the various worlds that the authors depict. Rather than sit in standard auditorium chairs, guests sit in chairs at café tables with period-themed lamps on them. It's those red table lamps that take us "between the world of the club and the book scenes," by turning on whenever Sally Bowles or the Emcee takes the stage, Brill notes.
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Studio 54 wasn't the original home of Mendes and Marshall's Cabaret. When the production first transferred to Broadway after running years earlier at London's Donmar Warehouse, it played for nine months at Henry Miller's Theatre (now the Stephen Sondheim). The search for a larger space, along with a crane crash at a neighboring construction site, prompted the move. They ended their run there on November 8, 1998, and reopened four days later on 54th Street. "We were running on 43rd Street while we were working on the renovation of Studio 54," Brill noted. They had a total of 10 weeks to get the venue ready. And that meant excavating the space.
"The idea behind Studio 54 [as a disco]," Brill says, "was that everybody was onstage. It was one level, coming from the back of the house onto the stage. Everything [in the space now, including the custom-flooring] is built up from zero." The process began with the standard demolition work. "Everything from the original Studio 54 was still in here," Brill adds. "It was all covered with black drywall." They willingly chose not to restore the original proscenium arch, because it "wouldn't be honest." So they embraced it instead; broken parts and paint chips included.
For this iteration of Cabaret, Brill and his team had more time to ready the space. "Normal load-in would be maybe three weeks," he says, "but because Roundabout operates the theater, we've been able to do it slowly over the last few months." He credits the theater's crew with an unparalleled dedication to the show. "A number of the crew members were on the original, so they've been instrumental in doing a lot of paint renovation and redoing the space. It was all rebuilt again from scratch."
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Cantaloupe Melon
Latin:Cucumis melo
No fruit salad is complete without melon pieces - it'd be like Wimbledon without the strawberries! There are lots of different types of melon; honeydew, cantaloupe, charentais, galia, piel de sapo, and watermelon just to name but a few. This article concentres on Cantaloupe melons.
Store At: Best ripened at room temperature, but will store well for up to a week at 5-10°C
Comes From: Warm humid temperate regions
Seasonality: All year round
Melons are members of a very wide family of trailing annual vines, which also includes squash, pumpkins and cucumbers. They have large broad leaves, stems covered in light prickles and small yellow flowers. The fruit themselves are soft fleshed with a central cavern containing seeds, all surrounded by a thick protective rind.
There are two groups of melons available; watermelons and muskmelons. The watermelon group includes all varieties of watermelon, while the muskmelon group includes all other melons, including Honeydew melons. There are two groups of melons within muskmelons; smooth-skinned and netted, of which honeydew are smooth skinned. Muskmelons typically come into season during late summer and early Autumn.
There are two different types of cantaloupe; true cantaloupes (Cucumis melo cantalupensis), and American Cantaloupes (Cucumis melo reticulatus). There seems to be some amount of argument in the differences; American Cantaloupes are actually a variety of muskmelon, and have a green-grey skin covered in grey netting. True cantaloupes are very similar, but only found in Europe. In Australia and New Zealand, Cantaloupes are called rock melons due to the rock-like nature of the netted skin.
The most common variety is a cantaloupe with orange flesh. Other varieties do exist, with more red or yellow flesh but they are not common, and not as tasty as the common orange fleshed variety.
How do you tell when a cantaloupe is ripe? Well, they should be very heavy for their size, and very fragrant. The stem end should also be slightly soft. If not, it can be kept at room temperature for a few days to ripen it up properly.
Melons will ripen when taken off the plant (provided they are mature enough when picked), and can be ripened in a fruit bowl with bananas. Honeydew melons can be stored either at room temperature or in a refrigerator. They should be brought up to room temperature before eating to get the best taste, and if you want to cut it in half, the other half will store well in the refrigerator for about 3 days. Wrap it up well though, because melons are very aromatic and their smell may penetrate other foods.
History
The origin of the melon is difficult to pinpoint, with different views on whether they originated in Africa or Asia Minor. It is also difficult to pinpoint when they were first cultivated for food, since melon seeds are very similar to cucumber seeds and difficult to tell apart when found in archaeological digs. The earliest confirmed identifications are in India around 2,000BC, and Egypt about 2,400BC. It is impossible to distinguish what types of melons were around then however.
It is almost certain that the melons grown then were not the ones we know now; the sweet, aromatic melons we eat were not around back then, and were probably more similar to the cucumber (and were indeed classified alongside cucumbers), and were really not that appetising, and in fact, unripe melons back then were noted to cause vomiting and nausea.
However, this eventually changed through cultivation and cross-breeding. By the third century AD, melons had sweetened enough to be eaten with spices, and by the sixth and seventh century they were accepted to be different from cucumbers. However, the first references to sweet, aromatic melons did not appear until the fifteenth and sixteenth centuries, as a result of hybridization between different varieties.
Melons were first introduced to England around the turn of the sixteenth century, although they were known as "Mylone". One of the first places they were grown was Hampton Court in 1515, and from here they spread around the country, typically in the gardens of rich people, due to their initial rarity.
Melons were taken to the West Indies by the Spanish, and also to America. They rapidly gained popularity with the first settlers in America, and by the 18th century was a much prized fruit at the dinner table, with their cultivation becoming very important.
Today, many varieties of melon are available; unfortunately in the UK we are limited to some typical five or six varieties; hopefully before long we'll start getting some more exotic ones made available, as is recently happening in countries such as America.
Cantaloupe melons were originally named after the commune Cantalupo in Sabina, in the Sabine Hills near Tivoli in Italy, where the Pope used to spend his summers. It was first cultivated at the start of the 18th Century from seeds that were bought from Armenia, part of the believed homeland of melons.
In America, the cantaloupe is a variety of muskmelon brought over by Christopher Columbus in the 15th century, unintentionally. It is believed the melons were brought on ships as food, and when they ate them in the New World and discarded the seeds, they gained a foothold.
Uses
There can be only one use for melons really, and that's eating fresh! Whether as part of a fruit salad or in a dessert on their own, they're simply delicious when ripe. They can be eaten with a spoon, cut into halves, quarters, cubes, wedges or balls.
A quick tip though - always give the skin a wash in warm soapy water before cutting. While you won't eat the skin, any impurities on it could be carried onto the flesh by the knife, and there have been some cases in the United States recently of salmonella contamination of melons this way.
Growing Information
Melons are easy to grow if given the right conditions; they typically grow best under glass, but can be grown outdoors in warmer regions. They need higher temperatures than tomatoes (around 30°C/85°F) and high humidity (which helps discourage red spider mite, a pest), but will grow well with cucumbers which require similar conditions. Contrary to popular belief, you can grow melons alongside cucumbers; they are similar, but will not cross-pollinate each other.
One other growing conditions melons prefer is diffuse light rather than bright light. The soil should be rich and well drained, and like the atmosphere around them, kept continually moist.
Melons are one of the easiest plants to crop well in a large pot, as long as they are kept warm enough, watered well and regularly fed with a liquid feed such as tomato feed.
Seeds should be started around March to April if growing in a greenhouse, and May if growing outside. Put one or two seeds in a 3½ inch pot of compost, and if both germinate, remove the weaker seedling. Pot on as necessary, but don't pot them into oversized pots, and don't let the root balls get too tight. They should be planted out as soon as it is warm enough (a heated greenhouse is best).
Melons can either be left to trail over the ground, or grown upwards as climbers. If growing as climbers, plenty of support is needed for the stems to wind themselves up; melons have tough, long tendrils which will reach a long way to find support. A good way is trailing long strings down from a height, and gently wrapping them around a stem; the stem will then follow the string upwards.
As fruits develop, when they reach the size of a tennis ball they should be supported independently of the stems, to take some of the burden of the weight. A good way to do this is either string net bags or old tights to hold the fruit, suspended from support above.
As for harvesting, its best to go on the colour, which for cantaloupes should be a skin colour of grey-green. Check the melon is a good size and weight for its size, and if you're really lucky, the melon will easily come off the stem, another sign that it's ripe and ready for eating!
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Cantaloupe
What's New and Beneficial About Cantaloupe
Because the flesh of the cantaloupe is often pastel-like in color (compared to the more vibrant color of fruits like oranges), we sometimes forget how important cantaloupe can be as a fruit source of vitamin A (in the form of carotenoids). Researchers have recently measured the carotenoid contents of six different California-grown cantaloupe hybrids and discovered that their beta-carotene content can reach levels as high as 3,138 micrograms (per 100 grams of fresh weight). That's about 30 times higher than the beta-carotene content of fresh oranges. Although this nutrient richness of cantaloupe still does not place it in the beta-carotene range for fresh carrots here (about 8,300 micrograms), it's still an aspect of this delicious fruit that is all-too-frequently overlooked.
At first, we were disappointed in the outcome of a recent French study that put cantaloupe at the very bottom of the fruits list in terms of its polyphenol content. In this French study, fruits like strawberries, lychees, and grapes came out far better in their concentration of antioxidant polyphenols than cantaloupe, and no fruit scored lower in its concentration of polyphenols. But then we read about the total amount of polyphenols that cantaloupe contributed to the average daily diet. When looked at in this practical context, cantaloupe ranked higher than many other commonly eaten fruits, including kiwi, grapefruit, and clementines. It also ranked higher than watermelon and pineapple. Obviously, the higher volume of cantaloupe consumed helped to offset its lower polyphenol concentration. This practical principle is important to remember. A health-supportive, whole food like fresh cantaloupe may show up as being lower in its concentration of certain nutrients (including total polyphenols), but because we often eat it in serving sizes that are relatively large, we often get substantial nutrient benefits, even in the case of nutrients found in lower concentrations.
Intake of cantaloupe has recently been found to lower risk of metabolic syndrome. In a study involving hundreds of women living and teaching in Tehran, Iran, the lowest risk of metabolic syndrome was found to occur in women who ate the greatest amount of fruit. (In this study, the "greatest amount" meant a minimum of 12 ounces per day.) Five fruits contributed most to total fruit intake: apples, grapes, cantaloupe, watermelon, and bananas. Women who consumed the largest amounts of these fruits were also determined to have the healthiest levels of C-reactive protein (CRP) in their bloodstream. CRP is an indicator very commonly used to assess levels of inflammation, and it's very likely that the anti-inflammatory phytonutrients in cantaloupe and other fruits contributed not only to these participants' healthy levels of CRP but also to their decreased risk of metabolic syndrome.
Cantaloupe, cubed, fresh
vitamin K 4%
This chart graphically details the %DV that a serving of Cantaloupe provides for each of the nutrients of which it is a good, very good, or excellent source according to our Food Rating System. Additional information about the amount of these nutrients provided by Cantaloupe can be found in the Food Rating System Chart . A link that takes you to the In-Depth Nutritional Profile for Cantaloupe, featuring information over 80 nutrients, can be found under the Food Rating System Chart.
Health Benefits
Nutrient Diversity of Cantaloupe
We seldom think about fruits as providing a broad spectrum of nutrients. In addition, when this food group gets placed in the nutritional spotlight, it's usually berries that get first mention among the nutritional standouts. Yet judging from its nutrient profile, cantaloupe is a fruit that should get us thinking differently about fruit and nourishment. This member of the melon family receives 10 rankings in our food rating system—the same number as raspberries, 1 more than strawberries, and 6 more than blueberries. Cantaloupe scores an "excellent" for both vitamin C and vitamin A (in the form of carotenoids). It scores "very good" for potassium, and "good" for a host of B vitamins (B1, B3, B6, and folate) as well as vitamin K, magnesium, and fiber. When the edible seeds of the cantaloupe are eaten, this melon also provides a measurable about of omega-3 fat in the form of alpha-linolenic acid.
Cantaloupe contains more beta-carotene than alpha-carotene. But because it contains both of these carotenoids, it also contains both of their derivatives, including lutein in the case of alpha-carotene and beta-cryptoxanthin and zeaxanthin in the case of beta-carotene. These carotenoid phytonutrients are joined by the flavonoid luteolin, antioxidant organic acids including ferulic and caffeic acid, and anti-inflammatory cucurbitacins, including cucurbitacin B and cucurbitacin E. The nutrient diversity of cantaloupe is perhaps its most overlooked health benefit!
Antioxidant and Anti-Inflammatory Support of Cantaloupe
As evidenced by the preceding list of phytonutrients, cantaloupe's nutritional strong suit involves its antioxidant and anti-inflammatory nutrients. Even while it is relatively low in concentration of certain nutrients (like total polyphenols) in comparison to other fruits, cantaloupe still provides us with important amounts because we tend to eat it in larger serving sizes than other fruits.
Many researchers understand metabolic syndrome—a group of health problems that includes high blood fats, high blood sugars, high blood pressure, and too much body fat—to be caused by problems in lifestyle that result in chronic underlying levels of unwanted inflammation and oxidative stress throughout the body. In this context, it's not surprising to see decreased risk of metabolic syndrome in individuals with especially high intake of cantaloupe (along with other fruits), since cantaloupe provides a wide range of antioxidants that help prevent oxidative stress and a wide range of anti-inflammatory phytonutrients that help prevent excessive inflammation. It's also not surprising to see lower levels of C-reactive protein (CRP) in the bloodstream of persons who have particularly high intake of cantaloupe, since CRP is a marker widely used to assess levels of inflammation in the body. One final important note: in the study that documented these benefits of cantaloupe for prevention of metabolic syndrome, "high" intake meant at least 12 ounces of total fruit per day. Since cantaloupe was one of five fruits making a special contribution to these 12 ounces, we assume that few of the study participants would go one whole week without consuming cantaloupe. That approach might help all of us increase our protection from unwanted inflammation and oxidative stress.
Other Health Benefits of Cantaloupe
Unfortunately, most of the other studies that we have seen on the health benefits of cantaloupe are studies conducted on animals rather than humans. This aspect of the research limits our certainty about the health benefits for humans. However, especially promising in the animal research has been studies related to diabetes. Researchers have shown that intake of cantaloupe phytonutrients can improve insulin and blood sugar metabolism. In addition, intake of cantaloupe extracts has been show to reduce oxidative stress in the kidneys of animals with diabetes, and to improve insulin resistance in diabetic animals.
Given the benefits of cantaloupe for prevention of metabolic syndrome, we would expect to see future studies showing clear health benefits for this melon in the area of heart disease, including atherosclerosis. Many heart-related problems start out with chronic unwanted inflammation and chronic oxidative stress. Hopefully, it won't be long before we have large-scale human studies documenting benefits in this important area.
Description
The fruit widely known as "cantaloupe" throughout the U.S. is actually muskmelon. When we purchase "cantaloupe" in a U.S. grocery store, what we're used to seeing is an outer surface that consists of "netting"—an orderly mosaic pattern - that sits atop and covers the outermost skin (rind). We may or may not also see "ribbing" on the cantaloupe ("ribbing" in the sense of lines running from one end of the cantaloupe to the other, like the seams on a basketball). But if we do see ribbing, it is not usually very heavy or very deep., Melons with a very developed and orderly netting and only mild-to-moderate ribbing are not true cantaloupes but rather muskmelons (Cucumis melo var reticulatus).
Cantaloupes (Cucumis melo var cantalupensis) typically lack an extensive, orderly netting and they have ribs (also called "sutures") that are much heavier and more deeply grooved. In addition, true cantaloupes are grown almost exclusively in other parts of the world (and especially in the Mediterranean region). In fact, the name "cantaloupe" actually comes from the name of a town in Italy near Rome called Cantaloupo in Sabina, where seeds were brought from Armenia and planted in the Papal gardens during the 1400-1500's.) Despite this misnaming of "cantaloupes" in the U.S. marketplace however, from hereon we're going to stick with this common U.S. practice and refer to muskmelons as cantaloupes.
Cantaloupes are members of the cucurbit family of plants (Cucurbitaceae) that also includes cucumbers, pumpkins, squashes, gourds, and a long list of melons. Melons in this same plant family with cantaloupe include Watermelon and honeydew melon, along with crenshaw, casaba, Persian, and canary melon. Because many members of the cucurbit plant family can easily cross-pollinate, there are also many different hybrid melons in the marketplace that combine features of true cantaloupe with features of these other melons.
The ripe flesh of a cantaloupe can vary in color depending on the hybrid. "Jenny Linds" are one example of a green-fleshed hybrid; "Athena" and "Ambrosia" hybrids have salmon-colored flesh; and the flesh of the Gurney's (TM) hybrids typically has a rich orange color. Cantaloupes have a hollow cavity in their center that is filled with edible seeds. In some parts of the world, cantaloupes are known as "rockmelons."
If you read about cantaloupe across the Internet, you may find a good bit of inconsistency involving the language used to describe the parts of this fruit. Some websites use the words "top" and "bottom" when describing cantaloupes. Other websites use "stem end" and "blossom end." Still others use "vine end" and "end opposite the vine end." As such, we wanted to clarify this topic.
When a plant flowers, no fruit forms until pollination (either self pollination or preferably cross pollination). Once pollination has occurred, fruit can begin to form. As the fruit forms, the flower will fall away. The spot where the flower was will become one end of the fruit, and it is called the blossom end. The stem end, of course, will be the end where the fruit remains connected to the plant. If the fruit is an apple, its weight and relationship to the tree branch will typically cause it to hang down from the branch, creating two ends that are truly "top" and "bottom."
But with a fruit like a cantaloupe which sits on the ground, the vine will typically lie alongside of the fruit in such a way that the ends would be more logically described as being on the sides of the cantaloupe, rather on its top and its bottom. Still, the word "top" is sometimes used to refer to the stem end of a cantaloupe, and the word "bottom" is sometimes used to refer to the blossom end.
History
Historians aren't certain about the exact origins of cantaloupe. The large number of melon family members (Cucumis melo) growing wild in Africa has led some investigators to place cantaloupe's origins on that continent. But African melons may themselves have had ancestors in parts of Asia, including India or China.
Countries in the northernmost part of Africa lie along the south shores of the Mediterranean Sea, and cantaloupe was also enjoyed by people living in the Mediterranean and Middle East region fairly early on in its history. To this day, and on an annual basis, Turkey (3.5 billion pounds), Iran (2.9 billion pounds), and Egypt (2.4 billion pounds) remain major producers of cantaloupe. (The United States follows after Egypt with 2.2 billion pounds of production.) But in first place - and far ahead of these four countries - is China, a country that now produces half of the world's melons (including cantaloupe) at a volume of nearly 25 billion pounds per year.
Attesting to the worldwide popularity of cantaloupe (and melons in general) is the practice of drying cantaloupe seeds for consumption as a snack food. This tradition can be seen in many parts of Central and South America, as well as in Asia and the Middle East.
Within the U.S., California is the largest cantaloupe-producing state and grows over half of all U.S. cantaloupe. Rounding out the top six cantaloupe-producing states are Arizona, Colorado, Georgia, Indiana, and Texas.
Within California, the bulk of cantaloupe production occurs in one of two regions: the San Joaquin Valley of Central California and the Imperial Valley (in the more desert-like southeastern part of the state). In Imperial Valley, spring season melon planting can begin as early as January, allowing for harvest in May, and fall season planting can take place in July, allowing for harvest in October and November.
Despite its own robust cultivation of cantaloupe, the U.S. continues to import cantaloupe in large amounts. In 2010, the U.S. purchased over 425 million pounds of cantaloupe from Guatemala, nearly 300 million from Honduras, over 150 million from Costa Rica, and more than 60 million from Mexico.
How to Select and Store
The key to purchasing a good quality melon is to find one that is ripe, which is sometimes a challenge because oftentimes they are picked while still unripe in order to ensure that they make it through the shipping process undamaged. There are many clues that you can look for to find a melon that is ripe. The first is by simply picking it up and feeling its weight. Does it feel fuller and heavier than you would expect it to? If so, that's a good thing, because it's an indication of the cantaloupe's ripeness.
Next, tap on the cantaloupe and listen to the sound it makes. If the sound is dull and also deep, that's another indication that you're holding a ripe cantaloupe. But if the sound is higher and hollow, your cantaloupe is probably not ripe.
If you press gently on the top of a ripe cantaloupe (the stem end, where the vine was attached) with your thumb, you should feel it give way very slightly. If that spot gives way substantially, to the point of feeling genuinely soft or even squishy, the cantaloupe is probably overripe. A quick check around different areas of the cantaloupe is also a good idea at this point so you can make sure that there is no bruising or damage.
The appearance of a ripe versus unripe cantaloupe is also different. The rind of a ripe cantaloupe (meaning the outermost layer beneath the netting) is typically going to be cream-colored or yellow or golden but not green or gray. The rind of an unripe cantaloupe is more likely to contain some green or gray. (Don't rely too heavily on this ripeness indicator, however, since some varieties of cantaloupe have rinds that stay green or gray.)
Smelling the bottom of the cantaloupe (also called the blossom end, opposite from the stem end where the vine was attached) can also be helpful in determining its ripeness. Unripe cantaloupes are likely to have a very faint smell, or no smell at all. Ripe cantaloupes are likely to have that spectacular cantaloupe aroma—but not in an overpowering way. If the fragrance is overly strong, the cantaloupe may be overripe.
At WHFoods, we encourage the purchase of certified organically grown foods, and cantaloupe is no exception. Repeated research studies on organic foods as a group show that your likelihood of exposure to contaminants such as pesticides and heavy metals can be greatly reduced through the purchased of certified organic foods, including cantaloupe. In many cases, you may be able to find a local organic grower who sells cantaloupe but has not applied for formal organic certification either through the U.S. Department of Agriculture (USDA) or through a state agency. (Examples of states offering state-certified organic foods include California, New York, Oregon, Vermont, and Washington.) However, if you are shopping in a large supermarket, your most reliable source of organically grown cantaloupe is very likely to be cantaloupe that displays the USDA organic logo.
Once you've found a cantaloupe that gives every indication of being optimally ripe, your next decisions will involve storage. When you get home, place your optimally ripe cantaloupe immediately in the refrigerator, ideally in a crisper bin where there is usually slightly higher humidity. The temperature range of 36-41F (2.2-5C) is best for storing whole ripe cantaloupe. About three to four days is the maximum amount of time that you'll want to store whole ripe cantaloupe under these refrigerator conditions. If you decide to purchase an unripe cantaloupe, it's okay to leave it out at room temperature (non-refrigerated) for a couple of days to allow the texture of its flesh to become softer and juicier. However, it is very important to note that cantaloupe can be left at room temperature only if it is whole, intact, and not yet to the stage of full ripeness. Once the cantaloupe has reached its peak ripeness, refrigeration is mandatory. Regardless of whether a cantaloupe is ripe or unripe, it should not be washed as long as it remains whole and uncut. No matter how well you pat a cantaloupe dry after washing it, the surface of the cantaloupe will absorb moisture during washing and there will be added moisture on the surface of the cantaloupe. This added moisture will increase the likelihood of mold formation and decrease the cantaloupe's shelf life. If you wait and wash your whole cantaloupe just prior to cutting, you'll be consuming the cantaloupe and will therefore not have to worry about shelf life or risk of mold formation.
Tips for Preparing and Cooking
When the time comes for you to slice open your cantaloupe, it's important for you to be equally careful about this process. Risk of bacterial contamination in cut cantaloupe is significant and public health organizations stress the importance of safe handling practices. Be sure to wash your hands and all utensils before and after cutting cantaloupe. We recommend that you rinse a whole cantaloupe under cool running water, gently scrub the rind with a natural bristle brush, and then pat dry before you slice it open. This rinsing process with help remove unwanted bacterial contamination. Next, place the whole cantaloupe on a clean cutting surface. Cut off the top (stem end, where the vine was attached) of the cantaloupe and discard. (Research shows that bacterial contamination is more likely to occur in this spot.) Next, scoop out the seeds and slice your cantaloupe in whatever size sections you like. Since the rind is not going to be eaten, we also recommend that you cut it off at this time.
Public health organizations do make allowances for cut cantaloupe to be kept at room temperature for a very short period of time, and we recommend that you limit this time period to two hours. Cut cantaloupe left sitting at room temperature for more than two hours should be discarded. The risks here involve contamination by one of several micro-organisms, including Salmonella, Listeria, or E. coli 0157:H7. To widen the safety margin for cantaloupe even further, we recommend that you actually avoid leaving cut cantaloupe at room temperature for any period of time, and keep all cut cantaloupe in the refrigerator.
After scooping out the cantaloupe seeds, you can use them to make a great snack food. Place the seeds in a fine mesh wire strainer and rinse under cool running water while gently pressing the seeds against the mesh to help remove the pulpy fibers. Once the seeds have been thoroughly cleaned, let the water completely drain and gently shake the strainer to help the seeds dry. Next, place the seeds in a single layer on a cookie sheet and lightly roast them at 160-170°F (about 75°C) in the oven for 15-20 minutes. By roasting them for a relatively short time at a low temperature you can help minimize damage to their healthy oils.
How to Enjoy
A Few Quick Serving Ideas
Add some sparkling water to fresh squeezed cantaloupe juice for a delightfully refreshing drink in the warm months of the year.
In a blender or food processor, purée cantaloupe and peeled soft peaches to make delicious cold soup. Add lemon juice and honey to taste.
Top cantaloupe slices with yogurt and chopped mint.
Slice melons in half horizontally, scoop out seeds and use each half as a basket in which to serve fruit salad.
For some of our favorite recipes, click Recipes .
If you'd like even more recipes and ways to prepare cantaloupe the Nutrient-Rich Way, you may want to explore The World's Healthiest Foods book .
Nutritional Profile
Cantaloupe contains a wide variety of antioxidant and anti-inflammatory phytonutrients, including the carotenoids alpha-carotene, beta-carotene, lutein, beta-cryptoxanthin and zeaxanthin; the flavonoid luteolin; the organic acids ferulic and caffeic acid; and two cucurbitacins—cucurbitacin B and cucurbitacin E. Cantaloupe is an excellent source of vitamin A (in the form of carotenoids) and vitamin C. It is also a very good source of potassium and a good source of dietary fiber, vitamin B1, vitamin B3 (niacin), vitamin B6, folate, magnesium, copper and vitamin K.
Introduction to Food Rating System Chart
In order to better help you identify foods that feature a high concentration of nutrients for the calories they contain, we created a Food Rating System. This system allows us to highlight the foods that are especially rich in particular nutrients. The following chart shows the nutrients for which this food is either an excellent, very good, or good source (below the chart you will find a table that explains these qualifications). If a nutrient is not listed in the chart, it does not necessarily mean that the food doesn't contain it. It simply means that the nutrient is not provided in a sufficient amount or concentration to meet our rating criteria. (To view this food's in-depth nutritional profile that includes values for dozens of nutrients - not just the ones rated as excellent, very good, or good - please use the link below the chart.) To read this chart accurately, you'll need to glance up in the top left corner where you will find the name of the food and the serving size we used to calculate the food's nutrient composition. This serving size will tell you how much of the food you need to eat to obtain the amount of nutrients found in the chart. Now, returning to the chart itself, you can look next to the nutrient name in order to find the nutrient amount it offers, the percent Daily Value (DV%) that this amount represents, the nutrient density that we calculated for this food and nutrient, and the rating we established in our rating system. For most of our nutrient ratings, we adopted the government standards for food labeling that are found in the U.S. Food and Drug Administration's "Reference Values for Nutrition Labeling." Read more background information and details of our rating system .
Cantaloupe, cubed, fresh
Density>=7.6 AND DRI/DV>=10%
very good
Density>=3.4 AND DRI/DV>=5%
good
0.00 mg
Note:
The nutrient profiles provided in this website are derived from The Food Processor, Version 10.12.0, ESHA Research, Salem, Oregon, USA. Among the 50,000+ food items in the master database and 163 nutritional components per item, specific nutrient values were frequently missing from any particular food item. We chose the designation "--" to represent those nutrients for which no value was included in this version of the database.
References
Amaro AL, Beaulieu JC, Grimm CC et al. Effect of oxygen on aroma volatiles and quality of fresh-cut cantaloupe and honeydew melons. Food Chemistry, Volume 130, Issue 1, 1 January 2012, Pages 49-57.
Brat P, George S, Bellamy A et al. Daily Polyphenol Intake in France from Fruit and Vegetables. The Journal of Nutrition136. 9 (Sep 2006): 2368-73.
Daniel CR, Prabhakaran D, Kapur K et al. A cross-sectional investigation of regional patterns of diet and cardio-metabolic risk in India. Nutr J. 2011; 10: 12. Published online 2011 January 28. doi: 10.1186/1475-2891-10-12.
de Melo, MLS, Narain N and Bora PS. Characterisation of some nutritional constituents of melon (Cucumis melo hybrid AF-522) seeds. Food Chemistry, Volume 68, Issue 4, March 2000, Pages 411-414.
Gonda I, Bar E, Portnoy V et al. Branched-chain and aromatic amino acid catabolism into aroma volatiles in Cucumis melo L. fruit. J Exp Bot. 2010 Feb;61(4):1111-23. Epub 2010 Jan 11.
Hu FB and Willett WC. Fruit and vegetable intakes, C-reactive protein, and the metabolic syndrome. Am J Clin Nutr, Dec 2006; 84: 1489 - 1497.
Ismail HI, Chan KW, Mariod AA et al. Phenolic content and antioxidant activity of cantaloupe (cucumis melo) methanolic extracts. Food Chemistry, Volume 119, Issue 2, 15 March 2010, Pages 643-647.
Ismail M, Mariod A, Bagalkotkar G et al. Fatty acid composition and antioxidant activity of oils from two cultivars of Cantaloupe extracted by supercritical fluid extraction. Journal: Grasas y Aceites Year: 2010 Vol: 61 Issue: 1 Pages/record No.: 37-44.
Karakaya S, Kavas A, El NS et al. Nutritive value of a melon seed beverage.
Food Chemistry, Volume 52, Issue 2, 1995, Pages 139-141.
Kourkoutas D, Elmore JS and Mottram DS. Comparison of the volatile compositions and flavour properties of cantaloupe, Galia and honeydew muskmelons. Food Chemistry, Volume 97, Issue 1, July 2006, Pages 95-102
Laur LM and Tian L. Provitamin A and vitamin C contents in selected California-grown cantaloupe and honeydew melons and imported melons. Journal of Food Composition and Analysis, Volume 24, Issue 2, March 2011, Pages 194-201.
Milind P and Kulwnt S. Musk melon is eat-must melon. Int Res J Pharm (IRJP) 2011, 2(8): 52-57.
Naito Y, Akagiri S, Uchiyama K et al. Reduction of diabetes-induced renal oxidative stress by a cantaloupe melon extract/gliadin biopolymers, oxykine, in mice. Biofactors. 2005;23(2):85-95.
Napier AB, Crosby KM and Park SO. Identifying Molecular Markers Correlating with High Beta-carotene Content in Muskmelon. HortScience, Jul 2006; 41: 1049.
Paris HS, Amar Z, and Lev E. Medieval emergence of sweet melons, Cucumis melo (Cucurbitaceae). Ann Bot. 2012 Jul;110(1):23-33. Epub 2012 May 30.
Parmar HS and Kar A. Possible amelioration of atherogenic diet induced dyslipidemia, hypothyroidism and hyperglycemia by the peel extracts of Mangifera indica, Cucumis melo and Citrullus vulgaris fruits in rats. Biofactors. 2008;33(1):13-24.
Sebastian P, Schaefer H, Telford IR et al. Cucumber (Cucumis sativus) and melon (C. melo) have numerous wild relatives in Asia and Australia, and the sister species of melon is from Australia. Proc Natl Acad Sci U S A. 2010 Aug 10;107(32):14269-73. Epub 2010 Jul 23.
Ukuku DO and Sapers GM. Effect of time before storage and storage temperature on survival of Salmonella inoculated on fresh-cut melons. Food Microbiology, Volume 24, Issue 3, May 2007, Pages 288-295.
Vouldoukis I, Lacan D, Kamate C et al. Antioxidant and anti-inflammatory properties of a Cucumis melo LC. extract rich in superoxide dismutase activity. J Ethnopharmacol. 2004 Sep;94(1):67-75.
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What is the more commonly used name of cornichons? | What's The Deal With Cornichons? | The Kitchn
What's The Deal With Cornichons?
What's The Deal With Cornichons?
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No cheese or charcuterie plate is complete without cornichons for me; I must have these tart, pickled French gherkins with them. I love them with a Ploughman's lunch , and they are a traditional accompaniment to raclette . But I started wondering; are cornichons just pickled baby cucumbers, or are they a specific kind of cucumber that grows very small?
Cornichons are about the size of your pinky finger, about an inch and half in length and less than a quarter inch in diameter. They're nubby and bumpy, tart and crunchy. The French call them cornichons, and they're sold under the same name in the US, but the English call them gherkins. These delicious little pickles are great on an appetizer plate, chopped up in deviled eggs, and added to sandwiches.
Cornichons come from a few types of small-growing gherkin plants that are picked when quite young because as they grow more, the pimply nubbins become sharp spikes. Although they are similar to cucumbers, they are not true cucumbers. It's probably pretty difficult to find this particular type of small cucumber in markets in the US, but if you want to grow your own, these varieties are commonly used in France:
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Which group was formed by Billy Connolly and Gerry Rafferty? | Cornichon | Define Cornichon at Dictionary.com
Cornichon
a black vinifera grape grown for table use.
2.
(lowercase) a cucumber pickle; gherkin.
Origin of Cornichon
1965-70; < French: literally, little horn, equivalent to corne horn + -ichon diminutive suffix
Dictionary.com Unabridged
Examples from the Web for Cornichon
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Barry Lyndon William Makepeace Thackeray
But, however undecided the fairy might be, it was quite different with Cornichon and Toupette.
British Dictionary definitions for Cornichon
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a type of small gherkin
Word Origin
Collins English Dictionary - Complete & Unabridged 2012 Digital Edition
© William Collins Sons & Co. Ltd. 1979, 1986 © HarperCollins
Publishers 1998, 2000, 2003, 2005, 2006, 2007, 2009, 2012
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Hughie Jones, Cliff Hall, Mick Groves and Tony Davis comprised which top folk line up? | Spinners star Cliff Hall was a true son of Liverpool - Liverpool Echo
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Spinners star Cliff Hall was a true son of Liverpool
Paddy Shennan speaks to the surviving members of The Spinners, as they pay tribute to friend and former bandmate Cliff Hall, who died yesterday
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Paddy Shennan speaks to the surviving members of The Spinners, as they pay tribute to friend and former bandmate Cliff Hall, who died yesterday
CLIFF Hall didn’t just make sweet music, he was the sweetest of individuals – a true gent and man of the people.
And while he may have been born in Cuba and raised in Jamaica, he was proud to be known as an adopted Scouser.
As one of the founder members of The Spinners, Cliff – who died yesterday, aged 82, at the home he shared with his third wife, Dottie, in Adelaide, Australia – helped popularise both folk music and Liverpool.
He loved the city, and its people, with a passion, as demonstrated by a charming anecdote recalled by BBC Radio Merseyside presenter and author Spencer Leigh.
“Cliff was a delightful guy,” says Spencer. “Wherever The Spinners performed, he would make a note of any Liverpool people in the audience who came up to speak to him afterwards – and later send them a Christmas card.”
“Of his gentle style, he says: “The Spinners were known for their quite boisterous singing but Cliff brought them down a little with his quieter numbers.”
Fellow former Spinner Tony Davis, 78, who lives in Wallasey, says: “Cliff was the gentlest, kindest man – one of the kindest men I have ever known. He was a great fella and one of my oldest friends.”
Cliff, he says, will be remembered by everyone who knew him with great affection – which is exactly how music fans remember The Spinners, themselves.
The group, affectionately known as “the other Fab Four”, consisted of Cliff, Tony, Hughie Jones and Mick Groves, while it became the Fab Five when John McCormick joined in the early 1970s. They released around 40 albums during their career, which ran from 1958 to 1988, and famously sang the Pete McGovern-penned classic In My Liverpool Home.
And it is a tribute to The Spinners that they were claimed as sons of the city, despite Hughie being the only Liverpool-born member.
Tony was born in Blackburn and moved here, aged 14, while Salford-born Mick says: “I think our strong Liverpool identity is actually a great tribute to the city. They call it a melting pot and we all melted together greatly.”
Not least Cuban-born Cliff, who Mick, 71, describes as “a proper English gent – and my best friend. He always looked on the bright side and was always joking.
“I last went over to see him in November and spoke to him last week. He’d just come out of hospital, but when I asked him about it he just laughed it off, saying ‘Who’s been putting these rumours about?’”
He adds: “The last time I was in Australia he gave me his guitar, saying he couldn’t play it any more. It was a tremendous gesture which summed up the man. It’s the group’s 50th anniversary in October and it’s a terrible pity that Cliff didn’t make it.”
Hughie Jones, 71, who still lives in Liverpool, says: “Cliff was my best man when my wife, Chris, and I got married in 1963. He was a great friend and we last saw him in Australia last July. We were due to go back in April, but he had been diagnosed with lung cancer and had his left lung removed in March. We last spoke to him last week – he will be greatly missed.
“Today, it seems like the real end of The Spinners. While all the members were alive, there was always the chance we could get together again, as we did at the Everyman in 2005.”
There can, sadly, be no more reunions. Instead, there are now plans for a memorial service for Cliff in Liverpool – which may, says Mick, take place in the anniversary month.
Whenever it takes place, it will be a chance for people to sing a song and raise a glass for a true gentleman – in his Liverpool home.
‘One of the nicest stars I have ever met’
ECHO writer Peter Grant pays tribute to “one of the nicest stars” he has met
”Every time we sing The Leaving Of Liverpool it moves me ...”
Cliff Hall, a founder member of The Spinners, told me that no matter where he was in the world he thought fondly about the city.
Born in Cuba, he was raised in Jamaica before becoming a member of the legendary group. He made them a truly international band.
But he especially loved Liverpool.
I know because he often told me in the Christmas cards I received from him every year – as did so many others.
Cliff spent the last years of his life in Australia and would sign his festive messages from a “Scouser down under”.
He was one of the nicest, most modest, stars I have met in a music industry packed with egos.
He had a sparkling, self-effacing sense of humour.
He was a brilliant harmonica player and his vocal harmonies added extra flavour to the group’s sea shanties and traditional folk songs.
They split up in 1988 but their legacy lived on.
In 2005 he came back for a visit and was overwhelmed by a surprise 80th birthday party for him in a China Town restaurant.
It was followed with a Spinners reunion concert at a private party in the Everyman’s third room.
It was filmed for posterity and I am lucky to have a copy of this feel-good occasion.
I wrote a nostalgia feature on the Spinners and received many letters.
But one was extra special. It came from Cliff and it read: ”Dear friend, thank you so much for reminding us all how much we meant to people. May love and luck guide the people of Liverpool.”
Well, Cliff. You certainly made your mark on me – that young lad in the stalls in the Philharmonic Hall.
And now, as a grown man, I smile as I recall the mark you made on the world from your adopted home town.
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What happened to the dog on the ship Irish Rover? | Manor Court Update: January 2013
Manor Court Update
Memories of the '60's Take a look at the picture page on http://manorcourt2.blogspot.co.uk/ the Manor Court 2 page
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Top Picture: A Sweep from the mid 1960’s
Bottom Picture: So much cleaner today!
Chimney Sweeps
One thing that we very rarely see any more is the Chimney Sweep. But when we were kids it was really something to get excited about? As a little boy I can remember waiting by the gate for the sweep to arrive. I would eagerly await the arrival of his dark green van and watched this thin and blackened man with his poles, brushes and blankets unload everything and carry it into the house ready to start the operation. The rooms whose chimneys were to be swept had previously been cleared, the mantelpiece and fireplace had all the knick knacks removed and the remaining furniture was covered with dust sheets and pages of the Daily Mirror were laid out on the floor from the front door to the fireplaces to be swept.
After the initial setting up, the sweep would slowly put together the poles and after fixing the backing sheet to the fireplace would begin to slowly feed the brush and poles up the chimney. By this time I was always told that if I stood well back, and did not get in the way, I could watch. Then at the appointed time I was told that I could rush outside and wait for the brush to pop out the top of the chimney. Oh what great joy! There’s something about it you can’t explain. I guess the chimney was a young persons mystery, a place never visited, a place where children used to be sent to hand brush if your chimney was big enough. A very dark and mysterious place and also of course it was where Santa Claus would have to drop through with his presents on Christmas Day and I never did wonder why his clothes never got dirty!
Sixty plus years ago the biggest development in chimney sweeping was the introduction of a giant Hoover which replaced the mountains of blankets and soot filled sacks which still didn’t stop your carpet throwing up soot every time you walked on it for days afterwards. When fitted up on went the Hoover and out went the cat and for 20 minutes or so, our fireplaces got their yearly clean out.
When the sweeping was completed there was always that strange smutty smell which is something which has been lost from the modern house which does not have chimneys.
Occasionally the sweep would inform Mum or Dad that there was some loose cement coming down with the soot, which meant that sometime in the near future we would have to get a builder in to correct the loose surfaces. But normally the chimneys passed all their tests though maybe more Kos Fire Cement would be needed to stick the firebricks back together once more!
It was not long after things had been cleaned and put back before the cat gingerly made its way back to the hearthrug and took up its usual place sleeping about three inches away from the fire! Winter in the 1950’s had its bad parts, but to come down the stairs in the morning to that comforting smell of an open fire was always a sign of a happy home!
For a time one could buy a tin of a preparation called ‘A Chimney Devi’l which, by lighting a wick in the top sent some form of acrid smoke up the chimney and was supposed to loosen and dislodge all the soot without the need to employ a chimney sweep. As I remember my father tried it once and it made such a mess that it took days to clear up the mess and my mother told him he was not to use it again and he never did. Apart from that he was left with bags of soot that he had to dispose of somehow. I don’t know how he did it, as he did not have a car at the time, or even a bike, so I suppose he must have dug it into the garden somewhere.
Those were the days but I don’t think that I would like to do without my central heating now! But just a couple of things you might remember from those coal-fired days. The coalman delivering sacks of coal on his back, the buckets of ash that had to be cleared out each morning, chopped fire wood, fire lighters and the most dangerous of all trying to draw the fire up with a newspaper and we won’t even think about chimney fires!
It was always regarded as being lucky to have a chimney sweep at a wedding, I don’t know why and over the years I cannot ever remember attending a wedding where there has been a sweep present.
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Gloria Writes:-
I went to a small private school before I came to Manor Court it was called Walkers College, it was situated in a road off Elm Grove, Southsea. When I visited Portsmouth and Southsea last year we tried to find the road without success. Has anyone else heard of it and perhaps they might remember the road. The Headmistress was a Mrs Lane. I still have my school reports unfortunately they do not have an address on them.
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On this day 3rd February 1960-1965
On 03/02/1960 the number one single was Why - Anthony Newley and the number one album was South Pacific Soundtrack . The top rated TV show was not listed and the box office smash was Some Like It Hot. A pound of today's money was worth £13.68 and Burnley were on the way to becoming the Season's Division 1 champions.
On 03/02/1961 the number one single was Are you Lonesome Tonight? - Elvis Presley and the number one album was GI Blues - Elvis Presley. The top rated TV show was No Hiding Place (AR) and the box office smash was One Hundred and One Dalmations . A pound of today's money was worth £13.25 and Tottenham Hotspur were on the way to becoming the Season's Division 1 champions.
On 03/02/1962 the number one single was The Young Ones - Cliff Richard & the Shadows and the number one album was Blue Hawaii - Elvis Presley. The top rated TV show was Coronation Street (Granada) and the box office smash was Lawrence of Arabia . A pound of today's money was worth £12.89 and Ipswich Town were on the way to becoming the Season's Division 1 champions.
On 03/02/1963 the number one single was Diamonds - Jet Harris & Tony Meehan and the number one album was Summer Holiday - Cliff Richard & the Shadows. The top rated TV show was Coronation Street (Granada) and the box office smash was The Great Escape. A pound of today's money was worth £12.64 and Everton were on the way to becoming the Season's Division 1 champions. The big news story of the day was Liz Taylor films Cleopatra.
On 09/02/1964 the number one single was Needles & Pins - Searchers and the number one album was With the Beatles - The Beatles. The top rated TV show was Steptoe & Son (BBC) and the box office smash was Dr Strangelove . A pound of today's money was worth £12.24 and Liverpool were on the way to becoming the Season's Division 1 champions. The big news story of the day was USSR tops medals at Winter Olympics.
On 09/02/1965 the number one single was You've Lost That Lovin' Feelin' - Righteous Brothers and the number one album was Rolling Stones Number 2 - The Rolling Stones. The top rated TV show was Coronation Street (Granada) and the box office smash was The Sound of Music. A pound of today's money was worth £11.69 and Manchester United
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Top Picture: Boundary Oak Gatehouse
Bottom Picture: Convent of the Cross School
The Other Schools.
Whilst most of us went to the normal state schools in the Portsmouth area there were still a few private schools running in Portsmouth in the 1950’s and 1960’s. Here are just three.
Boundary Oak
Boundary Oak School was founded about 1918 by Miss Napier when it was originally sited in Waterlooville. It soon moved to Portsdown Lodge in Widley, the interesting thing about this house was that the Commissioner for Powder of Portsmouth, Sir Francis Austen, who was Jane Austen’s brother, had previously owned this house. Portsdown Lodge lay on the Parish Boundary of Portsmouth and around its perimeter there was a line of oak trees. One of these fine old trees was a staging post for the annual Portsmouth “beating of the bounds” ceremony, and it is from this tree that the school took its name. Originally there was a flagpole outside the school building and it was customary the have a flag flying every day. Each time a boy passed the flagpole he had to raise his cap and the Headmaster’s study was conveniently placed to ensure this happened. The school thrived in the 1930’s with Mr Miller, who owned the school for over 20 years, as Headmaster. After his death in the mid 1950s the school was in the care of the Vicar of Christ Church for a short time before being sold to David Foster. He revitalised the school and decided to look for a larger site. The old site was sold for residential development and there is evidence of the school in the present street names, Oak Tree Close, The Dell and Boundary Crescent. The school moved to Roche Court in 1961. Roche Court dates back to 1280 and evidence of its age can be seen in the very thick walls to a number of rooms including the Headmaster’s Study. Just 3 families had owned the site from 1280 to 1936, when it was split up. The land was sold to the Southwick Estate and the house was used for ‘refugees’. During the war a battalion of Canadians were billeted in the house and moved out, on D-Day plus one, to go over to France. After the war it was then used as a vehicle repair station and a victualling supply base until 1960.
The historic Manor buildings were refurbished to accommodate boys rather than stores. The old vehicle repair station was converted into the lower gym, and pantomimes were regularly performed there. The Deputy Headmaster’s flat was originally the School Hall; assemblies and hymn practices were held in there as was the solemn reading of the ‘Quarterly Orders’. In 1961 David Foster, the then Headmaster, changed the school to an Educational Trust and a Governing Body was formed. David Foster resigned through ill-health in 1967 and Howard Limon became Headmaster. Roger Bliss took over as Headmaster in 1985 and over the next 18 years the number of pupils at the school rose with the development of the Junior Department buildings. The Nursery was opened in 1987, and in 1992 the school became co-educational with the first girls in the Reception class.
Daley’s School
Daley's school was in Kingston Crescent, North End Portsmouth. Sadly now it doesn't exist anymore.
It was a private school originally for girls aged 5-16yrs, but there was an intake of small boys too! It was owned and run by the Daley Family who were a prominent Roman Catholic family and very well known in Portsmouth but children didn't have to be RC to attend the school. I believe it may have become a sort of convent school for a while before it closed. The back gate of the school was in Garfield Road and in the area was Chapmans the laundry, a junior school at the end of the road and Maynards sweet shop. There were no playing fields so sports such as netball and tennis were undertaken in Southsea. Miss Kathlene Daley was tall and strong and a strict disciplinarian.
The Convent of the Cross School
The Convent of the Cross School in Purbrook is now the site of Oaklands Catholic comprehensive school. In 1902 a small group of sisters arrived in Southsea from Boscombe, to found an independent Catholic school for girls and small boys. It was established in Grove Road, and named Covent of the Cross after the school the sisters had left in Boscombe. During the Second World War the women and children of The Convent of the Cross were evacuated to Gloucestershire. Meanwhile the buildings at Grove Road were used as a field hospital and were damaged by enemy action. When the war came to an end it would have been difficult to re-establish the convent. Oaklands was the home of General Napier a famous soldier who fought against Napoleon in the Peninsular War.
In 1946 Oaklands was purchased by the sisters but it was in no fit condition for a school. For a while some of the sisters travelled to Southsea to teach the few students who were there. In 1947 when the school opened Stakes Hill Road was a lane with ditches on either side. The area and the school grew rapidly and in 1959 the junior department became a separate school under the name Holy Cross. In 1966 The Convent of the Cross amalgamated with another Portsmouth school, Daley’s, and became Oaklands Convent School.
Since then the school has continued to grow purpose built blocks were built to house the Sixth Form and Year 11. John Major spent several hours touring the school. In 1997 Oaklands celebrated its 25th year as a comprehensive school.
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Bobby Rydell has appeared in his first Golden Boys concert since his major heart and lung transplant. The other two golden boys on the bill were Franky Avalon and Fabian.
On this day 26th January 1960-1965
On 26/01/1960 the number one single was Why - Anthony Newley and the number one album was South Pacific Soundtrack . The top rated TV show was not listed and the box office smash was North by Northwest. A pound of today's money was worth £13.68 and Burnley were on the way to becoming the Season's Division 1 champions.
On 26/01/1961 the number one single was Are you Lonesome Tonight? - Elvis Presley . The top rated TV show was The Russ Conway Show (ATV) and the box office smash was One Hundred and One Dalmations . A pound of today's money was worth £not very interesting and 13.25 were on the way to becoming the Season's Division 1 champions. The big news story of the week was Bootsie & Snudge (Granada).
On 26/01/1962 the number one single was The Young Ones - Cliff Richard & the Shadows and the number one album was Blue Hawaii - Elvis Presley. The top rated TV show was Coronation Street (Granada) and the box office smash was Lawrence of Arabia . A pound of today's money was worth £12.89 and Ipswich Town were on the way to becoming the Season's Division 1 champions.
On 26/01/1963 the number one single was Dance On - The Shadows and the number one album was Out of the Shadows - Shadows. The top rated TV show was Coronation Street (Granada) and the box office smash was The Great Escape. A pound of today's money was worth £12.64 and Everton were on the way to becoming the Season's Division 1 champions.
On 26/01/1964 the number one single was Glad All Over - Dave Clark Five and the number one album was With the Beatles - The Beatles. The top rated TV show was Steptoe & Son (BBC) and the box office smash was Dr Strangelove . A pound of today's money was worth £12.24 and Liverpool were on the way to becoming the Season's Division 1 champions.
On 26/01/1965 the number one single was Yeh Yeh - Georgie Fame and the number one album was Beatles For Sale - The Beatles. The top rated TV show was Coronation Street (Granada) and the box office smash was The Sound of Music. A pound of today's money was worth £11.69 and Manchester United were on the way to becoming the Season's Division 1 champions.
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Web Page 1114
19th January 2013
First of all the follow up to the booklet 'The Time of Our Lives' is now ready. It is called 'The Days of Our Youth' and is available at the same price as the first book, ie £2.95 +75p P&P. Take a look below.
Top Picture: Kon Tiki
Bottom Picture: Thor Heyerdahl
Kon Tiki
It was an episode straight out of the Boys Own Adventure Book and it happened (just) within our lifetime. The journey of Kon-Tiki the raft used by Norwegian explorer and writer Thor Heyerdahl in his 1947 expedition across the Pacific Ocean from South America to the Polynesian islands . It was named after the Inca sun god, Viracocha , for whom "Kon-Tiki" was said to be an old name. Kon-Tiki is also the name of Heyerdahl's book and the Academy Award-winning documentary film chronicling his adventures. Thor Heyerdahl believed that people from South America could have settled Polynesia in pre-Columbian times, although most anthropologists now believe they did not. His aim in mounting the Kon-Tiki expedition was to show, by using only the materials and technologies available to those people at the time, that there were no technical reasons to prevent them from having done so. Although the expedition carried some modern equipment, such as a radio, watches, charts, sextant, and metal knives, Thor Heyerdahl argued they were incidental to the purpose of proving that the raft itself could make the journey.
The Kon-Tiki expedition was funded by private loans, along with donations of equipment from the United States Army . Heyerdahl and a small team went to Peru , where, with the help of dockyard facilities provided by the Peruvian authorities, they built the raft out of balsa logs and other native materials in an indigenous style as recorded in illustrations by the Spanish conquistadores . The trip began on April 28th 1947. Heyerdahl and five companions sailed the raft for 101 days over 4,300 miles across the Pacific Ocean before smashing into a reef at Raroia in the Tuamotu Islands on August 7th , 1947. The crew made successful landfall and all returned safely.
Thor Heyerdahl's book about his experience became a bestseller. It was published in 1948 as The Kon-Tiki Expedition: By Raft Across the South Seas, later reprinted as Kon-Tiki: Across the Pacific in a Raft. A documentary film about the expedition, also called Kon-Tiki was produced from a write-up and expansion of the crew's filmstrip notes and won an Academy Award in 1951. It was directed by Thor Heyerdahl and edited by Olle Nordemar . The voyage was also chronicled in the documentary TV-series The Kon-Tiki Man: The Life and Adventures of Thor Heyerdah. l The original Kon-Tiki raft is now on display in the Kon-Tiki Museum in Oslo The Kon-Tiki had a six man crew. All were Norwegian except for Bengt Danielsson, a Swede. Thor Heyerdahl (1914–2002) was the expedition leader. A crew member, Erik Hesselberg, was the navigator and artist. He painted the large Kon-Tiki figure on the raft's sail.
Kon-Tiki carried 275 gallons of drinking water in fifty-six water cans. For food they took 200 coconuts , sweet potatoes , bottle gourds and other assorted fruit and roots. The U.S. Army Quartermaster Corps provided field rations , tinned food and survival equipment. In return, the Kon-Tiki explorers reported on the quality and utility of the provisions. They also caught plentiful numbers of fish, particularly flying fish , " dolphin fish ", yellowfin tuna , bonito and shark .
On April 28, 2006, a Norwegian team attempted to duplicate the Kon-Tiki voyage using a newly built raft, the Tangaroa, named after the Māori sea-god Tangaroa . Again based on records of ancient vessels, this raft used relatively sophisticated square sails that allowed sailing into the wind. It was 52 ft long by 26 ft wide. It also included modern navigation and communication equipment, including solar panels, portable computers , and desalination equipment.
The crew of six included Olav Heyerdahl , grandson of Thor Heyerdahl. The voyage was completed successfully in July 2006. On January 30, 2011 An-Tiki, a raft modeled after Kon-Tiki and piloted by four senior citizens, began a 3,000 mile, 70-day journey across the Atlantic Ocean to the island
In 1969 and 1970, Thor Heyerdahl built two boats from papyrus and attempted to cross the Atlantic from Morocco . Based on drawings and models from ancient Egypt , the first boat, named Ra (after the Egyptian Sun god ), was constructed by boat builders from Lake Chad using papyrus reed obtained from Lake Tana in Ethiopia and launched into the Atlantic Ocean from the coast of Morocco. After a number of weeks Ra took on water after its crew made modifications to the vessel that caused it to sag and break apart. The ship was abandoned and the following year, another similar vessel, Ra II, was built in Bolivia and likewise set sail across the Atlantic from Morocco, this time with great success. The boat reached Barbados , thus demonstrating that mariners could have dealt with trans-Atlantic voyages.
The book, The Ra Expeditions, and the film Ra (1972) were made about the voyages. Apart from the primary aspects of the expedition, Heyerdahl deliberately selected a crew representing a great diversity in race , nationality , religion and political viewpoint in order to demonstrate that at least on their own little floating island, people could cooperate and live peacefully. Additionally, the expedition took samples of marine pollution and presented their report to the United Nations .
Thor Heyerdahl built yet another reed boat , Tigris, which was intended to demonstrate that trade and migration could have linked Mesopotamia with what is now modern-day Pakistan. Tigris was built in Iraq and sailed with its international crew through the Persian Gulf to Pakistan and made its way into the Red Sea. After 5 months at sea and still remaining seaworthy, the Tigris was deliberately burnt in Djibouti , on April 3rd, 1978, as a protest against the wars raging on every side in the Red Sea and Horn of Africa .
Thor Heyerdahl died, aged 87, from a brain tumor . After receiving the diagnosis he prepared for dying by refusing to eat or take medication. The Norwegian government granted Heyerdahl the honour of a state funeral in the Oslo Cathedral on April 26th 2002. His cremated remains lie in the garden of his family's home in Colla Micheri .
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On this day 19th January 1960-1965
On 19/01/1960 the number one single was Why - Anthony Newley and the number one album was South Pacific Soundtrack . The top rated TV show was not listed and the box office smash was North by Northwest. A pound of today's money was worth £13.68 and Burnley were on the way to becoming the Season's Division 1 champions..
On 19/01/1961 the number one single was Poetry in Motion - Johnny Tillotson and the number one album was GI Blues - Elvis Presley. The top rated TV show was Sunday Night at the London Palladium (ATV) and the box office smash was One Hundred and One Dalmations . A pound of today's money was worth £13.25 and Tottenham Hotspur were on the way to becoming the Season's Division 1 champions
On 19/01/1962 the number one single was The Young Ones - Cliff Richard & the Shadows and the number one album was The Young Ones - Cliff Richard. The top rated TV show was Coronation Street (Granada) and the box office smash was Lawrence of Arabia . A pound of today's money was worth £12.89 and Ipswich Town were on the way to becoming the Season's Division 1 champions.
On 19/01/1963 the number one single was The Next Time/Bachelor Boy - Cliff Richard & the Shadows and the number one album was West Side Story Soundtrack. The top rated TV show was Coronation Street (Granada) and the box office smash was The Great Escape. A pound of today's money was worth £12.64 and Everton were on the way to becoming the Season's Division 1 champions.
On 19/01/1964 the number one single was Glad All Over - Dave Clark Five and the number one album was With the Beatles - The Beatles. The top rated TV show was Steptoe & Son (BBC) and the box office smash was Dr Strangelove . A pound of today's money was worth £12.24 and Liverpool were on the way to becoming the Season's Division 1 champions.
On 19/01/1965 the number one single was Yeh Yeh - Georgie Fame and the number one album was Beatles For Sale - The Beatles. The top rated TV show was Coronation Street (Granada) and the box office smash was The Sound of Music. A pound of today's money was worth £11.69 and Manchester United were on the way to becoming the Season's Division 1 champions.
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Top Picture: Jim Clark at Silverstone with Colin Chapman
Bottom Picture: Princess Alexandra married the Hon. Angus Ogilvy.
1963
Take a look at the sidebar, there is now a companion booklet to 'The Time of our lives'. It is called 'The Days of Our Youth' and like the previous one is priced at £2.95 + 75p P&P
All those years ago
At the start of another year I thought that I would take a look back 50 years to when we were at School in 1963 and I was seventeen and just leaving school. What a year that was, so much happened we were teenagers and believe it or not the Queen was only 37. So what of 1963?
The Average Weekly Wage in 1963 was only £18.2s.2d and my Dad bought his first car since my parents were married in 1945.
A Sliced white loaf from Campions or Smith & Vospers cost 1s 2d (5.8p)
20 untipped Cigarettes - 4s 11d (24.6p) A Litre of petrol - 1s 0.24d (5.1p) 4/10p a gallon A Pint of milk - 9d (3.8p) A Pint of beer - 1s 6.5d (7.8p)
It was a very eventual year and one, which would seem to change the World, as we knew it.
In the UK the Beatles first made it into the Charts and were followed rapidly with other 'Groups' playing the new 'Mersey Sound'. Gerry and the Pacemakers, Billy J. Kramer and The Seachers were first on the list.
The year ended with the assassination of President John F Kennedy in Dallas Texas. This sent shock waves around the World ( I think we can all remember where we were when this happened. I was in the Manor Court Youth Club). The new smiling face of American Politics had gone and the United States were in turmoil.
The Cold War continued but the people, especially the young were ready to take action and be heard and the Peace Movement came to the fore.
The Main news Stories here at home.
The Winter of 1963 was the worst winter since 1948 with snow lasting in some areas until well into April
In April Princess Alexandra married the Hon. Angus Ogilvy.
Double Agent Kim Philby disappears having defected to the Soviet Union
Charles De Gaulle first vetos the United Kingdom's entry into the EEC
In Paris, 6 people are sentenced to death for conspiring to assassinate President Charles de Gaulle.
The Labour Party elects Harold Wilson as its new leader and he becomes the Leader of the Opposition
The Beatles release the album Please Please Me
The Alcatraz Island federal penitentiary in San Francisco Bay closes after years of campaigning
Doctor Beeching announces huge cuts in the railway system in an attempt to make British Rail viable but in so doing cutting off hundreds of communities from the railway system
Coca Cola start the production of Diet Coke
70,000 protesters march from Aldermarston to London to demonstrate against Nuclear Arms
Tottenham Hotspur are the first British Team to win a European Trophy (European Cup beating Athletico Madrid 5 - 1)
The Christine Keeler affair forces Secretary of State for War, John Profumo to resign causing much scandal amongst the Government and many reshuffles in Ministerial posts
The Great Train Robbery takes place in Buckinghamshire
Prime Minister Harold MacMillan resigns through ill health
Alec Douglas Home takes over as Prime Minister
The Dartford Road Tunnel opens linking Essex and Kent under the Thames
The first episode of Doctor Who is broadcast
Lee Harvey Oswald, the alleged assassin of John F. Kennedy, is shot dead by Jack Ruby in Dallas, Texas
The years top selling Album (UK)
With the Beatles - The Beatles
The Years top selling Single (UK)
She Loves You - The Beatles
The best Movie Oscar
Sidney Poitier - Lilies of the Field
The best Actress Oscar
Patricia Neal - Hud
The notable films that were distributed to our local Cinemas in 1963 were
The Birds, Charade, Carry on Cabby, Carry on Jack, Cleopatra, From Russia with Love, The Great Escape,
The Nutty Professor, Lord of the Flies, Jason and the Argonauts, The Mouse on the Moon, This Sporting Life
Famous people born in 1963 (now this will make you feel old!)
James May, Philip Glenister, Jarvis Cocker, David Seaman, Eva Cassidy, Michael Jordon, Jimmy Osmond, Graham Norton, Johnny Depp. Helen Hunt, Whitney Houston, Brad Pitt
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Panto Time and The Spinners
About this time of year when we were kids it was off to the pantomime (Oh! Yes it was!) to see modern stars and some of the Music Hall stars who were still performing. I do not remember being taken to the Kings or the Theatre Royal very often but my father and mother took me to the Dockyard Pantomime every year which featured the HMS Vernon Band.
Back in the late 1950’s and early 1960’s all sorts of people appeared in Portsmouth, no soap stars then! Way back in 1957 two up and coming performers appeared in Puss in Boots at the Kings Theatre, these two were Charlie Drake, who had relations in Southampton and had his own television show at the time and Bruce Forsyth who had just started presenting ‘Sunday Night at the London Palladium’.
The following year the same theatre put on Babes in the Wood and featured two other very popular comedians, Mike and Bernie Winters whose agent was Joe Collins the father of Joan and Jackie Collins. Also on the bill was the Morton Fraser Harmonica Gang a very popular musical act at the time.
When it came to the starring role in the 1959 pantomime, Cinderella, the management turned to the musical world for its headliner and John Hansen appeared as the top of the bill.
From here until about 1964 pantomime in the Kings Theatre died. But the other side of the coin was the summer shows and these were the showcase for all sorts of talent. Who do you remember from this list?
Cyril Fletcher, Monswer Eddie Grey, Arthur English, Peter Sellers, the Three Monarchs, Audrey Jeans and Joan Regan. Tommy Trinder, Flanagan and Allan,Norman Vaughan and George Melly. Even Davy Kaye appeared in the theatre on South Parade Pier! Portsmouth in the 1950’s was a good place to be to see the stars of the day. And I do actually remember waving to Billy Cotton as he crossed the road outside the Kings Theatre back in 1958.
The Spinners
The Spinners were a very popular 1960’s folk group from Liverpool . They formed in September 1958 and originally consisted of Hughie Jones, Cliff Hall who was born in Cuba , Mick Groves, Tony Davis, Joan Davis, Beryl Davis; although as they progressed in the musical world the group became a quartet dropping the two girls.
Cliff Hall was born in Cuba, brought up in Jamaica , and came to the UK to serve in the Royal Air Force . The group was unusual for its time in having a multiracial membership. John McCormick was the group's bassist and musical director for the final seventeen years.
The band actually began as a skiffle group with a mainly American repertoire until they were prompted to include sea shanties and other old English folk songs . They started out as The Gin Mill Skiffle Group, which included guitarist Tony Davis and washboard player Mick Groves. The group played the Cavern Club, Liverpool for the first time on Friday 18 January 1957, with The Muskrat Jazz Band and The Liverpool University Jazz Band. They played there subsequently on several occassions. They became The Spinners in September 1958 and founded a folk club in Liverpool, the 'Triton Club', but soon were performing in London at places such as 'The Troubadour'. Their first album , Songs Spun in Liverpool, was recorded by Bill Leader from live performances. In 1962 Peter Kennedy of the English Folk Dance & Song Society recorded an album called Quayside Songs Old & New. In 1963 Philips Records signed them, and they recorded eight more albums over the next eight years. They signed for EMI Records in the early 1970s.
They became popular by reviving some of the greatest folk music and singing new songs in the same vein. Although sounding like traditional English folk songs, some of their material was in fact composed by Hughie Jones, such as "The Ellan Vannin Tragedy" and "The Marco Polo". One of their best known songs, particularly in their native Liverpool, was "In My Liverpool Home", written by Peter McGovern in 1962. Cliff Hall also introduced traditional Jamaican songs to their repertoire.
They produced over forty albums, and made numerous concerts and TV appearances. In 1970, they were given their own television show on BBC One that ran for seven years. They also had their own show on BBC Radio 2 . They retired in 1988, after thirty years together, although they led the community singing at the 1989 FA Cup Final and played some Christmas shows in the early 1990s. Some members of the group still perform, although Cliff Hall retired to Australia, where he died in 2008.
Their version of the Ewan MacColl song, " Dirty Old Town ", was included in the Terence Davies ' 2008 documentary of Liverpool, Of Time and the City .
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Kelly Hoppen and Piers Linney were the new faces in series 11 of what TV programme? | Secret Millionaire Piers Linney joins Dragons' Den | Radio Times
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Secret Millionaire Piers Linney joins Dragons' Den
The cloud computing entrepreneur aims to "widen the appeal of the Den" as he replaces former investor Theo Paphitis
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Paul Jones
10:25 AM, 11 March 2013
Aspiring entrepreneurs beware: the Den has a full complement of Dragons once more. Piers Linney, a former benefactor on Channel 4's reality series The Secret Millionaire, will fill the final chair vacated by Theo Paphitis, following the announcement last month that designer Kelly Hoppen is to replace Hilary Devey.
The pair will join the BBC2 business show's existing investors, Duncan Bannatyne, Peter Jones and Deborah Meaden, when it returns later in the year.
Linney is a founder member of cloud computing company Outsourcery. Formed in 2007, it provides businesses with “cloud” or hosted access to software via the internet, in partnership with companies such as Microsoft. It was the UK’s first carbon-neutral cloud-based business and has been recognised for its green credentials.
Linney, who has also worked as a solicitor and an investment banker, is named in The Power List, a compendium of the 100 most influential black Britons. He said he was "excited" to be joining the programme and would "widen the appeal of the Den to information economy entrepreneurs," who he called "key to the future success of the UK economy."
Dragons Den executive producer Ceri Aston said Linney was "a new breed of dragon. A young and dynamic digital entrepreneur, he has his finger on the pulse of an industry that has never been represented in the Den before."
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What is the name of the part of a sundial that casts the shadow? | Michelle Mone 'to join Dragons' Den' after Duncan Bannatyne and Kelly Hoppen's exit | Daily Mail Online
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Michelle Mone is set to star in the series of Dragons' Den.
The lingerie tycoon will reportedly step into one of three empty seats on the panel left by Kelly Hoppen, Piers Linney and Duncan Bannatyne.
A show source has said the timing has finally been right for Mone to join the BBC business programme.
She's in! Michelle Mone to join the panel on Dragons' Den
A source told the Sunday People: 'It's never been the right time for Michelle to join Dragons' Den, she's always had too much going on to devote her full attention to the show.
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'But now she feels it's the right time to finally say yes to the role. The news is music to BBC bosses ears.
'They are desperate to bring on board a big name like Michelle.'
Bye bye: There are three empty seats on the panel left by Kelly Hoppen, Piers Linney and Duncan Bannatyne.
More money to invest: Michelle has recently sold 80 per cent of her stake in Ultimo lingerie
Michelle has recently sold 80 per cent of her stake in Ultimo lingerie, the brand that she founded, meaning she has a lot of money to invest in the budding entrepreneurs of the next series.
Last year, the Scottish businesswoman had said she'd 'never say never' to joining the show, and even joked last year 'everyone already calls me a Dragon!'
The BBC are said to be happy that on the sixth offer to join she has said yes, though an official spokesman has said no they have 'nothing to announce at the moment'.
Former Dragon Hilary Devey said that she didn't make much money from the BBC for starring in the show.
'[We earn] a pittance,' the entrepreneur told the Daily Telegraph. 'I can’t remember precisely but it’s something like £15,000 to do 12 episodes – and each episode means a 14/15-hour day.
'It doesn’t even cover your expenses. You make your money out of what you invest in.'
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Where would you find the towns of Ramsey, Peel and Port Erin? | Homepage - Isle of Man
Isle of Man
Escape the bright lights and explore your natural surroundings
Take an unforgettable journey on a Manx heritage railway
Discover the Isle of Man's history at Peel Castle
Discover all 35 beaches on the Isle of Man
Enjoy the journey, not just the destination
Sometimes the best discoveries are right under your nose...welcome to the
isle of man
With a wealth of things to see and do, and many places to visit, you’ll have great fun exploring the Isle of Man.
With more than 40 per cent of the land on the Isle of Man unpopulated you’ll enjoy journeying into the countryside - the Island has 17 national glens, many of which lead to the sea, and a number of excellently maintained parks and gardens which are perfect for a family day out.
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In the bible who was Adam and Eve’s third son? | Postcodes in Port Erin, Isle of Man, England | Postcode Information, UK
Postcodes in Port Erin, Isle of Man, England
Our database currently has a total of 1 Postcode areas in Port Erin, Isle of Man..
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I try my best to keep the data accurate and up-to-date, but there are often cases where information is either missing or inccurate, so I appreciate all the help I can get. If you have any additional information about Postcodes in Port Erin, Isle of Man, please contact me .
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Where could you ride ‘The Smiler’ ‘Oblivion’ and ‘Nemesis’? | The Smiler | Theme Park Ride at Alton Towers Resort
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One, two and three are Cardinal numbers – what are first, second and third? | Corporate Event Add-ons - Alton Towers Resort
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Enhance your next corporate event by selecting one or more options from fantastic package add-ons!
Exclusive Ride Hire
Enjoy exclusive use of our rides for an hour after the park has closed to the public. You can either choose to hire one of our most exhilarating rides or a whole area of the park. From the scary plummet of Oblivion, to the twists and turns of Nemesis, this fantastic deal will ensure that employees experience the ultimate in corporate hospitality.
Available for exclusive hire
Galactica - £2000 – new for April 2016
Rita - £1500
Forbidden Valley: Nemesis, The Blade and Galactica - £4000
Dark Forest : Rita and TH13TEEN - £2500
X-Sector : The Smiler, Oblivion and Enterprise - £3500
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Soak up some watery fun at our Caribbean themed Waterpark where you can enjoy exclusive out of hours hire such as exotic poolside drinks or casual evening dining - you will be sure to have a splashing great time!
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Ride photo vouchers
Give your delegates a ride photo voucher each so they can take away a memento of their time at the Alton Towers Resort - £25.00 for a pack of four vouchers including four free digital copies.
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Alton Towers Magic Money is available in denominations of £1.00, £2.00 and £5.00 and can been redeemed at Alton Towers theme park restaurants bars and shops. It can be used to buy food and drink, merchandise, ride photography and games.
Theme Park Fastrack tickets
Fastrack reduces your waiting times and gives you the opportunity to make the most of your day! Add Fastracks to your booking for the ultimate day experience.
Fastrack Adventurer - River Rapids, Spinball and Runaway Mine Train - £12 each
Fastrack Bronze - Rita, TH13TEEN, Oblivion and Nemesis - £20 each
Fastrack Silver - Galactica, The Smiler, Oblivion, Nemesis and Rita - £35 each
Fastrack Gold - The Smiler, Galactica, Nemesis, Oblivion, Rita, TH13TEEN, Congo River Rapids, Runaway Mine Train, Spinball Whizzer, Enterprise, Battle Galleons, Marauder’s Mayhem and Duel - £55 each
Fastrack Platinum - The Smiler, Galactica, Nemesis, Oblivion, Rita, TH13TEEN, Congo River Rapids, Runaway Mine Train, Spinball Whizzer, Enterprise, Battle Galleons, Marauder’s Mayhem and Duel - £95 each
All Fastrack tickets are subject to availability. Height restrictions apply.
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For events that involve lots of children, such as corporate family fun days, our most popular acts include magicians, face painters and storytellers as well as organised craft activities and fun workshops.
For events such as awards dinners we can provide talented musicians from Caribbean steel drummers and classical quartets to harpists and jazz bands. We can also provide casinos, close-up magicians, DJ’s and even giant Scalextric tracks!
Our roaming photographers are perfect for any event at Alton Towers. Photographs can either be printed within an hour or sent on CD to your office after an event.
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The Alton Towers Resort has two on site hotels and a lodge development offering a choice of high quality accommodation for those using our venues in either the Theme Park or conference centre.
The Alton Towers Hotel is a tribute to English eccentricity and The Splash Landings Hotel transports you to a relaxed friendly atmosphere of a Caribbean village. The Enchanted Village development, new in 2015, offers outdoor living in a relaxed setting.
Together our themed hotels and lodge development are designed to offer comfortable accommodation with a touch of the ‘extraordinary’ that promises to leave the everyday behind. Our rooms are designed to accommodate all your delegates’ needs including twin occupancy if required and there is plenty of space to rest your head after a hard days work (or play).
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Which cities name was one of the first few words spoken on the moon? | First word spoken from the Moon - collectSPACE: Messages
collectSPACE: Messages
First word spoken from the Moon
Topic: First word spoken from the Moon
John K. Rochester
Johnson Space Center Director Gen. Jefferson D. Howell Jr. said it was fitting that a Columbia memorial was placed in Houston. "As most of us in Houston know, the first word spoken from the surface of the moon was Houston," he said.
...thats what they say!! If you really want to get technical, "Contact" was the first word upon Lunar contact and I'm sure they had set down when they went through the short checklist... ADA to auto detent, 413 is in.
FFrench
Indeed, it is one of those nice stories (like Cernan's last words on the moon), which have eclipsed the real events.
From the moment the LM was touching the surface but not yet fully landed, the sequence went:
Aldrin: Contact Light.
Aldrin: ACA out of Detent.
Armstrong: Out of Detent. Auto.
Aldrin: Mode Control, both Auto. Descent Engine Command Override, Off. Engine Arm, Off. 413 is in.
Armstrong: Engine arm is off. (Pause) Houston, Tranquility Base here. The Eagle has landed.
Aldrin: Thank you.
It was such a soft touchdown compared to later landings, the engine was probably running right until all the footpads were on the surface (neither astronaut could ever say for sure). My guess is, the first word truly spoken from a spacecraft settled on the Moon's surface was Aldrin saying "Okay"...
That would make "Houston" the thirtieth word spoken on the Moon - but the first that was more of a symbolic message, rather than just technical info.
FF
I knew this site would have all the info (Houston does sound better than "Okay" though).
DGeraths
(shaking head)
Man, you guys really missed the point.
Take your heads out of the technical manuals for a minute and look at the big picture.
The first actual words spoken on the Moon may have been "Contact" or "ACA out of Detent" or any number of technical jargon that these two men were trained like machines to blurt out as part of the check list...
But in the great human reality of it, the first words spoken by MAN on the surface of the Moon were those eight incredible, time stopping, heart pounding, history making words...
"Houston, Tranquility Base here. The Eagle has landed."
At least that is my take on it.
Dana
Originally posted by DGeraths:
(shaking head) Man, you guys really missed the point.
Actually, it sounds like you are agreeing with what I stated - that "Houston" was the first word "that was more of a symbolic message, rather than just technical info."
FF
quote:
Originally posted by DGeraths:
But in the great human reality of it, the first words spoken by MAN on the surface of the Moon were those eight incredible, time stopping, heart pounding, history making words...
"Houston, Tranquility Base here. The Eagle has landed."
If you're not going to be technical about it, then my feeling is that all words spoken prior to "That's one small..." will be greatly forgotten (if not already) to history. I would guess that the great majority believes Armstrong's quote to be the first words spoken by "MAN on the surface".
FFrench
quote:
Originally posted by Robert Pearlman:
I would guess that the great majority believes Armstrong's quote to be the first words spoken by "MAN on the surface".
Very true, and it's really a shame. When you think about what it means, "Contact Light" is a pretty incredible, time stopping, heart pounding, history making statement in itself... a spacecraft with people in brushing, but not quite landed, on a different solar system body - for the first time in history.
FF
I'm just saying, the mayor of Houston has every right to be proud, but word the statement correctly so it's historically accurate. How many people now think Jim Lovell said "Houston, we've got a problem" due to the movie Apollo 13?
DGeraths
quote:
Originally posted by John K. Rochester:
How many people now think Jim Lovell said "Houston, we've got a problem" due to the movie Apollo 13?
Actually, Jim Lovell did say that, or to be more precise... he said...
"Ah, Houston, we've had a problem."
Jack made mention of the problem first of course, but Jim did pipe in with those now famous words.
Dana
Actually John, Jim Lovell did say that, or to be more precise... he said...
I think that was John's point: that the quote has been incorrectly popularized/remembered.
Getting back to the original question, like Francis, I have always thought that "Contact Light" was such an elegant, understated-to-the-point-of-not-being-aware, statement of lunar touchdown* that it speaks volumes more than "Houston, Tranquility Base here..." quote.
* Just like in football, a touchdown is when any part of the ball (or in this case LM), breaks the plane of the opponent�s goal line (or Moon's surface).
Wehaveliftoff
After seeing the movie "The Alamo," amazing that a man who had a great historic feat bringing about the succession of Texas to the United States And whom had a bipolar disorder, was the first word uttered on the moon making history again of a different sort(if you believe that word was first.)
Moonpaws
I think you guys have all missed the point. The point is.... ah, what was the point?
Spacepsycho
How about a new point!!!!
What do you think will be the 1st words spoken when we go back to the moon and has the 13th person to walk on the moon been born yet?
The Singing Wheel
I sure HOPE he's been born. Or should I say SHE? We have no idea who NASA plans to send on its next endeavor to the Moon, but we CAN say it could very well be a woman, or a Russian for that matter! All I know is I want to place my personal vote for astronaut Lt. Col. E. Michael Fincke.
Wehaveliftoff
It currently seems those words will be of a Chinese language not American.
Robert Pearlman
It currently seems those words will be of a Chinese language not American.
I hear Leroy Chiao speaks Chinese well.
star61
For the next person on the Moon, whoever he/she maybe ,how about saying...
"It might have been a small one for Neil, but its been a long long long ...one for the rest of us"
Phil G
Nah, you're all missing the point.
The point is, the city of Houston should change its name to reflect what the first words spoken on the surface of the moon was....
Hart Sastrowardoyo
Which book had a return to the moon with the first words being, "We're back, and we're here to stay?" Anyone? Bueller, Bueller...
MoonMan Jeff
OK, if you all want to be technical.. and I know we ALL do!!.. the first word spoken ON THE MOON was...
That's... [as in: That's one small step...]
So the mayor of that quaint town in Texas should actually be petitioning the City Council to change the burg's name to "That's Texas"... which doesnt sound so bad.
Actually, Houston had a tremendous importance inthe history of the US Manned space program (and still does) but for the mayor to boast that "Houston" was the first word spoken from or on the moon is just...as they would say in Texas.. a load of buffalo chips.
MoonMan Jeff
Sorry, it wasnt the mayor, it was the JSC director who spoke about Houston. My apologies to the mayor....
Moonpaws
Ok, so if we really want to get technical, I would say the first words spoken on the moon would have to be after someone actually touched the moon. No one touched the moon until the spacesuits were doffed inside the Lem. I imagine those words went something like this:
Wow, that smells like gunpowder or
Shucks, this stuff is everywhere or
Man, I got to tinkle.
etc,
quote:
Originally posted by MoonMan Jeff:
but for the mayor to boast that "Houston" was the first word spoken from or on the moon is just...as they would say in Texas.. a load of buffalo chips.
Perhaps the Mayors of Contact, Nevada, or Contact, Montana (yes, they are both real places) will be writing stern letters of protest! Or Okay, Oklahoma...
FF
Here's a question I'd like answered:
Did Buzz Aldrin really say "I'm the first man to take a leak on the moon" while he was on the lunar surface? I read that someplace, but it was the 70s. That means there's a pretty good chance either the guy who wrote it or I (when I read it) were stoned.
Hart Sastrowardoyo
quote:
Originally posted by FFrench:
Perhaps the Mayors of Contact, Nevada, or Contact, Montana (yes, they are both real places) will be writing stern letters of protest! Or Okay, Oklahoma...
Well, look at how Truth or Consequences, NM got its name... mebbe we should start a petition to get Houston to change its name.
MoonMan Jeff
quote:
Originally posted by Duke Of URL:
"Did Buzz Aldrin really say "I'm the first man to take a leak on the moon" while he was on the lunar surface?
I vaguley remember something like this being attributed to Buzz, but I think it was from the excellent Lunar Surface Journal transcripts, where they were reviewing all the events of the Ap11 EVA and were discussing some aspects of the spacesuit and cooling system, and Buzz may have said at some point; you know I was the first person to tinkle on the moon.
Its just that I don't have the time now to go thru the entire Apollo 11 Journal transcript but I think that is where Buzz said it. He CERTAINLY did not say it on the over-the-air broadcast from the moon... unless he said it in some nefarious NASA code!!!
spaceman1953
I found myself asking Bill Shepherd about this cosmonaut tradition. Being a female, all I could blurt out was, "Did you do the tire thing?" Bill looked at me totally clueless. Andy Thomas helped me, "She wants to know if you urinated on the tire." Bill didn't blush, but I was by this time. He shook his head no, "I was physically unable." A good ole American boy, goes to the bathroom before the trip. I still can't believe I asked it, but the answer was no. Bill didn't seem to be "pissed off" by the question
, which made me feel a little better about asking it.
All times are CT (US)
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Andrea Begley of Northern Ireland was the winner of what TV competition last summer? | Neil Armstrong's First Words on the Moon : snopes.com
Claim:
Apollo 11
astronaut Neil Armstrong flubbed his historic 'one small step' remark as he became the first man to set foot on the surface of the moon.
TRUE
Origins: English has no handy term for what the French call it esprit de l'escalier, and the Germans know as treppenwitz: the "wit of the staircase," those clever remarks or cutting rejoinders that only come to mind once it's too late for us to deliver them — literally, as we're headed down the stairs and out of the house. English also lacks an expression to describe the antithesis of treppenwitz, those occasions when one has a perfect remark carefully prepared in advance but fails to deliver it properly. If English did have such an expression, we could apply it to the words of the first man on the moon,
Apollo 11
astronaut Neil Armstrong, who had the misfortune of misspeaking his scripted line during one of the most widely-viewed live broadcasts in television history.
What Neil Armstrong meant to say as he descended from the ladder of
Apollo 11's
Lunar Excursion Module (LEM) and stepped onto
the lunar surface, thus becoming the first person ever to set foot on the moon, was "That's one small step for
a man;
one giant leap for mankind." Unfortunately, however, Armstrong flubbed his line in the excitement of the moment, omitting one small word ("a") and delivering the line as "That's one small step for man; one giant leap for mankind." The missing article made a world of difference in literal meaning, though — instead of a statement linking the small action of one man with a monumental achievement for (and by) all of humanity, Armstrong instead uttered a somewhat contradictory phrase that equated a small step by the human race with a momentous achievement by humankind ("man" and "mankind" having the same approximate meaning in English). Nonetheless, since the quote as actually spoken by Armstrong still sounded good, and most everyone understood the meaning he intended to convey, his words were widely repeated that day and have since joined the pantheon of the most well-known quotes in the English language.
After the
Apollo 11
astronauts returned to Earth, Armstrong corrected his mistake (stating that he had been "misquoted"), and NASA obligingly provided the cover story that "static" had obscured the missing word:
Neil A. Armstrong, the Apollo 11 commander, had said that one small word was omitted in the official version of the historic utterance he made he stepped on the moon
11 days
ago.
When Mr. Armstrong saw the quotation — "That's one small step for man, one giant leap for mankind" — in the mission transcript after his return to earth, he said he was misquoted, it was reported yesterday.
There should have been the article "a" before "man," the astronaut said.
The "a" apparently went unheard and unrecorded in the transmission because of static, a spokesman for the Manned Spacecraft Center in Houston said today in a telephone interview.
Whatever the reason, inserting the omitted article makes a slight but significant change in the meaning of
Mr. Armstrong's
1
Press reporters, however, were more skeptical about what Armstrong had actually said:
On July 20, 1969, Joel Shurkin was chief of the Reuters news agency's team at Mission Control in Houston, Tex. "When Armstrong landed, we all listened to the raw air-to-ground and when he said the part about the 'small step' it was fuzzy — this was the unenhanced version, live — and it was not clear if he said 'a man' or 'man,' " he says, sharing his experience publicly for the first time.
Nor were the words perfectly clear for the more than a billion people listening and watching the televised broadcast as the lunar module Eagle touched down, and
Mr. Armstrong
now a writer in Baltimore.2
The New York Times clearly didn't buy the "static" explanation (hence the "Whatever the
reason ..."
introductory phrase in the final sentence of their article), and little detective work is necessary to reveal it as a face-saving fabrication: NASA's own recording of Armstrong's transmission from the lunar surface reveals that his words are clearly audible over the background static; that the word "man" follows immediately on the heels of "for," with no gap between them into which Armstrong could conceivably have inserted the word "a"; and that Armstrong pauses noticeably after the word "man," as he realizes he's flubbed his line and hesitates momentarily before completing it.
In the years since that historic
Apollo 11
mission, astronaut Armstrong has apparently reconciled himself to admitting that he did indeed misspeak his key line:
Later, a representative for the Grumman company (it had built the Eagle, essentially a high-tech aluminum can) presented Mr. Armstrong with a silver plaque bearing his
11-word
— now immortalized — sentence, "That's one small step for man, one giant leap for mankind."
Mr. Armstrong insisted that they had left out an "a". Sure, he had been awake for
24 hours
before his epoch-marking pronouncement, battling lunar stage fright in front of the world's largest audience ever, and was mulling over the fact that while putting on his bulky space suit he had broken the circuit breaker for the switch to start the Eagle's engine for ascent.
But he knew what he said. "There must be an 'a', " Mr. Armstrong says of the event in the 1986 book Chariots for Apollo. "I rehearsed it that way. I meant it that way. And I'm sure I said it that way."
Then the Grumman representative, Tommy Attridge, put on a commemorative
45-rpm
recording of the flight. No matter what speed they played it at, there was no "a".
According to the authors, Mr. Armstrong sighed, "Damn, I really did it. I blew the first words on the moon, didn't I?"2
Happily for Neil Armstrong, the tremendous scientific and cultural importance of his achievement dwarfed his minor verbal
slip-up
, and despite his failure to deliver his line as planned, it remains one of the world's most famous sentences.
Update: In September 2006, Peter Ford of Control Bionics announced he had analyzed the historic
Apollo 11
recordings and claimed to have found a "signature for the missing 'a," (supposedly spoken by Armstrong "10 times too quickly to be heard") but the results have not been validated by other audio analysts and have been criticized as simply interpreting ambiguous data to match a predetermined conclusion. As Rick Houston wrote in Footprints in the Dust, a history of the Apollo program:
Note should be made of the debate that has existed almost from the time Armstrong uttered the famous saying. Did he actually say "One small step for a man," with the indefinite article a somehow lost in transmission? No, he did not, and to imply otherwise is revisionist history. Granted, it is possible, if not probable, that he intended to say "a man." From the tone and inflection of his voice it seems for all the world that Armstrong caught the mistake immediately. Following "That's one small step for man," he added another one, stopped again, then finished the statement with "giant leap for mankind." There's nothing lost in transmission, nothing at all, no matter what any super-scientific studies to the contrary might suggest.
Additional information:
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Which Ukip politician was in trouble for talking about ‘bongo, bongo land’ in the summer? | Ukip tells Godfrey Bloom to stop referring to 'bongo bongo land' | Politics | The Guardian
UK Independence party (Ukip)
Ukip tells Godfrey Bloom to stop referring to 'bongo bongo land'
Party rebukes MEP after he defends use of phrase, saying he is articulating views of 'ordinary people in rugby club'
Wednesday 7 August 2013 06.24 EDT
First published on Wednesday 7 August 2013 06.24 EDT
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A senior Ukip politician who said Britain should not be sending aid to "bongo bongo land" has been ordered by his party to stop using the phrase because it could be considered "disparaging" by foreigners.
Ukip issued the rebuke to Godfrey Bloom, a member of the European parliament, after his remarks made at a meeting of activists sparked outrage among some MPs and anti-racism campaigners.
Bloom took to the radio on Wednesday morning to defend the use of the phrase "bongo bongo land", saying he was just articulating the views of "ordinary people in the rugby and cricket club".
But shortly afterwards, the Ukip leadership distanced itself from Bloom's expression.
Steve Crowther, the Ukip chairman, said: "We are asking Godfrey not to use this phrase again, as it might be considered disparaging by members from other countries. However, foreign aid is an extremely important debate that needs wider discussion."
Bloom made the comments to a meeting of supporters in the West Midlands, suggesting foreigners used aid to "buy Ray-Ban sunglasses" and "apartments in Paris".
His remarks have emerged in the week Ukip is due to publish its list of approved candidates for next year's European elections, in which the party hopes to get the biggest share of the vote.
Bloom was filmed speaking at a meeting in Wordsley, near Stourbridge, in July. In the recording he says: "How we can possibly be giving a billion pounds a month when we're in this sort of debt to bongo bongo land is completely beyond me.
"To buy Ray-Ban sunglasses, apartments in Paris, Ferraris and all the rest of it that goes with most of the foreign aid. F18s for Pakistan. We need a new squadron of F18s. Who's got the squadrons? Pakistan, where we send the money."
Speaking on Today, he said he did not see why the government should send money overseas when hospitals were being closed down and British people were unable to receive cancer treatment.
"If I want to send money to charity, I will do so of my own accord," he said.
Asked whether he would apologise if instructed to do so by the Ukip leadership, he said: "I'd say right-o, sorry. If I have offended anybody in bongo bongo land, I will write to their ambassador at the court of St James."
Bloom told the programme he was merely articulating the unheeded views of ordinary people, adding: "My job is to upset the BBC and the Guardian and I love it."
Two months ago Farage ensured an Italian MEP was expelled from Ukip's European alliance for saying a black minister in Italy was part of a "government of bongo bongo" who would want to impose "tribal traditions", and would be better suited as a housekeeper.
Bloom said suggestions that his comments carried any racist implications were "absurd" and "laughable", adding that he had two Kashmiri staff and a Polish wife. He stood by his remarks, saying: "What's wrong with that? I'm not a wishy-washy Tory. I don't do political correctness … The fact that the Guardian is reporting this will probably double my vote in the north of England."
In another part of the recording, Bloom says, in reference to a ruling from the European court of human rights: "You can torture people to death but you jolly well can't give them a full life sentence because that's against their human rights.
"We can't hang them because we're now a member of the European Union and it's embedded in the treaty of Rome.
"It's a personal thing but I'd hang the bastards myself … Especially for some of these, especially for the guy who hacked the soldier to death. I do hope they would ask me to throw the rope over the beam because I'd be delighted to do so."
There have been reports that Ukip has been seeking a higher level of vetting for its prospective MEPs, after Farage admitted a "handful" of its local election candidates had caused the party embarrassment.
Bloom's remarks caused outrage among many MPs and campaigners. Rushanara Ali, a shadow development minister, said: "It's just offensive and the kind of thing that should have been consigned to the history books. It's completely at odds with the 21st century.
"If Nigel Farage is serious about getting rid of racism and intolerance in his party, he should take action against politicians who think it's acceptable to speak of people in developing countries in that way."
John Mann, Labour MP for Bassetlaw, said Ukip should "throw him out and stop him standing as an MEP". A spokesman for the Hope, Not Hate campaign said Bloom's remarks were reminiscent of the "Tory party of 1985", when Alan Clark provoked outrage by referring to Africa as "bongo bongo land" in an official meeting.
Bloom has previously caused controversy over some of his comments about women. The MEP was criticised for asking why businesses would ever hire "a lady of child-bearing age" and once said he wanted to get involved in women's rights issues because "I just don't think they clean behind the fridge enough".
Editorial: Racist expressions have been legitimised by their use by elected politicians and, worse, the government itself
Published: 9 Aug 2013
Alan Sked, who founded Ukip in 1993 but later quit due to claims of racism in party, says New Deal is a centre-left rival to Labour
Published: 8 Sep 2013
August is suppposed to be a quiet time for politics. But from 'fruitcake' tests to racist comments, Ukip has been making headlines with one PR disaster after another, reports Leo Benedictus
Published: 25 Aug 2013
Ukip MEP Godfrey Bloom defends himself against claims his complaints about sending aid money to 'bongo bongo land' were racist
Published: 9 Aug 2013
| Godfrey Bloom |
The word ‘Shavian’ pertains to the work of which playwright? | UKIP ‘bongo bongo’ politician calls women ‘sl**s' | The Voice Online
UKIP ‘bongo bongo’ politician calls women ‘sl**s'
Godfrey Bloom makes latest gaffe to embarrass party and blasts reporter as 'racist'
Written by Bart Chan 20/09/2013 03:56 PM
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OUTRAGE: Godfrey Bloom loses his cool with a reporter
UK INDEPENDENCE Party politician Godfrey Bloom who recently made headlines for describing foreign countries as “bongo bongo land” has landed himself in another political storm after calling women “sl**s”.
Bloom said the words while giving a talk at a “women in politics” event during UKIP’s conference in Westminster, central London.
Immediately after being challenged about his choice of phrasing, Bloom claimed he was making a joke and that it had elicited laughs from the audience.
In a BBC interview, UKIP leader Nigel Farage said the party whip should be removed from Bloom for his “beyond the pale” comments.
Farage said he did not have the power to “kick out” Bloom from the party, because it is not within the party’s constitution, but said that decision lies with the UKIP chairman.
He added that he was “very, very unhappy” with Bloom and that his outburst is overshadowing the party conference and that “there comes a point where people cross too far over a line”.
Diane James, of UKIP, said Bloom’s reference to women was “unacceptable”.
WATCH: Godfrey Bloom's "racist" accusation to reporter and leaflet hit
Bloom has also been filmed hitting a Channel 4 reporter over the head with a leaflet when being questioned on the street about the derogatory comments.
Defending himself, Bloom said: “All the girls said, 'None of us clean behind the back of the fridge' and I made a joke and said this place is full of sluts.”
He added that female members of the audience had “laughed”.
The outspoken and controversial politician, who is an MEP, was last month widely criticised last month after it emerged he spoke about British foreign aid going to “bongo bongo land”, a term seen as particularly degrading to African countries.
Also, Bloom was thrown out of the European Parliament in 2010 for making a Nazi salute to a German counterpart.
Adding fuel to the fire at the UKIP conference, Bloom slammed reporter Michael Crick as a “racist” for questioning why there were no non-white faces on the party conference brochure.
The MEP then furiously smacked the journalist over the head with the party literature and stormed off saying he "won't tolerate racist people".
Posted on: 20/09/2013 03:56 PM
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Which poet and playwright’s mother wrote under the pen-name Speranza? | Speranza
�The Stranger's Scoffing�.� Speranza, the Hope of the Irish Nation.
Christine Kinealy
This article is based on a paper given by Professor Kinealy at the Conference of the Canadian Association for Irish Studies in Toronto, May 2008; and has been revised by Professor Kinealy for publication here, for which we are extremely grateful �Editor, THE OSCHOLARS.
September 2008
Between January and December 1882, Oscar Fingall O�Flahertie Wills Wilde, frequently clad in knee-breeches, coat-tails and lace shirts, lectured throughout North America.� To mark the occasion of his lecture in Toronto, an English newspaper, which was following his tour of North America, commented that Wilde had been �born in an enviable social status�; his father was Sir William Wilde, oculist to Queen Victoria, and his mother was Speranza, the poet. [1] �� Nonetheless, the early stage of Oscar�s American tour had not gone well, with halls being only half-filled and containing a high proportion of hecklers, while his lectures on beauty and aesthetics had been less than enthusiastically received by the press. [2] �� Moreover, from the outset of his tour, it was clear that part of his fame and attraction rested on his parentage, mostly notably that of his mother. [3] � This was evident from the fact that many American newspapers referred to him repeatedly as �Speranza�s son�, while pointing out that she was one of the leading and most talented poets of Young Ireland movement. [4] When he travelled to St Louis at the end of February, the headlines in the local paper referred to him as, �Speranza�s Gifted Son�. [5] Inevitably, given this pedigree, he had been questioned about his own politics by Irish-Americans.� Judiciously, Oscar Wilde, the noted aesthete, came out of the closet and declared himself to be an Irish nationalist � and the audiences loved him for it.�
As the tour progressed, Irish independence, and his mother�s role in achieving it, became a feature of Oscar�s public pronouncements.� On 10 February, when in Chicago, he described Ireland as �the Niobe* among nations�. [6] � While in Cincinnati, he met descendants of Robert Emmet, the executed leader of the 1803 rebellion, and a few days later in Milwaukee (on 5 March 1882) he praised Emmet and stated that he was �strongly in sympathy with the Parnell movement�.� He also predicted that more blood would soon be shed in Ireland in the cause of independence. [7] �� In St Paul�s on St Patrick�s Day Oscar was introduced to his audience with references to his mother and praise for her patriotism.� In the preamble to his lecture, Oscar portrayed himself as following in her footsteps politically. His subsequent lecture resulted in his best reception since his arrival in the United States. Shortly afterwards, he announced that, by special request, his final (of a series of ten) lecture in San Francisco, on 5 April, would be on �Irish patriot poets of the nineteenth century�. [8] � The audience was larger than usual, although the hall was not full. In his lecture, he paid special tribute to Daniel O�Connell, William Smith O�Brien and, inevitably, his mother. [9] He described her as having been brought up in an atmosphere of �alien English thought� and went on to say:
Of the quality of Speranza�s poem perhaps I should not speak � for criticism is disarmed before love � but I am content to abide by the verdict of the nation which has so welcomed her genius and understood the song, notable for its strength and simplicity, that ballad of my mother�s on the trial of the Brothers' Sheares in �98, and that passionate and lofty lyric written in the year of revolution� called �Courage�.* I would like to linger on her work longer, I acknowledge, but I think you all know it, and it is enough for me to have once had the privilege of speaking about my mother to the race she loves so well. [10]
He finished the lecture with two poems of his mother�s, including one about the 1848 revolutions, which he read �with much effect and feeling�. [11] � The lecture was greeted with heavy applause. Significantly, the latter part of his tour was far more successful that the early stages of it, clearly helped by Oscar�s frequent references to Ireland�s historical and current struggle for independence.
Oscar Wilde, son of Speranza, had shamelessly exploited the renown of his mother to win acceptance and in doing so had discovered his Irish nationalistic roots. Following the ending of his tour of North America, Oscar never lectured on Irish politics again. [12]
But, who was Speranza ?� Oscar�s experiences showed her to be a woman who, in her own lifetime, had achieved transatlantic fame as a poet and a patriot, despite never having visited the United States.�� In addition to her political credentials, Speranza was also a talented prose writer, an outspoken feminist, a pioneering folk-lorist, a gifted linguist, a devoted mother and had been a loyal wife to her errant, but now deceased, husband, William.� Her various pen-names, John Fanshawe Ellis, Speranza, Lady Jane Wilde, provide an insight into her multi-faceted personality and talents. However, she was born simply Jane Elgee, probably in 1821 (although she maintained it to be in 1826). Her family was conservative, middle-class, Anglicans who supported the union with Britain. Her involvement with radical, nationalist politics, therefore, not only crossed gender boundaries, but also transposed familial expectations.
Jane became involved with the Nation newspaper, and thus with Young Ireland, in 1845. [13] She was then aged either 19 or 24. She was part of an influx of radical writers that included Thomas Francis Meagher and John Mitchel. At this stage, the group of young intellectuals, collectively known as Young Ireland, was still part of Daniel O�Connell�s Repeal Association, although they were becoming increasingly disillusioned with his vacillations and authoritarian approach.� Initially, Jane wrote in the Nation under the pseudonym, John Fanshawe Ellis, leading even the paper�s editor, Charles Gavan Duffy to believe that she was a man. He was full of praise for the new contributor, opining that �he� �promises to rival � Mangan� [14] ;� a reference to the brilliant, but ailing, poet, James Clarence Mangan.� When Duffy discovered her gender, he praised her for being �a woman of genius�, who �wrote as a man�. [15] At this point, Jane adopted the pen-name �Speranza�.
Despite Speranza�s privileged upbringing as part of the Protestant Ascendancy, much of her early writing was concerned with poverty and hunger. As the backdrop was the Irish Famine, this was not surprising, but Speranza, more than any of her contemporaries, captured the full horrors of the avoidable tragedy. On 23 January 1847 the Nation published her most famous poem �The Famine Year�.� It was a searing indictment on the egregious policies of the British government, but it was also a clarion call to Irish nationalists and radicals to do something. Throughout, the language was impassioned and angry, as befitted the times.
� But the stranger reaps our harvest--the alien owns our soil.
O Christ! How have we sinned, that on our native plains
We perish houseless, naked, starved, with branded brow, like Cain's?
Dying, dying wearily, with a torture sure and slow--
Dying, as a dog would die, by the wayside as we go.
�
We are wretches, famished, scorned, human tools to build your pride,
But God will yet take vengeance for the souls for whom Christ died.
Now is your hour of pleasure--bask ye in the world's caress;
But our whitening bones against ye will rise as witnesses,
From the cabins and the ditches, in their charred, uncoffin'd masses,
For the Angel of the Trumpet will know them as he passes.
A ghastly, spectral army, before the great God we'll stand,
And arraign ye as our murderers, the spoilers of our land. [16]
When the repeal movement split in 1846, Speranza sided with Young Ireland, writing a poem criticizing O�Connell for betraying Ireland.� She also supported the uprising planned for autumn 1848. The British government clearly took the threat of a Young Ireland rising in 1848 seriously, introducing a series of draconian measures and arresting many of the movement�s leaders. [17] The arrest of Charles Gavan Duffy in July 1848 did not halt the publication of the Nation as the editorship was taken over by Speranza and Margaret Callan. On 29 July, just as the rebellion was unfolding in Widow McCormick�s house in County Tipperary,� the Nation published an anonymous article, written by Speranza,� Jacta Alea Est (The Die is Cast), which amounted to a call to arms.� It resulted in the immediate suppression of the paper. Duffy was blamed for the article, although Speranza admitted authorship, despite the risk of being found guilty of treason. A conservative Irish paper, the Saunder�s Journal, predicted � correctly � that her gender and class would protect her from prosecution. [18] � Nonetheless, the incident alarmed Speranza so much that she stated �I will never write sedition again�. [19]
A number of writers have claimed that after 1848 Speranza moved away from nationalist politics. [20] This was far from being true. The failure of the Young Ireland rising and the transportation, imprisonment or emigration of many of its leaders left a political vacuum in nationalist politics.� When the Nation was revived she contributed some poetry to it, but the tenor of the new journal was very different from what it had been prior to 1848. Even Duffy, eight years after the failed uprising, emigrated to Australia, claiming that politics in Ireland were dead. The revival in radical nationalism was initiated by exiles residing in France and the United States, who founded the Fenian movement in 1858. Although Speranza had little direct contact with the Fenians, and disliked their democratic politics, she defended those on trial and wrote a poem condemning the treatment of the prisoners, appealing for their early release. [21] At the height of Fenian activity also, she published a poem in the National Review, entitled �To Ireland�, which was redolent of some of the poetry she had written for the Nation, twenty years earlier:
MY COUNTRY, wounded to the heart,
Could I but flash along thy soul �We wait the hero heart to lead,
The hero, who can guide at need,
And strike with bolder, stronger hand,
Though towering hosts his path withstand
Thy golden harp,
Loved Ireland! [22]
In 1851, Speranza married William Wilde, a successful eye surgeon and compiler of the 1851 census of Ireland. Despite marriage and motherhood (she had three children) she continued to publish prolifically. Interestingly, when her husband was knighted in 1864, she adopted the title �Lady� but continued to publish as �Lady Francesca Speranza Wilde�.� In this way, she combined her British title with her Irish radical roots.� When a volume of her poetry was published in 1871 the Dedication read, �for Ireland�.� Her love for Ireland was reciprocated by the ordinary people, as when she appeared on the streets of Dublin she was cheered, and some of her early poetry had been transformed into popular street ballads. [23]
Throughout her later life, she remained in contact with Young Ireland leaders, remaining loyal to their memory and sacrifice for Ireland. When John Mitchel, the most radical of this group, visited Ireland in 1875, following his election as a MP, he dined with Speranza and her family. She and her son Oscar remained friends with Gavan Duffy throughout his long life.
Over thirty years after the failed Young Ireland uprising, Speranza wrote a little-known book, The Irish Americans, which demonstrated that her nationalist fervor had not diminished.� Although Speranza admired Parnell, she believed that Home Rule was a �hollow fiction�, based on the �feudal distinctions of class and caste�. She believed that only independence based on a republic and universal suffrage could give Ireland real freedom. [24] This publication indicated that Speranza was returning to the politics of her youth and that her radicalism had not diminished.
Feminism
The Nation, unlike many contemporary nationalist newspapers, included articles on the �woman question�. Of the various female contributors to the paper, it was Speranza and her colleague Eva who were most interested in women�s issues. In a number of articles, Speranza argued that women should seek to have economic independence and, even if married, they should place their career above the demands of their family. [25] � When the Irish writer, William Carleton, suggested that the Nation should include a separate woman�s page, Speranza objected on the grounds that it would �probably be the only page unread�. [26]
Her interest in women and gender differences continued throughout her life. Speranza, together with her husband, attended the first meeting in Ireland to publically discuss women�s suffrage, in April 1870. [27] �� She invited the English suffragist, Millicent Fawcett, to her home to lecture on female liberation, despite the fact that Fawcett opposed independence for Ireland and broke with the Liberal Party in 1886 on this issue. [28] �� In 1892, Speranza signed a petition asking that Trinity College permit women to take full degrees there and in 1893, three years before her death, she published a pamphlet entitled �The Bondage of Women�. [29] As with much of what she did, her public pronouncements seemed to belie her more radical writings. In 1887 she declared that, notwithstanding her own life-long interest in nationalist politics �the present state of Irish affairs requires the strong guiding hand of men, there is no place any more for the more passionate aspirations of a woman�s nature�. [30]
Despite suggesting that women�s characteristics meant they were unsuited to late nineteenth-century politics, Speranza was regarded as an inspiration to the next generation of female �advanced� nationalists, including Alice Milligan, Maud Gonne and Countess Markievicz.� In their journals, such as the Shan Van Vocht, Bean na h�ireann and the United Irishman, they recounted tales of earlier generations of female activists, from Brigit to Speranza. [31] �� Milligan, a Protestant nationalist and feminist who was active in the Irish literary revival, wrote, just a month after Speranza�s death, that because of her range of activities it was impossible to do full justice to her contribution but that:
Today the best we can do is draw attention to her life, to the persistent and consistent course which she followed to the risks that she dared and the matchless spirit which in a time of doubt, danger, and despair, she brought to the service of Ireland. [32]
��������
For this generation of advanced nationalists, Speranza provided a model of how cultural activities could be linked with direct action. [33] � When Gonne gave a series of lectures on Irish nationalism in France, Holland and Belgium in 1892, she was hailed as �the new Speranza�. [34] This epithet, however, was probably first used by W. B. Yeats, who was acquainted with both women, and in love with Gonne. In January 1892, Yeats published two articles in The United Irishman in which he drew parallels between the political activities of the two women. In the article that appeared on 19 January, referring to Gonne�s political activities in Paris, he stated � here is the new �Speranza� who should do all with the voice all, or more than all, the old �Speranza� did with her pen�. [35]
London
Sir William Wilde died in 1876 leaving Speranza virtually penniless. Three years later, she moved to London where her two sons were living. She used her writing skills in order to boost her income. Her increasing poverty led her to appeal for a small civil list income, which she received.� It is generally assumed that she was awarded this income as a reward for her services to literature, but some sources claim that she was given it in recognition of her husband�s services to �statistical science and literature�. [36] �� Ironically, though, the pension meant that Speranza accepted financial support from a government that she had despised for most of her adult life. She also drew a small income from an estate in Ireland, which made her nervous about the activities of the Land League. Again, political idealism clashed with pragmatism about her straightened circumstances.
Despite her poverty, during her early years in London Speranza continued a tradition that she and her husband had commenced in Dublin, that of hosting literary salons. In her salons, she cultivated young writers, both male and female.� The popularity of the London salons was no doubt helped by the appearance of her son, Oscar, at them.� Oscars� brilliance was juxtaposed against the deliberate dimness of the rooms in which the gatherings were held, with Speranza keeping the shades down and the lights low � allegedly as a way of disguising her advancing years. An alternative view was offered by the novelist, Gertrude Atherton, who attributed the poor lighting at Speranza�s parties to the hostess� poverty. [37] � Despite receiving monetary support, often surreptitiously, from Oscar, she continued to have financial problems, even resigning from the Irish Literary Society in April 1894 as she could no longer afford the subscription. The other members of the Society refused to accept her resignation, making her an Honorary Member. [38]
Those who attended Speranza�s �at homes� included W. B. Yeats, George Bernard Shaw and Katherine Tynan. The generosity she showed to young, aspiring, writers was not always reciprocated, by some of her guests. Both Yeats and Shaw later blamed Speranza for what they regarded as Oscar�s aberrant sexual behavior. [39] The illustrator, Harry Furniss, not only drew a number of caricatures of the various members of the Wilde family, but wrote �With all the queer ways of this eccentric couple, it is no wonder that Oscar, their genius of a son, grew into an eccentric unnatural being�. [40] �� Speranza�s height, style of dress (multiple crinolines and shawls), and strong opinions, made her an easy target for caricature, especially in the repressive atmosphere of late Victorian society.� Despite her early upbringing, she felt that she and her writings did not belong in English society. She said of her poetry that it was �not suited to English taste�. She went on to say �Oh what an incubus this English government is on our country. It strangles all life�. [41] Ironically, while she was fluent in a number of European language and gifted translator, like many early nationalists, she had no knowledge of Irish and so when, in later life, she wanted to learn and write about Irish folk lore, she worked with a translator.
Conclusion
Speranza, daughter of the Irish Protestant Ascendancy and patron of Irish and British artists, died in poverty in London in 1896. Her brilliant and beloved son, Oscar, was in prison at the time. Her request to visit him before she died was refused. Speranza, who had inspired and helped so many people, was buried without a headstone and in a common burial plot in Kensal Green Cemetery in London. Before leaving for France, Oscar visited his mother�s grave.� He like, his mother, was to die and be buried outside their beloved Ireland.�
Speranza�s passing was lamented in Ireland.� A notice in the Southern Star claimed that her death �sees one of the few remaining links with the old movement and revolutionary modern politics�. [42] � Another Irish newspaper described her as having been �one of Ireland�s most talented and patriotic writers�, explaining that:
In the dark days of �48 when Ireland was laboring in the throes of � persecution and national supineness and servility were giving place to rebellion, Speranza�s inspiring appeals through the Nation, written with all the delicate grace of a cultured lady, yet replete with the fire of an ardent patriot, sent hope and courage to the hearts� of the despondent, and made those who longer for freedom bid defiance to their persecutors. [43]
�Like many women of her generation Speranza had had� few political outlets for her beliefs, but she used her talent at writing as a medium for expressing her views.� Her writings, over a period of fifty years, were imbued with her nationalist politics, her concern for the poor, her views on women�s rights, and her constant love for Ireland.
In the early years of the twentieth century, despite the revival in nationalism, Speranza�s poetry disappeared from public view, becoming, in the words of a contemporary admirer �like extinct volcanoes�. [44] � By the late twentieth century, as the cult of Oscar Wilde grew, there was a revival in interest in her, although not her poetry, and increasingly Speranza was relegated to being remembered primarily as Mother of Oscar. At the same time, her writings were judged to be overly-sentimental, with little merit or intrinsic value.�� The writer Thomas Flannagan went as far as averring that she was �one of the silliest women who ever set pen to paper�. [45] � A similar opinion was expressed by a reviewer in the Irish Independent, writing in 1987, who described her as �a vain and silly woman�. [46] During her lifetime, however, her poetry, prose and translations were all well-received, and her collections of poems were reprinted many times, both in Ireland and the United States. [47] ���� Her involvement in politics was judged to have been fleeting, insignificant and extreme.� In 1953, one Irish newspaper wrote that in the years after 1848� �she displayed that silent indifference of Irish affairs which suggest a phase she would willingly forget�.� The article further suggested that her involvement in the nationalist movement had been �greatly exaggerated�. [48] � This observation, however, was not the view of nationalists in the nineteenth century as this quote from the poet, John Boyle O�Reilly, demonstrates:�
In the stormy days of �Young Ireland� from 1846-48, the poems of Speranza, next to those of Thomas Davis, were the inspiration of the National Movement. [49]
As Alice Milligan acknowledged, it was hard to do justice to the memory of Speranza.� Her� life and politics were full of contradictions,� but her contribution to nationalist and feminist thought in Ireland,� to the emergence of cultural nationalism, together with her fostering of the next generation of Irish writers (not least her own son),� was unique in the nineteenth century.� In 1882, Wilde had conquered North America, helped by the fame of his mother. Fourteen years later, in very different circumstances, from his cell in Reading Gaol, he again paid tribute to his mother:
A week later, I am transferred here. Three more months go over and my mother dies. No one knew how deeply I loved and honoured her. Her death was terrible to me; but I, once a lord of language, have no words in which to express my anguish and my shame. She and my father had bequeathed me a name they had made noble and honoured, not merely in literature, art, archaeology, and science, but in the public history of my own country, in its evolution as a nation. [50]
As Oscar and many of her contemporaries recognized, Speranza�s contribution to the emergence of the Irish nation, both politically and culturally, was truly remarkable.
Professor Christine Kinealy completed her PH.D on �The Irish Poor Law� at Trinity College, Dublin. She is author of a number of books on the Great Famine, including This Great Calamity. The Irish Famine, 1845-52 (Dublin: Gill and Macmillan, 1994, and with a new Introduction, 2006). More recently, she has been researching the 1848 uprising in Ireland, with special emphasis on the role play by women Young Irelanders.� She currently lectures in Drew University in the USA.
*Niobe � a tragic figure in Greek myth. This phrase was first used by Lord Byron.
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| Oscar Wilde |
Which US city has a name meaning ‘The Fields’? | Oscar Wilde, Victorian Literary Genius
New York Public Library, Sarony/AP
Oscar Wilde, Victorian Literary Genius
July 13, 2010
Oscar Wilde’s Early Days
Oscar Fingal O'Flaherty Wilde was born on Oct. 16, 1854, in Dublin, Ireland, to unconventional and literary parents. His father, Sir William Wilde, was a very successful surgeon who, in his spare time, wrote and published essays about literature, archaeology and medicine. His mother, Lady Jane Francesca Wilde, was a women’s rights activist and poet, writing under the pen name Speranza.
After completing his elementary education in Ireland and spending three years at Trinity College in Dublin, Wilde won a scholarship to study English literature at Magdalen College in Oxford, where he remained until 1878. As a student, Wilde distinguished himself not only as a proficient classical scholar but also as a talented poet, winning the prestigious Newdigate Prize with his long poem, “Ravenna.”
From an early age, Wilde developed a flamboyant appearance and a sense of contempt for traditional moral and cultural values. He also became an ambassador for Aestheticism, a late 19th-century movement that advocated art for art’s sake. Although Wilde’s polished manners—together with his witty and satirical nature—made him a prominent figure in literary and social circles of the time, his flamboyancy and mockery of religion and traditional customs made him a disagreeable figure within the more conventional social groups.
The Rest of the Story
Even though Wilde married Constance Lloyd, an Irish barrister’s daughter, and fathered two sons, the marriage didn’t last long. His intimate friendship with Lord Alfred “Bosie” Douglas led him to be charged for homosexuality, which was then illegal in England.
Douglas’ father, the Marquis of Queensbury, accused Wilde of homosexuality ; as a result, Wilde was forced to stand trial. He was sentenced to two years’ hard labor and sent to Wandsworth Prison in 1895, and then transferred to Reading Gaol. During his two years in prison, Wilde composed some of his most famous works, including the mournful “The Ballad of Reading Gaol” (1898) and the autobiographical dramatic monologue “De Profundis” (1905), addressed to Douglas and published posthumously.
After being released from prison, Wilde retreated to Paris where he lived his final years in poverty and poor health. During this time, he continued to write under the pen name Sebastian Melmoth. On Nov. 30, 1900, he died in Paris at the age of 46.
In July 2009, more than a century after his death, the Vatican issued a statement of reconciliation with Wilde ; the Church had condemned him as a degenerate at the end of the 19th century. Regardless of his scandalous behavior during the Victorian days, the Holy See recognized the value of Wilde’s work and praised him as a “lucid analyst of the modern world,” the Daily Telegraph reported.
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What was the original name of the Cape of Good Hope? | Cape of Good Hope, South Africa. The Most South-Western Point of The African Continent | 360° Aerial Panoramas, 360° Virtual Tours Around the World, Photos of the Most Interesting Places on the Earth
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The discovery of Cape of Good Hope — a geographic location with one of the most romantic names in the world — is due to Portuguese navigator Bartolomeu Dias. At the end of the 15th century Portugal was literally obsessed with discovering the seaway to India sending one expedition after another. In 1487 this task was entrusted to Dias.
His voyage, as well as his predecessors', was filled with adventures, shooting incidents with local tribes, and threats of mutiny from his crew. Dias ended up sailing only around Africa thinking that if one continues to sail forward, he would arrive to India sooner or later. After coming to this logical conclusion he turned around, and on his way home in May of 1488 he landed at what he thought was the southernmost point of Africa.
The debarkation was not easy — the storm almost wrecked their ship on the cliffs. As a result, Dias named this place "Cape of Storms" and returned to Portugal with peace of mind. But the King Juan the Second thought that the name was too shortsighted: who would want to discover India through such obstacles? So he changed the name to the Cape of Good Hope envisioning that the sea route to India would be well travelled one day. The expedition, led by famous Vasco da Gama, became a success. By the way, he owes his fame to this voyage as it made him the first European who sailed to India. On July 8th, year 1497 the expedition made a grand exit out of the Port of Lisbon and by November of the same year sailed around the Cape of Storms, or to be precise, the Cape of Good Hope. Needless to say that the storms continuing for days and days made it very difficult and caused a damage beyond repair to one of the vessels...
However, the heroic deeds of the explorers were not in vain, as now humanity possesses not only the sea route from Europe to India but also an outstanding tourist "attraction". Who wouldn't want to boast about standing on the most southern point of the African continent gazing at the vastness of the ocean and knowing that the only closest land is Antarctica?
Centuries later, with the development of cartography, it became clear that "the southernmost point in the continent of Africa" was not the Cape of Good Hope but the Cape Agulhas located 155 km southeast. However, by that time, tourists already made their way to the "imposter" discovered by Bartolomeu Dias so the government decided to simply change the plate to read "The Most South-Western Point of The African Continent" :)
Even this change didn't go without a trick! After arriving to Cape of Good Hope by bus tourists first ride the cable cars, then take a long walk to a high, beautiful, long stretching outbound cape with a panoramic view of the mirror-like ocean, where they take classic photos in "Me and The Most South-Western Point of Africa" style. However this cape, named Cape Point, is not really the most southwestern one.
The real most southwestern point of the African continent is actually situated several kilometers away — it's an unremarkable place by the water, with a small parking lot nearby and an official plate that reads "The Most South-Western Point of The African Continent" (see photo below). This location is hardly known and is visited by less than 10% of all tourists that come to the Cape of Good Hope :)
Visitor of our website has pointed that the official sign says wrong latitude (23 degrees instead of 33). Photo above with wrong sign was taken in 2003. We found photo in the web of this sign of 2006, there you can see that wrong coordinates have already been fixed.
| Cape of Good Hope |
Which trees leaves are the symbol of the National Trust? | Bartholomeu Dias | South African History Online
South African History Online
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Portuguese navigator discovered the Cape of Good Hope in 1488 and maritime explorer
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24 May 1500
Lives of Courage
Bartholomeu Dias, also called Bartholomew Diaz, was a Portuguese navigator whose discovery in 1488 of the Cape of Good Hope showed Europeans there was a feasible route to India around the storm-driven southern tip of Africa. He also discovered for Europe the south-east trade winds and the westerlies to the west and south of South Africa, thus establishing the wind system for those who sailed after him. King João II of Portugal financed Dias’s expedition. Dias took part in Cabral's expedition that discovered Brazil, but Dias’s ship sank during a storm. It is very unlikely that Dias was, in fact, the first mariner to round the Cape. The great merchant traders of antiquity ¾ the Phoenicians, Egyptians, Greeks, Arabs, Chinese and Indians ”” all made journeys down the west and east African coasts, and one expedition went right around the continent.
Nevertheless, the voyage of Dias was fraught with consequences, for at the time the search for a passage to the Indies was a move in the great struggle between the Moslem world and Christendom. The epoch-making voyage of Dias not only opened up the sea route to the Indies; it paved the way for contact between Europe, Africa, and the East, greatly extending the Portuguese sphere of influence. Early information about Dias's voyage is limited because all the actual records of his voyage perished when the castle of São Jorge, in which they were housed, burnt down after the Lisbon earthquake of 1755.
However, historians have reconstructed story from chronicles written in the sixteenth century, from near-contemporary maps, and from the stone pillars or padroes which the explorers raised on headlands along the African coast during their voyages, and from old rutters (sailing instructions). The route-book of Duarte Pacheco Pereira has been particularly useful. Pereira wrote the Esmeraldo de Sito Orbis, in which he records his own adventures on the Guinea coast. He wrote from direct experience because Dias rescued him in 1488 on his return voyage after the discovery of the Cape of Good Hope.
Dias's squadron of three ships departed from the River Tagus below Lisbon in August 1487. The name of the flagship has not survived, but we do know that Dias’s pilot was Pero de Alenquer. The second caravel was the São Pantaleao, commanded by João Infante and piloted by Alvaro Martins. Diogo Dias, Bartolomeu’s brother, commanded the storeship, a square-rigger. Her pilot was João de Santiago, who had previously accompanied Diogo Cão up the Congo River. (See Cão, D.) They also carried with them six African hostages who had been taken to Portugal earlier, some by Diogo Cão. They were to be landed at various places on the coast to praise the greatness of the Portuguese and to explain to local chiefs that the Portuguese king wished to establish friendly relations and make contact with Prester John, the legendary Christian king of Ethiopia. The Portuguese king wished them to know that they were seeking a way to India in order to trade.
To replenish provisions before voyaging beyond the Congo, the squadron called at São Jorge de Mina, the Portuguese fortress on the Gold Coast. They touched on the barren Namibian coast in December, and on the coast of Angola, they transferred provisions and supplies from the storeship and left it at anchor with a caretaker crew of nine men. Beyond Cape Cross, they sailed close to the coast. It is thought that they reached Golfo da Conceicão (Walvis Bay) on 8 December, where it is likely that they anchored. Sailing southward along the Namaqualand coast, they named the Gulf of St Thomas (Spencer Bay) and the Angra das Voltas (Luderitz). Continuing along an inhospitable coast, they sailed into Golfo de Santo Estevão (Elizabeth Bay). On 6 January, Dias named a range of mountains Serra dos Reis (the northern Cedarberg). Beyond this point, tradition has it that they encountered adverse winds. Beating on for some days without sighting land, they unwittingly rounded the Cape of Good Hope in late January 1488. While coasting along the southern shores, they came to the Gourits estuary where they saw Khoikhoi tending their wide-horned cattle. They named this river, Rio dos Vacqueiros (River of the Cowherds).
Much worn by wind and weather, in early February 1488 they pressed on eastwards along the coast and, realizing they must have rounded the continent of Africa, they anchored in a broad bay to replenish their water casks. They named this bay Golfo de São Bras (Mossel Bay). Here, the local inhabitants accepted their trinkets and the sailors were able to buy by barter cattle and sheep. But the Khoikhoi later grew distrustful of the interlopers and attacked them. Snatching up a crossbow, Dias shot one of them dead causing the people to flee in terror. The sailors immediately withdrew to their ships, and the expedition sailed on eastward as far as Bahia da Roca (Algoa Bay) where they anchored in the lee of the largest of three rocky islets crowded with sea birds and sea-lions. On the summit, they raised a wooden cross and celebrated mass. They named the islet ilhéu da Cruz. A few days after leaving Algoa Bay, they came to a river mouth, which Dias called Rio de Infante after João Infante, the captain of the second ship. Here, his men compelled him to return them to Portugal because they were exhausted and frightened and their provisions were running out. Historians first assumed his turning point to be the mouth of the Great Fish, but it is now thought to have been the Keiskamma River at Hamburg, 50 km south-west of East London. On 12 March 1488, a little west of Bushman's River mouth, they dropped anchor at a headland, formerly called False Islet, now known as Kwaaihoek. Here, Dias erected his farthest stone pillar, the padrão de São Gregorio and then resumed his homeward journey. Eric Axelson excavated fragments of this padrão in 1938.
Again, Dias's caravels sailed into Algoa Bay. They anchored at Struisbaai Bay on 23 April, naming it Aguada de San Jorgy. They probably stayed here for some time renewing their supplies of fresh food. They saw Cape Agulhas on 16 May, but were unaware that this unimpressive point was the southern extremity of Africa, as all later maps indicate the Cape of Good Hope as being the tip of the continent. The caravels then sailed into Walker Bay, beyond which lies modern Hermanus. Sailing on past a backdrop of mountain ranges, they rounded Cape Hangklip, and entering False Bay, naming it Golfo dentro das Serras (the bay between the mountains). Dias sailed for some days in False Bay and it is very likely that he saw Table Mountain from here, as the side of the mountain is clearly seen fro this position. On 6 June, Dias erected a second padrão somewhere on the Cape Peninsula. Legend has it, Dias called Cabo Tormentosa ””Cape of Storms ””, and the Portuguese king supposedly renamed it Cabo da Boa Esperanca. Professor Axelson scotches this with reference to Pacheco Pereira's statement:
It was not without good reason that this promontory received the name Cabo da Boa Esperanca because Bartolomeu Dias, who discovered it at the command of the late King João in the year 1488, saw that the coast here turned northwards and north-eastwards towards Ethiopia-under-Egypt and on to the gulf of Arabia, which gave indication and expectation of the discovery of India, and for this reason gave it the name of Cabo da Boa Esperanca.
Moreover, a note in a book of Christopher Columbus records that Dias gave an account to King João of how he navigated `to the promontory called by him Cabo da Boa Esperanca'. (Axelson, 1972: 149). Dias's chroniclers record that a padrão dedicated to São Filipe was placed on a prominence of the Cape of Good Hope on 6 June 1488 (Saint Philip's Day). But no trace of it has ever been found. From the Cape of Good Hope, Dias sailed northward. On St Christopher's Day, 34 July, he rejoined the storeship they had left behind at Luderitz Bay. Of the nine men who had remained, six had been killed in attacks by Khoikhoi hostile to their presence, and the three survivors were so weak that the purser, Fernão Colaco, apparently died with joy at the sight of the returning ships. After setting fire to the store-ship, Dias erected his last padrão to the west of the bay that he called Golfo de São Cristovão. By the 1820s, the limestone pillar had been overthrown.
Professor Axelson identified the original site on the foghorn knoll in 1953 and he recovered many fragments of the padrão at the foot of the hill and in the adjacent channel and shallows. Dias probably put in at the mouth of the Congo. He certainly anchored at Principe Island in the Gulf of Guinea, where he rescued Pacheco Pereira and the survivors of an expedition, which had been sent to explore the waterways entering the Bight of Biafra. These explorers had fallen ill with fever and had lost their vessel after a fruitless search for a navigable route to the land of Prester John.
Dias dropped anchor at the river Tagus in December 1488 after a voyage of sixteen months and seventeen days, and having discovered 350 leagues of coastline unknown to Europeans. According to Christopher Columbus, who said he was present at the time, Dias sketched and wrote in a chart for the king, league by league, the voyage he had just completed. This chart has since vanished.
In the same decade that Dias had reached the Cape of Good Hope, Christopher Columbus had sailed across the Atlantic, also looking for a sea route to the Indies. To settle conflicts between Spain and Portugal arising out of Columbus's first voyage, Pope Alexander VI drew up the Treaty of Tordesillas of 1494 to demarcate the boundaries of the spheres of influence of the Spanish and Portuguese kings.
Nine years were to elapse before the next Portuguese fleet under Vasco da Gama sailed around Africa in search of India. During that time, João II died (1495) and was succeeded by his cousin and brother-in-law, Manuel, who took a keen interest in exploration. Dias accompanied Da Gama's fleet as far as the Cape Verde islands where he left it to command the fort at Mina. Dias gained experience in trading at Mina and brought back with him a cargo of gold and slaves, which were sold to provide finances for further expeditions.
When Da Gama returned to Portugal in 1499 with news about the extent of Muslim gold trading on the east African coast, King Manuel became determined to send a strong armada to take advantage of these discoveries. The fleet, under the command of Admiral Pedro Alvares Cabral, included a squadron of four caravels under Dias, who had been selected to found a fortress-factory at the gold-exporting port of Sofala on the east coast. On 9 March 1500, the armada set out on the Atlantic and turned south-westward to take advantage of the south-east trade winds. Cabral may well have been secretly instructed to explore the western area allotted to Portugal under the Treaty of Tordesillas of 1494. Sailing westward, the fleet came upon the bulge of South America. Dias thus became an active participant in the first discovery of Brazil. In order to test the mood of the local inhabitants Dias was ordered to land a longboat at an anchorage they named Porto Seguro (the present Baia Cabralia). As the natives proved friendly and attractive, the Portuguese went ashore and danced and made merry with them, visited their village, and afterwards celebrated mass on the beach.
Cabral and his fleet sailed from Brazil on 2 May 1500. On 24 May, while re-crossing the South Atlantic, a cyclone suddenly overwhelmed the fleet. Four ships were swallowed up, including the caravel of Bartolomeu Dias.
Cabral secures the sea route to India for Portugal. Cabral eventually found himself off Sofala with only six battered ships, all stripped of sail. Realizing it was now impossible to establish a fortress at Sofala, he pressed on to Cochin and other ports where he traded for spices and formed alliances with the local rajas, finally securing the Portuguese sea route to India that Dias had done so much to establish.
Note:
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What is the first name of Bart’s best friend? | Bart’s Muslim Friend
Bart’s Muslim Friend
Photo: Mel F
The program attempted to portray the Muslim family as no different than a typical American family. The parents were from Jordan where they met and fell in love in college.
Sundays are ritualistic in my house. First, there’s football. Both afternoon games and, often, the evening game as well. In between the games is sandwiched The Simpsons — the cartoon about a dysfunctional family that, while often silly, does have profound things to say from time to time.
So, this last Sunday, I tuned in and what did I see? Bart (the young son on The Simpsons) following his nose into a backyard where a young boy was cooking lamb.
Bart, this week, found a Muslim friend.
What’s more, Bart defended his friend, whose name was Bashir, from the town bullies and from the prejudice of his ever bumbling father Homer. (Homer became convinced Bashir and his family were terrorists after talking with his barfly buddies.) This, in many ways, is surprising because Bart tends to be a bit of a bully himself. But there was no double-crossing, no taunts, nothing that made Bart and Bashir seem like anything but the sudden best of buddies. And this, by the way, on a network, FOX, that also airs the program “24″ — a program which had an entire season devoted to foiling a Muslim terrorist plot against the United States.
The Simpsons is a pop culture phenomenon in the United States. It began as short filler on the 1980’s Tracey Ullman Show and has gone on to become one of the longest running series on television, currently in its 20th season. And the family and its town of Springfield even made it to the big screen in their first ever feature length movie a few years ago.
What I’m trying to say is The Simpsons are a very big deal. The creators have, pretty much, carte blanche to do as they please. They’ve had storylines mocking evangelical Christians, academia and even their own network. So, it shouldn’t be surprising they’d tackle Muslims. But surprise me it did, in a good way, though.
The program attempted to portray the Muslim family as no different than a typical American family. The parents were from Jordan where they met and fell in love in college. The father had a job he loved — demolishing buildings. You can imagine where that lead Homer’s imagination.
I guess my one problem with the episode was that, at times, it felt a bit preachy. In my own (albeit limited) research on what can be called “multicultural programming,” I’ve found that programs that seem preachy tend not to be taken seriously. Or absorbed. People tune out when they feel like they’re being told what to think.
But last week’s episode was certainly a step in the right direction. I wonder, though, if this is a one-shot thing? Will Bashir and his family simply fade away? Or will they be integrated into the series the way Milhouse, Bart’s best friend, and his family have been? Bart often leads Milhouse astray … will we see Bart attempt the same things with Bashir? There could be some really interesting storylines involving The Simpson’s very religious neighbor Ned Flanders as well as Reverend Lovejoy.
I suppose it’s not too much to hope that Bashir’s family becomes a part of the series. Although, given the way Apu (the resident Hindu) is treated, it could just perpetuate stereotypes. I guess we’ll just have to wait and see.
If you missed the episode, you can watch the whle thing online. The episode you want is called “Mypods and Boomsticks.”
Rosemary Pennington Program Coordinator for Voices and Visions is a graduate student in the School of Journalism at Indiana University.
| Milhouse Van Houten |
What is Springfield’s neighbouring rival town called? | "The Simpsons" Bart's Friend Falls in Love (TV Episode 1992) - IMDb
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Bart's Friend Falls in Love
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Milhouse falls in love with Samantha, a new transfer student, and Bart becomes jealous of all the time they are spending together. Meanwhile, Homer orders a subliminal weight loss tape, but is given a vocabulary builder by mistake.
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Title: Bart's Friend Falls in Love (07 May 1992)
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Storyline
A new girl in class Samantha Stanky ( Kimmy Robertson of The Last American Virgin (1982)) comes between Bart Simpson ( Nancy Cartwright ) and Milhouse ( Pamela Hayden ) when Milhouse falls for her and starts to ignore Bart. Bart snitches on the couple to Samantha's father, who has her sent to a convent school, where Milhouse and Bart visit and she confesses to still having feelings for Milhouse. The boys get back together again whilst Homer increases his word power after receiving a vocabulary building subliminal tape and not the weight loss tape expected. Written by don @ minifie-1
7 May 1992 (USA) See more »
Filming Locations:
The Magic 8-Ball was invented by Albert Carter and Abe Bookman in 1950. See more »
Quotes
Milhouse : How could this have happened? We started out like Romeo and Juliet, but instead it ended in tragedy.
See more »
Crazy Credits
The words shown next to Homer Simpson wearing a graduation cap are real words: Satiety, triumvirate, gourmand, and boudoir. But the definitions are fictional. See more »
Connections
Finding Your First True Love!
22 August 2014 | by g-bodyl
(United States) – See all my reviews
This is the twenty-fourth episode of the third season of the Simpsons and it is a really good one as it tackles the part of finding your first love during your pre-teen years. While it's romance, this doesn't get overly sappy so I'm happy for that. It's also funny thanks to the very great jokes including Homer becoming articulate.
In this episode, "Bart's Friend Falls in Love," a girl named Samantha moves into Bart's class and his best friend, Milhouse falls in love with her. Bart thinks that will end their friendship, so he tries to stop their relationship. Meanwhile, Homer wants to lose weight so he orders a program to help him, but instead he only broadens his vocabulary while still putting on the pounds.
Overall, this is a great episode exploring pre-teen love. However strong the romance plot was, I did think the subplot involving Homer was even funnier. It was nice to see what Homer would be like with even a slither of intelligence. I rate this episode 9/10.
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The famous French wine Chablis is made mainly from which grape variety? | Wine Varietals A-Z ‹ Wines.com
Types of wine A-Z
What’s on the label
Wine “varietals” simply means wine made from a specific winegrape. Varietal wines in the United States are often named after the dominant grapes used in making the wine. Cabernet Sauvignon, Merlot, Chardonnay, Riesling, Pinot Noir, and Chenin Blanc are examples of grape varieties. When a wine bottle shows a varietal designation on the label (like Merlot) it means that the wine in the bottle is at least 75% that grape variety (at least 75% Merlot, for example).*
Showing a varietal on the label tells the consumer what to expect from the flavor of the wine. That’s why learning about basic varietals in important.
Wine labels in the U.S. often also give information on location like the Mondavi “Napa Valley” Cabernet Sauvignon shown here. This indicates that the Cabernet grapes in this wine were grown in the “Napa Valley” official wine region (Viticutural Area or appellation).
Wines are not required to carry varietal designations and cannot legally do so if the wine is a blend where no varietal is dominant (more than 75%). This is often the case. Then labels (in the U.S.) will often show the percentages of grapes used to make the blend.
Other more generic names are used to identify wine without any information on the type of grape used or where it was grown. Examples are Red Wine, White Wine, Table Wine, Blush Wine, etc..
Place of origin designations
Designations such as Chablis or Chianti indicate wines similar to the wines originally made in geographic regions indicated by those names. Chablis was originally a product of France and Chianti, a product of Italy. Such wines must include an appellation of origin to indicate the true place of origin.
Some wines are designated with distinctive names which are permissible only on specific wines from a particular place or region within the country of origin. For example, Pommard from France and Rudesheimer from Germany.
COMMON WINE TYPES
Spanish white wine grape that makes crisp, refreshing, and light-bodied wines.
Aligoté
White wine grape grown in Burgundy making medium-bodied, crisp, dry wines with spicy character.
Amarone
From Italy’s Veneto Region a strong, dry, long- lived red, made from a blend of partially dried red grapes.
Arneis
A light-bodied dry wine the Piedmont Region of Italy
Asti Spumante
From the Piedmont Region of Italy, A semidry sparkling wine produced from the Moscato di Canelli grape in the village of Asti
Auslese
German white wine from grapes that are very ripe and thus high in sugar
Banylus
A French wine made from late-harvest Grenache grapes and served with chocolate or dishes with a hint of sweetness. By law the wine must contain 15 percent alcohol.
Barbaresco
A red wine from the Piedmont Region of Italy, made from Nebbiolo grapes it is lighter than Barolo.
Bardolino
A light red wine from the Veneto Region of Italy. Blended from several grapes the wine garnet in color, dry and slightly bitter, sometimes lightly sparkling.
Barolo
Highly regarded Italian red, made from Nebbiolo grapes. It is dark, full-bodied and high in tannin and alcohol. Ages well.
Beaujolais
Typically light, fresh, fruity red wines from and area south of Burgundy, near Lyons, in eastern France. Areas: Beaujolais-Blanc, Beaujolais Villages, Brouilly, Chénas, Chiroubles, Fleurie, Juliénas, Mouliné-àVent, Morgon, Regnie, Saint Amour.
Blanc de Blancs
Champagne or white wine made from white grapes.
Blanc de Noirs
White or blush wine or Champagne made from dark grapes.
Blush
American term for rosé. Any wine that is pink in color.
Boal or Bual
Grown on the island of Madeira, it makes medium-sweet wines.
Brunello
This strain of Sangiovese is the only grape permitted for Brunello di Montalcino, the rare, costly Tuscan red. Luscious black and red fruits with chewy tannins.
Cabernet Franc
Red wine grape used in Bordeaux for blending with Cabernet Sauvignon. It is an earlier-maturing red wine, due to its lower level of tannins. Light- to medium-bodied wine with more immediate fruit than Cabernet Sauvignon and some of the herbaceous odors evident in unripe Cabernet Sauvignon.
Cabernet Sauvignon
Currant, Plum, Black Cherry & Spice, with notes of Olive, Vanilla Mint, Tobacco, Toasty Cedar, Anise, Pepper & Herbs. Full-bodied wines with great depth that improve with aging. Cabernet spends from 15 to 30 months aging in American & French Oak barrels which tend to soften the tannins, adding the toasty cedar & vanilla flavors.
Carignan
Known as Carignane in California, and Cirnano in Italy. Once a major blending grape for jug wines, Carignan’s popularity has diminished though it still appears in some blends. Old vineyards are sought after for the intensity of their grapes.
Carmenere
Also known as Grande Vidure, once widely planted in Bordeaux. Now primarily associated with Chile. Carmenere, was imported to Chile in the 1850’s. Carmenere has been frequently mislabeled snf many growers and the Chilean government consider it Merlot.
Cava
Spanish sparkling wine. Produced by the méthode champenoise.
Charbono
Mainly found in California (may possibly be Dolcetto), this grape has dwindled in acreage. Often lean and tannic. Few wineries still produce it.
Champagne
Champagne is the only wine that people accept in such a multitude of styles. Champagnes can range from burnt, carmely oxidized to full bodied fruit and yeast characters to light and citrusy, and everything in between. Then each of these wines can be altered in its amount of residual sweetness from a bone-chilling dryness to sugar syrup. Bottle age will also alter the weight and character of each of these styles.
Chardonnay
Apple, Pear, Vanilla, Fig, Peach, Pineapple, Melon, Citrus, Lemon, Grapefruit, Honey, Spice, Butterscotch, Butter & Hazelnut. Chardonnay takes well to Oak aging & barrel fermentation and is easy to manipulate with techniques such as sur lie aging & malolactic fermentation.
Châteauneuf-du-Pape
The most famous wines of the southern Rhône Valley, are produced in and around the town of the same name (the summer residence of the popes during their exile to Avignon). The reds are rich, ripe, and heady, with full alcohol levels and chewy rustic flavors. Although 13 grape varieties are planted here, the principal varietal is Grenache, followed by Syrah, Cinsault and Mourvèdre (also Vaccarese, Counoise, Terret noir, Muscardin, Clairette, Piquepoul, Picardan, Rousanne, Bourboulenc).
Chenin Blanc
Native of the Loire where it’s the basis of the famous whites: Vouvray, Anjou, Quarts de Chaume and Saumer. In other areas it is a very good blending grape. Called Steen in South Africa and their most-planted grape. California uses it mainly as a blending grape for generic table wines. It can be a pleasant wine, with melon, peach, spice and citrus. The great Loire wines, depending on the producer can be dry and fresh to sweet.
Chianti
From a blend of grapes this fruity, light ruby-to-garnet-colored red may be called Chianti Riserva when aged three or more years.
Chianti Classico
From a designated portion of the Chianti wine district. To be labeled Chianti Classico, both vineyard and winery must be within the specified region.
Claret
British term for red Bordeaux wines.
Colombard (French Colombard)
The second most widely planted white variety in California, nearly all of it for jug wines. It produces an abundant crop, nearly 11 tons per acre, and makes clean and simple wines.
Constantia
This legendary sweet wine from South Africa, was a favorite of Napoleon. It comes from an estate called Groot Constantia.
Cortese
White wine grape grown in Piedmont and Lombardy. Best known for the wine, Gavi. The grape produces a light-bodied, crisp, well-balanced wine.
Dolcetto
From northwest Piedmont it produces soft, round, fruity wines fragrant with licorice and almonds.
Eiswein
“Ice wine,” A sweet German wine, made from grapes that have frozen on the vine. Freezing concentrates the sugars in the grapes prior to harvesting.
Frascati
An Italian fruity, golden white wine, may be dry to sweet.
Fumé Blanc
see Sauvignon Blanc
Gamay
Beaujolais makes its famous, fruity reds exclusively from one of the many Gamays available, the Gamay Noir à Jus Blanc. Low in alcohol and relatively high in acidity, the wines are meant to be drunk soon after bottling; the ultimate example of this is Beaujolais Nouveau, whipped onto shelves everywhere almost overnight. It is also grown in the Loire, but makes no remarkable wines. The Swiss grow it widely, for blending with Pinot Noir; they often chaptalize the wines.
Gamay Beaujolais
A California variety that makes undistinguished wines. Primarily used for blending.
Gattinara
A Piedmont red made from Nebbiolo blended with other grapes. Powerful and long-lived.
Gewürztraminer
A distinctive floral bouquet & spicy flavor are hallmarks of this medium-sweet wine. Grown mainly in Alsace region of France & Germany, and also in Californ>ia, Eastern Europe, Australia, and New Zealand.
Grappa
An Italian spirit distilled from pomace. Dry and high in alcohol, it is an after dinner drink.
Grenache
Used mainly for blending and the making of Rose and Blush Wines in California, while in France it is blended to make Chateauneuf-du-Pape. Originally from Spain is the second most widely grown grape in the world. It produces a fruity, spicy, medium-bodied wine.
Johannisberg Riesling
See Riesling
Kir
An aperitif from the Burgundy Region of France. A glass of dry white wine and a teaspoon of crème de cassis make this popular drink. To make Kir Royale, use champagne or sparkling wine.
Lambrusco
A fizzy, usually red, dry to sweet wine from northern Italy, made from the grape of the same name.
Liebfraumilch
A blended German white, semisweet and fairly neutral, which accounts for up to 50 percent of all German wine exports.
Madeira
A fortified wine named for the island on which its grapes are grown. The wine is slowly heated in a storeroom to over 110ºF, and allowed to cool over a period of months. Styles range from dry apéritifs, from the Sercial grape, to rich and sweet Boal and Malmsey.
Malbec
Once important in Bordeaux and the Loire in various blends, this not-very-hardy grape has been steadily replaced by Merlot and the two Cabernets. However, Argentina is markedly successful with this varietal. In the United States Malbec is a blending grape only, and an insignificant one at that, but a few wineries use it, the most obvious reason being that it’s considered part of the Bordeaux-blend recipe.
Marc
A distilled spirit made from pomace that is known by different names around the world. Italy calls it grappa; in Burgundy, Marc de Bourgogne; in Champagne, Marc de Champagne. Dry and high in alcohol, typically an after dinner drink.
Marsala
Made from Grillo, Catarratto, or Inzolia grapes, this Sicilian wine may be dry or sweet and is commonly used in cooking.
Marsanne
A full-bodied, moderately intense wine with spice, pear and citrus notes. Popular in the Rhône & Australia (especially Victoria) has some of the world’s oldest vineyards. California’s “Rhône-Rangers” have had considerable success with this variety.
Mead
Common in medieval Europe, a wine made by fermenting honey and water. Wine makers now making flavored meads.
Meritage
Registered in 1989 with the U.S. Department of Trademarks and Patents by a group of vintners, who sought to establish standards of identifying red & white wines made of traditional Bordeaux grape blends. They needed a name for these wines since 75% of a single variety is not used, therefore the label could not state a particular variety of grape. Meritage was chosen because it was a combination of two words, merit and heritage. To be called a meritage, the wine must: Blend two or more Bordeaux grape varieties: Red wines/ Cabernet Franc, Cabernet Sauvignon, Carmenere, Gros Verdot, Malbec, Merlot, Petite Verdot & St. Macaire. White wines/ Sauvignon Blanc, Muscadelle and Sémillon. Have less than 90% of any single variety. Be the winery’s best wine of its type. Be produced and bottled by a United States winery from grapes carrying a U.S. appellation. Be limited to a maximum of 25,000 cases produced per vintage.
Merlot
Herbs, Green Olive, Cherry & Chocolate. Softer & medium in weight with fewer tannins than Cabernet and ready to drink sooner. Takes well to Oak aging. It is frequently used as a blending wine with Cabernet to soften
Montepulciano
A medium to full-bodied wine, with good color and structure. Known for its quality and value.
Moscato
see Muscat
Mourvedre
A pleasing wine, of medium-weight, with spicy cherry and berry flavors and moderate tannins. Often used in Châteauneuf-du-Pape.
Müller-Thurgau
A cross of two grapes, Sylvaner and Riesling. Mainly grown in Germany, Northern Italy, and New Zealand. Light in color, and can be dry to medium dry.
Muscat
Also known as Muscat Blanc and Muscat Canelli. With pronounced spice and floral notes it can also be used for blending. A versatile grape that can turn into anything from Asti Spumante and Muscat de Canelli to a dry wine like Muscat d’Alsace.
Nebbiolo
The great grape of Northern Italy, which excels there in Barolo and Barbaresco, strong, ageable wines. Mainly unsuccessful elsewhere, Nebbiolo also now has a small foothold in California. So far the wines are light and uncomplicated, bearing no resemblance to the Italian types.
Petit Verdot
From the Bordeaux Region of France it is used for blending with Cabernet Sauvignon.
Petite Sirah
Plum & blackberry flavors mark this deep, ruby colored wine. Usually full-bodied with chewy tannins. Used in France & California as a blending wine. Not related to the Syrah of France.
Pinot Blanc
Similar flavor and texture to Chardonnay it is used in Champagne, Burgundy, Alsace, Germany, Italy and California and can make a excellent wines. It can be intense, and complex, with ripe pear, spice, citrus and honey notes.
Pinot Grigio/Pinot Gris
At its best this varietal produces wines that are soft, perfumed with more color than most other white wines. Grown mainly in northeast Italy, but as Pinot Gris it is grown in Alsace & known as Tokay.
Pinot Meunier
Grown in the Champagne region of France, it is blended with Pinot Noir and Chardonnay to add fruit flavors to champagne.
Pinot Noir
This is the great, noble grape of Burgundy. Difficult to grow but at its best it is smooth & richer than Cabernet Sauvignon with less tannin. Raisin like flavors with undertones of black cherry, spice & raspberry. Widely used in the making of champagne sparkling wines.
Pinotage
A cross between Pinot Noir and Cinsault. Grown in South Africa. Fermented at higher temperatures and aged in new oak for finesse and wonderful berry flavors.
Port
Fortified wine from the Douro region of Portugal. Styles include: Late Bottle (LB), Tawny, Ruby, Aged, and Vintage. Mostly sweet and red.
Retsina
Dry white Greek wine flavored with pine resin. Dating back to ancient Greece, it is an acquired taste. Dominant flavor is turpentine. Riesling Flavors of apricot & tropical fruit with floral aromas are characteristics of this widely varying wine. Styles range from dry to sweet.
Rosé
Sometimes called blush. Any light pink wine, dry to sweet, made by removing the skins of red grapes early in the fermentation process or by mixing red and white
Roussanne
A white wine grape of the northern Rhône Valley, mainly for blending with the white wine grape Marsanne.
Sangiovese
Known for its supple texture, medium to full-bodied spice flavors, raspberry cherry & anise. Sangiovese is used in many fine Italian wines including Chianti.
Sauterns
A blend of mostly Sémillon and Sauvignon Blanc grapes, affected by Botrytis cinerea, which concentrates the wine’s sweetness and alcohol.
Sauvignon Blanc
Grassy & herbaceous flavors and aromas mark this light and medium-bodied wine, sometimes with hints of gooseberry & black currant. In California it is often labeled Fume Blanc. New Zealand produces some of the finest Sauvignon Blancs in a markedly fruity style.
Sémillon
The foundation of Sauternes, and many of the dry whites of Graves and Pessac-Léognan. It can make a wonderful late-harvest wine, with complex fig, pear, tobacco and honey notes. As a blending wine it adds body, flavor and texture to Sauvignon Blanc. It may be blended with Chardonnay, but does not add much to the flavor.
Sherry
Fortified wine from the Jerez de la Frontera district in southern Spain. Palomino is the main grape variety, with Pedro Ximénez used for the sweeter, heavier wines. Drier Sherries are best served chilled; the medium-sweet to sweet are best at room temperature. Ranging from dry to very sweet, the styles are: Manzanilla, Fino, Amontillado, Oloroso, Pale Cream, Cream, Palo, and Pedro Ximénez. Shiraz/Syrah Black cherry, spice, pepper, tar & leather with smooth tannins & supple texture make this wine a growing favorite. With early drinking appeal it also has the ability to age well to form more complex wines.
Soave
A straw-colored dry white wine Italy’s Veneto Region. Symphony Symphony is a U. C. Davis clone. In 1948, the Muscat of Alexandria and Grenache Gris grapes were combined to create this delicate Muscat flavor. It’s very distinctive
Tokay
A light, semidry red from Italy’s Veneto Region, typically drunk young.
Verdicchio
Italian white that produces a pale, light-bodied, crisp wine.
Viognier
Viognier, is one of the most difficult grapes to grow. It makes a floral and spicy white wine, medium to full-bodied and very fruity, with apricot and peach aromas.
Zinfandel
With predominant raspberry flavors and a spicy aroma, Zinfandels can be bold and intense as well as light and fruity. It takes well to blending bringing out flavors of cherry, wild berry & plum with notes of leather, earth & tar. It is the most widely grown grape in California. Much of it is turned into White Zinfandel, a blush wine that is slightly sweet.
*Most wine is made from a family of grapes called “Vitus Vinifera”. Wine made from “Vitis Labrusca” grapes – such as Concord – is an exception because of the grape’s intense flavor. These wines must contain a minimum of 51% of the grape variety, and it will be so stated on the label. If the label carries no percentage statement, the wine must contain at least 75% of the “labrusca variety.”
| Chardonnay |
Chianti wine comes from which region of Italy? | The Wine Society of India - Famous Grape Varieties
Famous Grape Varieties
Famous White Grape Varietals
Chardonnay
Chardonnay is the world’s most popular grape type, owing mainly to its ability to reflect a gamut of flavours and styles. One can find anything from an acidic light-bodied Chardonnay with mineral notes from Chablis (the birthplace of Chardonnay) to a heavily oaked, full-mouthed Chardonnay with tropical fruit aromas from the New World. Chardonnay is also one of the three grape types (along with Pinot Noir and Pinot Meunier) that make up champagne. Champagne can also be made exclusively of Chardonnay, and is called a Blanc de Blanc. The tendency to mass market Chardonnay these days has resulted in a decline in its popularity.
Chenin Blanc
India’s most beloved white wine grape was born in the Loire valley in France. Owing to its high acidity and susceptibility to botrytis, this grape variety can be made in a variety of styles, from the very dry to the very sweet. Expect the drier variety to have floral and fruity aromas (apple and pear) noticeable on the nose. Botrytized (late harvest) Chenin Blancs are more honeyed on both nose and palate. Beyond the Loire Valley, Chenin Blanc is generally treated as an inferior grape type, with Chardonnay or Sauvignon Blanc vastly preferred to it.
Gewurztraminer
Pronounced guh-VURTS-trah-MEE-ner, this deep-coloured wine is very popular with novices, who love its extremely heady aromas of lychee, rose petal, cinnamon and ginger. Gewurztraminers are considered too strong a wine to be paired with food (even spicy food), and do not age well either. Gewurztraminers from Alsace are particularly noteworthy, though California and Oregon also produce it wonderfully well.
Riesling
Riesling languished in the doldrums of neglect until quite recently, but its distinctive characteristics have now earned it a cult following that is now rapidly growing in size. It is highly aromatic, with notes of nuts, lemons, apples and peaches in its youth to heady notes of petrol and toast in its prime. When botrytized, fragrances of honey and flowers abound. The Riesling doesn’t travel well beyond the borders of Germany, where the cool climate and the slaty slopes of the Mosel Valley produce Rieslings worth waiting for. Most aficionados do end up waiting for them, as Rieslings age extremely well in the bottle, often maturing several decades later (in tandem with some Bordeaux Growths).
Sauvignon Blanc
Sauvignon Blanc typically polarises wine lovers into groups who either love it or hate it. In France, it is traditionally associated with the minerality and flinty notes of the Eastern Loire Valley or as a blending partner with Semillon and Muscadelle in white Bordeaux wines. In the New World, New Zealand has encouraged Sauvignon Blanc to bring forth aromas of green grass, asparagus and tropical fruit (guava and passion fruit). Despite its crisp acidity, Sauvignon Blancs don’t age well, and need to be drunk young.
| i don't know |
Which Persian king invaded Greece to punish Athens? | Persian War
Persian Wars see Map
In 499 B.C. the Greek cities of Ionia rebelled against Persian rule. The Persian king, Darius, crushed the revolt and sacked Miletus. Darius invaded Greece to punish Athens for the support of the failed revolt in Ionia. A first Persian invasion failed when the Persian fleet was destroyed in a storm off Mount Athos. A second expedition was decisively beaten by the Athenians and their allies on land at the Battle of Marathon in 490 BC.
Xerxes, Darius' son and successor, launched a third expedition on a massive scale on land and sea. To avoid the risk of losing the fleet in a storm Xerxes ordered a canal to be dug through the Athos peninsula, a notoriously stormy area. As the army advanced along the Thracian coast Persian diplomats attempted to persuade the Greeks to submit. Many cities and the Greek oracle at Delphi decided to accept Persian terms, but some twenty cities, under the leadership of Sparta, refused to yield.
On August, 480 B.C., 300 Spartans and 5 600 other warriors died at Thermoplylae in a vain attempt to stop the Persian advance. Then, as Xerxes' army marched south, the Athenians were compelled to evacuate the city, which was burned by the Persians.
Yet the Persians had difficulty in supplying their army and Xerxes decided to attack the Greek fleet, which had taken refuge in the Strait of Salamis near Athens. In the narrow Strait, the superior Persian fleet became disorganised and the Greeks, by skillful maneuvering, were able to win a decisive victory. Xerxes ordered an immediate retreat to prevent his army from being trapped.
A token army was left in Greece but this force was destroyed the following year at the Battle of Plataea. After this defeat the Persians abandoned their expansionist aims and the independence of Greek civilization was secured.
www link :
| Darius |
The story of a man who was too proud to run – (1952)? | Xerxes I - Ancient History Encyclopedia
Xerxes I
by Joshua J. Mark
published on 28 April 2011
Xerxes I (ruled 486-465 BCE), also known as Xerxes the Great , was the king of the Persian Achaemenid Empire . His official title was Shahanshah which, though usually translated as `emperor’, actually means `king of kings’. He is identified as the Ahasuerus of Persia in the biblical Book of Esther (although his son, Artaxerxes I, is also a possibility as is Artaxerxes II) and is referenced at length in the works of Herodotus , Diodorus Siculus, Quintus Curtius Rufus, and, to a lesser extent, in Plutarch . Herodotus is the primary source for the story of his expedition to Greece . The name ` Xerxes ’ is the Greek version of the Persian `Khshayarsa’ (or Khashyar Shah), and so he is known in the west as `Xerxes’ but in the east as `Khshayarsa'.
His mother was Atossa, the daughter of Cyrus the Great (who founded the Achaemenid Empire ). He was, therefore, accepted as a great king before having to prove himself so in any way. Xerxes is celebrated for his many building projects throughout his empire but is best known, in both ancient and modern sources, for the massive expedition he mounted against Greece in 480 BCE which, according to Herodotus, assembled the largest and most well equipped fighting force ever put into the field up to that point. He was the son of Darius the Great (550-486 BCE) who, in an effort to punish Athens for their support of the Ionian colonies' revolt against Persian rule, had invaded Greece in 492 BCE. The Persians were defeated by the Greek forces at the Battle of Marathon in 490 BCE, and Darius died in 486 BCE before he could mount another offensive. It therefore fell to his son to carry out his father’s wishes and, in amassing an army of such size and strength, Xerxes felt confident of his success in achieving what the great Darius had been unable to realize.
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Early Campaigns
Xerxes was not the eldest of Darius’ sons but, as the first-born of his marriage with Atossa, was chosen as successor. Upon Darius’ death, Xerxes’ older half-brother, Artabazenes, claimed the throne but was rebuffed because his mother was a commoner while Xerxes’ mother was the daughter of the great Cyrus. He married the princess Amestris, daughter of Otanes, who would become mother to his sons Darius, Hystaspes, Artaxerxes I, Achamenes, and daughters Amytis and Rhodogune. Upon assuming the throne, Xerxes’ Commander-in-Chief of the Army, Mardonius (who was also his cousin and brother-in-law), pressured him to renew the campaign against Greece. Mardonius’ motives, it seems, were personal, as he hoped to rule the conquered nation as Satrap following Xerxes’ victory. Xerxes’ uncle and advisor, Artabanus, tried to persuade him to abandon the expedition but Mardonius’ arguments prevailed. Even so, there were many matters to attend to such as the insurrection of Babylon and the revolts against Persian rule in Egypt , and Xerxes expended considerable time throughout the year 485 BCE in quelling these and restoring order.
Xerxes referred to himself as the King of the Persians and the Medes, and treated all as subject to his rule.
Although his grandfather Cyrus had been a friend to Babylon, Xerxes had subjugated the city and melted down the golden statue of Marduk , their patron deity. This was a particular affront to the dignity and tradition of Babylon because one of the religious duties of a ruler was to grasp the hands of the statue of Marduk at the New Year’s festival in order to ensure continued prosperity throughout the land; Babylon thus enjoyed a prestige among the cities of Mesopotamia as the site of this ritual. Cyrus had been diligent in officiating at the festival, as had Darius, but Xerxes considered it a matter of little consequence. He ignored the established relationships with former allies, referring to himself as the King of the Persians and the Medes, and treated all as subject to his rule. Babylon revolted against him twice before he lay siege to it and crushed the rebellion.
The Expedition to Greece
With relative peace established in his empire, he again turned his attention to Greece and conquest . He spent four years amassing enough supplies and weaponry for the campaign and also conscripting as many men as he could from various regions to ensure his victory. Herodotus tells the story of Pythias the Lydian (a descendant of King Croesus ) whose five sons were among those conscripted. Pythias hosted the king and his army lavishly at Sardis in the winter of 481-480 BCE and offered to give Xerxes a considerable sum of money for the campaign, but Xerxes refused his offer and, instead, rewarded Pythias for his generosity by adding greatly to his treasury.
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Prior to Xerxes’ departure for the Hellespont, a bad omen in the form of an eclipse appeared in the sky but Xerxes, assured by his diviners that it meant nothing, proceeded with his plans. Pythias, however, recognized the omen as a warning of impending doom and, emboldened by Xerxes’ generosity and kindness, asked if his eldest son could be released from the army so that he would have at least one son to care for him in his old age and carry on as heir. Xerxes became enraged at this request as it meant that Pythias doubted his chances of success. He had the eldest son removed from the ranks, cut him in half, placed the two sections of the corpse on either side of the road, and marched his troops away between them.
According to Herodotus, the size of Xerxes’ expeditionary force was over two million men and four thousand ships. Diodorus Siculus and Quintus Curtius Rufus confirm the enormity of Xerxes’ army, though their numbers differ from Herodotus and from each other. In order to move his ships freely, he had a canal dug across the Isthmus of Actium near Mr. Athos, the remains of which are still visible in the present day. He assembled his forces to cross the Hellespont into Europe and, Herodotus reports, watched them as they stood in formation. The size of the army and its majesty
first gave Xerxes a feeling of deep self-satisfaction, but later he began to weep. When his uncle, Artabanus (the one who had at first freely expressed his opinion and advised Xerxes not to attack Greece) noticed that Xerxes was crying he said, `My lord, a short while ago you were feeling happy with your situation and now you are weeping. What a total change of mood!’ `Yes,” Xerxes answered. `I was reflecting on things and it occurred to me how short the sum total of human life is, which made me feel compassion. Look at all these people – but not one of them will still be alive in a hundred years’ time’(VII.45-46).
Even so, Xerxes put the thoughts of the brevity of life from his mind and ordered the crossing and the invasion of Greece.
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The omens, from the start, were not favorable to Xerxes’ cause. The Hellespont is said to have risen in revolt at his crossing. In order to move his massive force, Xerxes built bridges across the water. Herodotus writes:
The Phoenicians and the Egyptians who had been assigned the task set about building their bridges (the Phoenicians using white flax and the Egyptians papyrus), taking Abydus as their starting point and directing their efforts towards the headland on the opposite coast – a distance of seven stades. They had just finished bridging the straits when a violent storm erupted which completely smashed and destroyed everything. This news made Xerxes furious. He ordered his men to give the Hellespont three hundred lashes and to sink a pair of shackles into the sea. I once heard that they also dispatched men to brand the Hellespont as well. Be that as it may, he did tell the men he had thrashing the sea to revile it in terms you would never hear from a Greek. “Bitter water,” they said, this is your punishment for wronging your master when he did no wrong to you. King Xerxes will cross you, with or without your consent. People are right not to sacrifice to a muddy, brackish stream like you!” So the sea was punished at his orders and he had the supervisors of the bridging of the Hellespont beheaded. The men assigned this grotesque task carried out their orders and another team of engineers managed to bridge the Hellespont (VII.34-36).
Once they had reached the other side, Herodotus writes, “a really extraordinary thing happened: a horse gave birth to a hare. Xerxes dismissed it as insignificant, though its meaning was transparent. It meant that, although Xerxes would walk tall and proud on his way to attack Greece, he would return to his starting-point running for his life” (VII.57). Besides the revolt of the waters of the Hellespont and the appearance of the hare, there were other omens which indicated that Xerxes’ campaign would end badly, but Xerxes dismissed all of them as meaningless and proceeded on toward his goal.
The Greeks, in the meantime, had mobilized their forces under the direction of Athens and sent forces to meet the Persian expedition and defend the mainland. The battles of Artemisium and Thermopylae , fought more or less concurrently, provided the Persians with victories (either complete or strategic) which enabled them access to Greece, and they marched on Athens as soon as they were able. Xerxes was so enraged at the Athenian resistance to his wishes that he burned the city in a furious fit, which he so regretted that, later, he would reference this as his only remorse in the entire campaign.
The Battle of Salamis
At this point, the Greeks, who had abandoned Athens and most of the countryside, had gathered their forces off the coast of the mainland at Aegina and in the Peloponnese and their navy was anchored in the straits of Salamis. Xerxes called a war council to decide on his next move and whether to engage the Greeks at Salamis, return home content with the destruction of Athens, or consider other alternatives. Mardonius counseled in favor of a sea battle, as did all the other allied leaders, except for Artemisia of Caria who provided Xerxes with other options. She claimed that he need do nothing to secure victory but keep the Greeks in place until their supplies ran out and they sued for peace. While he clearly respected Artemisia and thanked her for her advice, he chose the majority opinion and committed to the naval engagement.
The Battle of Salamis, which followed, was a disaster for the Persian fleet and cost Xerxes dearly. Following the loss, he again consulted Artemisia for advice and she told him he should return home and accept Mardonius’ offer to remain behind and conquer the Greeks in Xerxes’ name. This time he accepted her counsel and left the country with Mardonius remaining behind to continue the war effort. Mardonius was defeated the following year at the Battle of Plataea which was fought on the same day as the equally decisive Battle of Mycale, 27 August 479 BCE.
Mardonius was killed and, with his death, the Persian forces scattered and Xerxes’ ambitions for subjugating Greece were crushed. As the omen had predicted, Xerxes returned home `limping’ with a fraction of his army and was forced to eat bark, weeds, and leaves because there was no food left in the regions they traveled through. The men were ravaged by disease and many died of dysentery and so, by the time Xerxes crossed back across the Hellespont and reached Sardis, he had hardly any army left to speak of.
Xerxes’ Building Projects & Death
Back home, Xerxes concentrated his efforts on making larger and grander monuments and completing greater building projects than his father. In doing so, he depleted the royal treasury to an even greater extent than his expedition to Greece already had. He maintained the roadways throughout the empire, especially the Royal Road by which messages were carried (the precursor to the Roman mail system and, later, the modern-day postal system) and devoted both time and funds to expanding sites such as Susa and Persepolis . Although Darius’ palace still stood, Xerxes’ commissioned an even more elaborate building project to raise his own opulent palace nearby and also commanded the construction of the Hall of a Hundred Columns and the building which has been designated `The Harem’ by archaeologists (because of the duplication of identical rooms in a row) which may have actually served as Xerxes’ treasury. The exhorbitant cost of these projects, coupled with the expense of the expedition to Greece, put a tremendous strain on Xerxes' subjects through heavy taxation. Xerxes, however, appeared not to notice a problem and continued to do as he pleased; because of this, his rule marks the beginning of the decline of the Achaemenid Empire.
According to Herodotus, Xerxes’ fondness for women and lack of restraint led to his pursuit of his brother Masistes’ wife. When she refused him, he married one of his sons, Darius, to the daughter of Masistes, Artaynte, in hopes that, by this union, he could get closer to his brother’s wife and manage to seduce her. When he saw Artaynte, however, he desired her more than the mother and, when he approached her, she agreed to an affair. Herodotus reports that, at about this same time, Xerxes’ wife Amestris had woven him a beautiful shawl, which he liked so much he wore everywhere. Artaynte admired the shawl and, one day when Xerxes told her that he would give her any gift she asked for, she requested the shawl. He tried to get her to take any other gift instead because he knew that, should he give his mistress the shawl, his wife would discover the affair. He had given his word, however, and Artaynte refused any other gift, and so he gave her the shawl.
As he feared, Amestris heard that Xerxes’ mistress was wearing the shawl and plotted revenge. She decided to focus her energies, not on the mistress, but on Artaynte’ s mother who she blamed for not raising a proper daughter (and, perhaps, because she had guessed that Artaynte was Xerxes’ second choice in a mistress). At the royal banquet known as Tukta, which was held once a year and at which the king granted gifts to his subjects, Amestris asked for Masistes’ wife to be delivered to her. As with Artaynte and the shawl, Xerxes pleaded with Amestris to make any other request, but she would not do so.
Xerxes then gave his brother’s wife to Amestris who, according to Herodotus, “sent for Xerxes’ personal guards and with their help mutilated Masistes’ wife. She cut off her breasts and threw them to the dogs, cut off her nose, ears, lips, and tongue, and then sent her back home totally disfigured” (9:112). In response, Masistes tried to raise a revolt in Bactra but Xerxes, hearing of his plans, trapped him and killed him, his sons, and all of the men he had rallied to his cause. Xerxes then returned to his building projects and designs for greater, grander, monuments to commemorate his reign and distinguish him from his father. His development plans were cut short through his assassination by his minister Artabanus (a different man than his uncle of the same name) who also murdered his son Darius. Xerxes’ other son, Artaxerxes I, then killed Artabanus, took the throne, and went on to complete Xerxes’ grand building plans in his own name and for his own greater glory.
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By what name was the notorious organisation run by the Kray twins known? | Top ten criminal gangs - Mirror Online
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1 - The Thompson Gang
Not to be confused with the Thompson Twins, the Thompson Gang ruled Glasgow for three decades from the 70s to the 90s.
Their ‘Godfather’, Arthur Thompson, began his criminal empire as a council estate money lender. Those who failed to pay their debts were crucified by being nailed to doors and furniture. Protection rackets and forays into the drug trade soon followed.
Although a feared man of violence, there were rivals out for Thompson’s blood. In 1966 he escaped death when a bomb exploded under his car, but his mother-in-law was killed.
The next week he spotted two rival gangsters he suspected of the bomb attack and forced their van off the road with his car. Their van hit a lamp post, killing both men.
In 1991 Thompson’s son, Arthur Jr, known as ‘Fatboy’ was shot dead outside their home. A rival gangland figure, Paul Ferris was arrested for the shooting.
On the day of Fatboy’s funeral the bodies two of Ferris’s friends, Robert Glover and Joe “Bananas” Hanlon were found dumped on the route of the funeral procession. Both had been shot in the head and up the anus.
Robin Hood: Pablo Escobar's carefully cultivated public image made him popular with Medellin's poor (Photo: Reuters)
2 - The Medellín Cartel
By 1980, the cocaine smuggled out of Columbia had overtaken coffee as the country’s number one export.
The illegal trade was controlled by a ruthless collection of gangsters, armed with military weapons, based in Colombia's second-largest city - Medellín.
At its height, the Medellín Cartel was shipping fifteen tons of cocaine per day (worth US$60m), around the world.
The gang, led by Juan Pablo Escobar and ‘Uncle’ Joe Ochoa were ruthless in eliminating anyone who tried to stop them.
They assassinated more than 30 leading judges, police officers and politicians who opposed them.
They even killed 110 innocents when they bombed a plane in an attempt to murder presidential candidate Cesar Trujillo. He was not on the flight.
In the end, with the backing of undercover US Special Forces, the Columbian Government cracked down on the cartel. Escobar and Ochoa were hunted down and killed by police. The Cartel’s grip was broken.
3 - The Manson F amily
Charismatic but psychotic hippie Charles Manson gathered a group male and female followers around him in California in 1969. He called them the Manson Family.
He had studied the occult and convinced his followers of his Helter Skelter theory, that a coming race war would end the world.
In August 1969, he led his heavily armed followers to a ranch near Los Angeles.
There they found actress Sharon Tate, who was married to film director Roman Polanski, who was in England on business. Tate, who was eight months pregnant, was with three friends, Jay Sebring, Wojciech Frykowski, and Abigail Folger.
Manson and his followers massacred them all in an orgy of stabbing and shooting.
The next day Manson and his 'disciples’ murdered another couple, Rosemary and Leno La Bianca in their LA home.
Police found Manson had used his victims’ blood to scrawl the words ‘helter skelter’ on the door of a fridge.
Denied parole for the twelfth time in April 2012, he will remain in a Californian State Prison until he is at least 92 years old.
Eastenders: The Kray Brothers - like the Mitchells, only less cuddly (Photo: Daily Mirror)
4 - The Kray brothers
Boxing twins Ronald 'Ronnie' and Reginald 'Reggie' Kray led a criminal gang that ruled the East End of London by fear in the 50s and 60s.
Despite being involved in armed robberies, arson, protection rackets, and violent assaults - that included torture and murder - through their status as nightclub owners, the twins mixed with the likes of Judy Garland, Frank Sinatra and Diana Dors to become celebrities in their own right.
Beneath all the glamour of the swinging sixties, there lurked a cold brutality.
Ronnie Kray shot and killed rival George Cornell in the Blind Beggar pub in Whitechapel in March 1966.
Then, in late 1967, the gang lured minor associate Jack 'the Hat' McVitie to a basement flat in Stoke Newington, where Reggie tried to shoot him. The gun failed to discharge, so while Ronnie held McVitie in a bear hug, Reggie was handed a carving knife with which he stabbed McVitie repeatedly in the face, stomach and neck.
In 1969 the Kray brothers were both sentenced to life imprisonment, with a non-parole period of 30 years for the murders of Cornell and McVitie - the longest sentences ever passed at the Old Bailey for murder.
Bisexual Ronnie, who was thought to suffer from paranoid schizophrenia, died in Broadmoor Hospital, Crowthorne in 1995.
In August 2000, at 67 years of age, Reggie was released from Norfolk's Wayland Prison on compassionate grounds as he was suffering from inoperable bladder cancer. He died in his sleep on October 1st 2000.
Tyler 'The Hulk' Bingham who is alleged to be a top lieutenant of the Aryan Brotherhood (Photo: Reuters)
5 - The Aryan Brotherhood
The origins of America’s Aryan Brotherhood are believed to have begun with an Irish-American biker gang serving time in St.Quentin jail in 1964.
Up until then prisons in the USA had been segregated, but when the system disbanded prisoners started to group on racial lines.
The FBI list the AB as one of America’s most powerful organised crime groups.
At first the AB only attacked and murdered black people.
But by the 1980s the Brotherhood had expanded its activities into large scale economic organised crime include inter state movement of stolen cars, motorbikes and industrial machinery, armed robbery, and hitmen for hire.
Although only one per cent of the prison population, Federal authorities say the AB is responsible for 21 per cent of all prison murders.
In 2002 the FBI launched a nation wide drive against the Brotherhood, twenty nine of its leaders were arrested and bosses Tyler 'The Hulk' Bingham and Barry Mill were jailed for life with no parole for a series of murders.
The cutting of one's finger (called Yubitsume) weakens one's sword grip and is a form of penance or apology for the Yakuza (Photo: Rex)
6 - The Yakuza
Organised crime in Japan is dominated by the Yakuza families, also known as Borykudan which literally means violence group.
There are three main families, the largest is the Yamaguchi Gumi from the city of Kobi.
Yakuza members are expected to adhere to many rituals. Ranks inside the organisation are displayed by complex tattoos; some of them full body artwork, using the most painful traditional methods of ink and bamboo needles.
If a Yakuza member offends his bosses his honour code dictates he must sever the top joint of his finger with a knife in the presence of his gang boss who is presented with the digit as an apology.
Yakuza gangs control the booming sex trade in Japan’s red light districts. They run protection and blackmail rackets on many businesses and firms often include payoff money to the Yakuza in their annual accounts.
They are even thought to have penetrated the banking world. After a recent property crash several bank managers were assassinated, apparently as Yakuza retribution for bad investment advice.
The Hells Angels primary motto: "When we do right, nobody remembers. When we do wrong, nobody forgets" (Photo: Getty)
7 - The Hells Angels
The origins of The Hells Angels can be traced back to California in 1948. Since then, the movement has spread world wide with an estimated 250,000 members.
Although the Hells Angels describe themselves as a motorcycle club, the US Justice Department and the FBI describe them as a ‘major organised crime group.’
The gang is divided into chapters, usually based on towns or cities.
They have a number of rituals. In America members must be white, have no convictions for sex offences against children, and must own an American-made motorbike, usually a Harley Davidson.
Full members are allowed to wear the distinctive winged deaths head patch on their jackets.
In the USA, Canada, Sweden, Germany and Australia, police have special units just to deal with biker gangs.
In England in 2007 Gerry Tobin, a Hells Angel, was shot dead on the M40 by a rival gang member after a rock festival.
A party intended to settle scores between rival British Angel chapters ended in a blood bath near Reading in 1980, with two murders and a dozen more victims seriously injured in battles with knives, axes and sawn off shotguns.
8 - The Yardies
Originally from the slums of Jamaica, Yardie gangs emerged in the 60s, spawning powerful groups known as posses - the two most powerful and influential being the Spangler and Shower posses.
Yardie gangs began to surface in Britain in the early 80s in areas of London, Birmingham and Bristol where communities originally from Jamaica had settled.
They fought each other over control of the drug trade, prostitution and shebeens – illegal drinking and gambling clubs.
One of the most notorious Yardie gang incidents in Britain happened in 1993 when posse members shot dead DJ William Danso at a house in Clapham, London, then gunned down unarmed community constable Patrick Dunne, who was passing on his bicycle.
Feared Yardie gunman Gary ‘Tyson’ Nelson was jailed for life for the murders.
9 - The Crips and the Bloods
The two most notorious American street gangs. The Crips were founded in 1969 in south central Los Angeles from several other local street gangs by Raymond Washington and Stanley ‘Tookie’ Williams.
In reaction to their dominance, a break away group of Crips, known as the Priu Street gang from Compton formed the Bloods.
It is a popular misconception that Crips sets feud only with Bloods. In reality different sets of Crips often fueds with each other over turf and local rivalries.
Extreme violence is common, with LA gang squad officers estimating that there have been more than 5,000 murders involving the groups over the last 20 years.
The gangs have ritualised recognition symbols including tattoos, music, hand signs, language, graffiti and dress codes. Crips wear blue, while Bloods can be be identified by the colour red.
In the early 1980s Crips sets began distributing crack cocaine in Los Angeles. Due to its profitability, this distribution quickly spread nationwide in new cities and states, attracting new members.
Police estimate the total membership of both groups of street gangs to be around 50,000 across the USA.
Binnu u tratturi (Bennie the tractor): Bernardo Provenzano thought to have been capo di tutti capi (boss of bosses) of the Corleonesi Sicilian Mafia, until his arrest in 2006
10 - The Cosa Nostra
The Cosa Nostra was founded in Sicily in the 19th century as a powerful crime group who operated under an honour code governed by Omerta - the rule of silence.
When thousands of Sicilians emigrated to America in the early 20th Century they took their traditions with them, leading to the modern day Italian/American crime Mafia families that have dominated American organised crime ever since.
In Sicily, the Cosa Nostra remains a powerful influence even now, with many businesses and wealthy individuals subject to extortion.
An ongoing government drive to stamp out the organisation in Sicily has led to a ‘war’ with many mafia figures jailed. But in reprisals, more than 200 prosecutors, police chiefs, judges and politicians have been assassinated by bomb or bullet.
***
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| Firm (disambiguation) |
Which Bond girl married a Beatle? | Tom Hardy looks gangster as The Kray twins in Legend film still | Daily Mail Online
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If there was one British actor who could simultaneously bring to life the UK's most famous gangster twins, it was always going to be Tom Hardy.
And the Hollywood star certainly looked the parts in the first film still from The Krays biopic, Legend.
Wearing the glasses and three-piece suit of Ronnie on one side, while smoking a cigarette as Reggie on the other, even in this single shot one can see how Tom has defined each character.
First look: Tom in his latest roles as Ronnie (left) and Reggie Kray in the film, Legend
Challenge: Tom will portray both The Kray twins in the film, which the actor knows will be difficult but exciting
The film also stars Emily Browning, David Thewlis and Christopher Eccleston but the supporting cast have yet to be seen on the east London set, which continued filming on Thursday.
Wearing prosthetics and vintage suits, Tom's stand-in was dressed as Reggie to help the crew set up shots for the main talent at Turner's Old Star pub.
The artist Joseph Mallard William Turner was rumoured to be the owner of the watering hole, and it is though that he often visited the place of debauchery under the pseudonym 'Admiral Puggy Booth'.
Bespectacled: Tom Hardy dons thick glasses for his role as gangster twin Ronnie Kray in Legend
Enigmatic: Tom cut a suave figure in his elegant spectacles as he began fliming the gangster movie
Starring role: Tom is surrounded by cast and crew as he films the protagonists of the crime drama
No doubt, the pub is a resonant choice for the film which chronicles the life of two of the most notorious gangsters in British history who grew up and operated primarily from the East End.
Ronnie and Reggie were born on 25 October 1933 in Hoxton, and first attended Wood Close School in Brick Lane before going onto Daniel Street School.
In 1938, the Kray family moved from Hoxton to Bethnal Green, at 178 Vallance Road, which is certainly not far from Turner's Old Star.
Mirror image: The actor removed his glasses to play the role of Ronnie's brother Reggie
Dodgy dealings: Reggie Kray formed one half of one of Britain's most notorious crime duos
At Cannes this year there was a lot of interest in the film, with the response from buyers that it 'was one of the best scripts' they'd come across.
Confirming the news in April, Tom said: 'I'm on that right now. I've got to work out how to play both twins, which will be fun. It's another experiment and I'm really looking forward to it.
'I’m not going to put too much pressure on myself, I just want to have some fun. The more of a challenge I give myself, the easier it is to take on more projects which are complicated in the future.'
On the run: Tom films an action-packed chase in one of the scenes from the film
Solemn: The actor plays the role of complex and tormented characters in the tense psychological drama
The Hollywood hunk previously told MailOnline that he was keen to take on the roles as he said: ‘All the plans are on the table.
'There’s a lot of crossing the t’s and dotting the i’s, and there’s a lot of shift and geography to work out.’
From a screenplay penned by LA Confidential writer, Brian Helgeland, the story will focus on the Kray twins’ wheelings and illegal dealings during the fifties and sixties, with Hardy playing both brothers.
‘It would be difficult,’ Tom said about the mechanics of playing two characters sharing a lot of the same screen time. ‘It’s quite technical and I’m a bit of an anorak.’
Resonant: The crew were filming at Turner's Old Star pub in Wapping with Tom's stand-in
Disguise: Tom was barely unrecognisable as he filmed scenes as the Kray twins
Convincing: The stand-in certainly looked like the Hollywood star to the untrained eye
He added: ‘There’s a physical transfer; we’d have to shoot one bit, go away come back and shoot it all again with another part. I’ve never dreamt of playing two people on the screen!’
Hardy is expected to portray the struggle of the elder brother Reggie to keep in check the unstable actions of his younger twin, rumoured to have been a paranoid schizophrenic.
As heads of the notorious criminal gang The Firm, the Krays were behind numerous armed robberies, murders, arson attacks and protection rackets up until their arrest on 9th May 1968.
Their story was previously told on film in the 1990s, with real life brothers Martin and Gary Kemp playing the title roles.
The Oscar-winning screenwriter’s script doesn’t just concern the criminals that the brothers dealt with, but also the likes of Frank Sinatra, Judy Garland and other celebrities, who frequented their former Knightsbridge nightclub Esmeralda's Barn, which is now the site of the Berkeley Hotel.
It is also said to look at Ronnie’s alleged sexual relationship with two British politicians; Lord Boothby, a UK Conservative Party politician, and, Labour MP Tom Driberg.
Of course, playing a violent former boxer-turned-criminal won’t be too tough a feat for Hardy, who proved his worth as the title character in Nicolas Winding Refn’s biopic Bronson.
And he continued down the gangster path with his role in BBC period crime drama Peaky Blinders, opposite his Inception co-star Cillian Murphy.
Second time: Martin and Gary Kemp played The Krays in the 1990 movie of their criminal exploits
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The Hungarian national dish goulash is chiefly flavoured with which spice? | Traditional Hungarian Goulash (Gulyás) - The Daring Gourmet
The Daring Gourmet
Grappling Each Dish By The Horns
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18 March, 2014
Traditional Hungarian goulash is a prime example of how a few simple ingredients, cooked properly, can yield an incredible flavor. Though many variations of Hungarian goulash exist, and every cook makes it just a bit differently, this is a traditional, authentic recipe from the heart of Hungary.
You already know how much I love Hungary from previous Hungarian recipes I’ve posted so I’ll spare you some of the sentimentality this time. Needless to say, Hungary holds a special place in my heart, in my family’s hearts. My brother lived there for 2 years as a young man, regularly wrote home to us about his experiences there, the beautiful scenery and breathtaking buildings, his love for the Hungarian people. When I visited Budapest I immediately fell in love with it. It has become one of my most favorite European cities. Its name comes from the two sides of the city (Buda and Pest) separated by the Danube River running through it. I don’t know that any city has a more breathtaking site than Budapest’s famous chain bridge, its parliament building, and the incredible Buda Castle.
Hungary’s history has been one of hardship and heartbreak. But the passion and stamina of soul has remained in the hearts of the Hungarian people. I’ve always been touched by Hungary’s national anthem, Himnusz, or “hymn”, written by the poet Kölcsey. Their anthem is a poetic prayer and unlike most anthems that focus on an expression of national pride, the Hungarian anthem is a direct, heartfelt plea to God. In the mid-20th century, during the years of strongest communist rule in Hungary, the words were not song, only the music was played. The communist government asked two of the most acclaimed artists of that time, a poet and composer, to rewrite the national anthem. Both refused. The next communist leader also tried, unsuccessfully, to have it changed. Hungary’s national anthem remains Himnusz. The first three lines:
O God, bless the nation of Hungary
With your grace and bounty
Extend over it your guarding arm
I also love Hungarian food. Their breads and smoked sausages are fantastic, as are their meats, stews, sauces, desserts. Today I’m going to share the national dish of Hungary: Goulash, or, as Hungarians call it, gulyás, meaning “herdsman.” Its origins date back to the 9th century Magyar shepherds as a simple meat and onion stew prepared in heavy iron kettles known as bogracs. In the 15th century invading Ottoman Turks introduced a new spice to Hungary, paprika. While the rest of Europe remained lukewarm towards this red chili pepper from the New World, Hungary embraced it and paprika has since become a defining element of Hungarian cuisine.
Goulash is kind of in between a soup and a stew. Unlike some stews, Goulash is not overly packed full of beef and vegetables, it is a little more brothy. But through the cooking process, the broth becomes thicker and more like a rich sauce.
And no, contrary to popular belief here in the U.S., goulash is NOT made with ground beef or (heaven forbid) macaroni noodles!
To achieve the ultimate flavor, the cooking method is important and quality Hungarian paprika is essential. And lots of it! None of this “2 teaspoons of paprika” jazz. Hungarians use very generous amounts of paprika, and that’s key. A Hungarian once told us, “however much paprika the recipe calls for – at least double or triple it!” For this size batch of Goulash, you want to use a full 1/4 cup of it. When I lived in Germany Hungary was just a few hours away and I would stock up on it when I visited. Now I order it online and recommend this imported Hungarian paprika . I mentioned earlier, many variations of goulash exist. Some include turnip or wine or caraway seeds, to name a few. But this recipe is the traditional, old-fashioned way of making Goulash that my brother and I learned from older generations of Hungarian women and it needs no embellishments. It’s simply delicious!
But before we get started, let’s take a quick peek at Budapest and it’s famous Great Market Hall.
Courtesy Wilfredo R. Rodriguez, Creative Commons
Images Courtesy Wikimedia Commons
Courtesy Flickr vi4kin, Creative Commons
Okay, let’s get to that goulash!
Chop up the bell peppers. We don’t have the kinds of peppers they use in Hungary, at least not that I’ve been able to find anywhere. The best ones to use in their place are red and some yellow/orange. Avoid green bell peppers as the ones we have over here have a completely different flavor profile. Chop up up the onions.
Chop up the carrots, tomatoes and potatoes. (Question of the day: How do YOU pronounce them? “Po-tay-toes” or “po-taw-toes”?
Dice up the beef. In Hungarian goulash the beef chunks are usually fairly small compared to other beef stews. Dice it into 1/2 inch chunks.
Heat the pork lard (or whatever fat source you’re using, though pork fat is traditional) in a large Dutch oven over medium-high heat until they’re beginning to brown, about 7-10 minutes. Remove the pot from the heat and stir in the paprika. This will bring out its flavor but you don’t want to fry it or it will turn bitter.
Add the beef and garlic, return to the heat and cook over medium-high heat for about 5-7 minutes or until the beef is no longer red. The beef will release enough juices to keep the paprika from scorching.
Add the bell peppers and cook for another 5 minutes.
Mmmmm, it’s already starting to smell so good!
Add the carrots, tomatoes and potatoes (however it is you choose to pronounce them).
Add the beef broth, bay leaf, salt and pepper. Bring to a boil, cover, reduce the heat to medium, and simmer for 40 minutes. If you’re using a tougher cut of beef, simmer the beef first without the carrots, tomatoes, potatoes and bell peppers, for 30-45 minutes, then add the veggies and simmer for another 40 minutes.
It’s ready to eat! That gorgeous reddish-brown broth is so flavorful – you’re going to love it!
Dish it up and serve hot with a dollop of sour cream and some crusty bread. Traditionally also served with a cool cucumber salad.
For a delicious variation, check out the Daring Gourmet’s Hungarian Chicken Goulash :
4.9 from 14 reviews
| Paprika |
Truva in Turkey is the site of which ancient city? | 32 Hungarian Foods The Whole World Should Know And Love
32 Hungarian Foods The Whole World Should Know And Love
Though our country may be little, our food is fierce.
What it is: A plate-sized sheet of fried dough that is usually smothered with sour cream and cheese. Other possible toppings include garlic sauce or ketchup.
Why it’s awesome: Did you miss the part where I wrote “fried dough”?!
Get a recipe [ here ].
Flickr: foodthinkers /Creative Commons / Via Flickr: 43351991@N04
What it is: Known to most as “goulash,” this popular soup is a Hungarian original. It contains chunks of beef, potatoes, and vegetables, plus plenty of paprika and spices.
Why it’s awesome: Originally made by cattle herdsman, gulyás is pure comfort food: hearty, homey, and hot.
Get a recipe [ here ].
Flickr: sztanko /Creative Commons / Via Flickr: 49502975894@N01
What it is: The Hungarian version of crépes. Popular types include Hortobágyi, filled with ground meat, fried onion, and topped with a sour cream/paprika sauce, and Gundel, filled with ground walnuts, raisins, and rum and topped with dark chocolate sauce. Yep.
Why it’s awesome: Slightly thicker than its French counterpart, palacsinta is less prone to tear when containing richer fillings (see above). More to eat = more to love!
Get a recipe [ here ].
Flickr: zsoolt / Via Flickr: 61329414@N00
What it is: A pastoral stew made of meat (often beef or chicken gizzards), tomato, paprika, and onions, usually served with a side of Hungarian noodles called nokedli.
Why it’s awesome: Pörkölt is often cooked outside, over fire in a bogrács, which is a traditional —and heavy— Hungarian metal pot. Throw in a few friends, a loaf of great bread, and some wine, and it’s the anchor for one great garden party.
Get a recipe [ here ].
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The American woodchuck or whistle-pigis also known by what name? | How to Get Rid of Groundhogs: Woodchucks Facts & Info
wildlife pest guides .
Habits
Groundhogs are primarily active during daylight hours, usually feeding in the early morning. They are strict herbivores and eat a variety of vegetables including soybeans, beans, peas, carrot tops, alfalfa and grasses. When not feeding, they are known to sunbathe during the warmest periods of the day.
Groundhogs are among the few mammals that enter into true hibernation, which generally starts in late fall near the end of October and continues until late February.
Habitat
In general, groundhogs prefer open areas to create burrow systems. Specifically, they can be found burrowing in fields and pastures, along fences and roadsides, and near building foundations or the bases of trees.
Threats
Groundhogs are known as a nuisance pest because they can cause extensive damage to home gardens, farms, orchards and field crops as a result of their feeding and burrowing habits. When burrowing, they have been known to destroy building foundations, create unwanted holes on lawns and cause electrical outages from gnawing on underground wires.
Groundhogs rarely come in contact with humans and therefore pose no major public health hazards; however, they are capable of carrying fleas, ticks and rabies.
Groundhog Prevention
Groundhogs sometimes den in crawlspaces, so it is important to inspect the outside of your home for access points, such as broken vent covers or holes in the foundation. Homeowners should seal all cracks and crevices with caulk, repair any loose siding and install a mesh cover over chimneys and other exposed openings.
| Groundhog |
Which South American rodent yields what is said to be the most expensive fur? | Groundhog Control | Missouri Department of Conservation
Learn more about Groundhogs
The groundhog (Marmota monax)—also known as woodchuck and whistle pig—is one of Missouri's most widely distributed mammals. The groundhog’s feeding and burrowing habits—such as in hay or crop fields, home gardens, orchards, and nurseries—can result in conflicts with property owners. Burrows and mounds can be hazardous to farm equipment or horses and riders, and burrows can undermine concrete building foundations, porches, and driveways.
Control
The Wildlife Code of Missouri classifies the groundhog as a game mammal that may be taken during the prescribed hunting season (see current regulations for details). Taking groundhogs during the prescribed season can help control their numbers. Cage-type traps are allowed as a hunting method. The Code also specifies that you may shoot or trap damage-causing groundhogs out-of-season without a permit. Refer to 3 CSR 10-4.130 of the Code for details and restrictions.
Exclusion. Fencing can reduce damage, but groundhogs are good climbers and can easily scale wire fences unless precautions are taken. Fences should be at least 3 feet high and made of heavy poultry wire or 2-inch mesh woven wire. Bending the top 15 inches of the wire fence outward at a 45-degree angle will prevent groundhogs from climbing over the fence. To prevent burrowing under the fence, bury the lower edge 10 to 12 inches below ground, or bend the lower edge in an L-shaped angle leading outward and buried 1 to 2 inches below ground. Prevent groundhogs from burrowing under concrete slabs by burying L-shaped wire mesh along the edge.
An electric wire used in conjunction with fencing can enhance effectiveness. Place an electric wire 4 to 5 inches off the ground and the same distance outside the fence. When connected to a UL-approved fence charger, the electric wire will prevent climbing and burrowing. In some instances, an electric wire alone, placed 4 to 5 inches above the ground, can deter groundhogs from entering gardens. Vegetation in the vicinity of any electric fence should be removed regularly to prevent the system from shorting out. For more information, see The Electric Scarecrow Conservationist article under Related Information below.
Fumigants/Repellents. Ammonia-soaked rags are effective repellants for groundhogs. If possible, flooding groundhog dens with water is also effective, as they do not like a wet den and will move on. Gas cartridges, which are available at farm- and garden-supply stores, have proven to be effective. They produce carbon monoxide that accumulates in lethal amounts when confined within the burrow system. Gas cartridges are filled with combustible materials that are ignited by lighting a fuse. They are not bombs and will not explode if properly prepared and used. CAUTION: Avoid prolonged breathing of smoke. Do not use near buildings or combustible materials.
Instructions for using gas cartridges:
With a spade, cut a clump of sod slightly larger than the opening of the burrow and place it nearby.
Punch five pencil-size holes in the end-cap of the cartridge. Insert the fuse to half its length into one of the holes. The cartridge is now ready to use and should look like the illustration.
Kneel at the burrow opening, light the fuse and immediately place the cartridge as far down the hole as you can. Do not throw it.
Immediately close the burrow opening by placing the sod—grass side down—over the opening to make a tight seal. (Placing sod grass side down prevents smothering the cartridge with loose dirt). Garbage can covers, sand bags, or other suitable closing devices may be used instead of sod.
Wait for three or four minutes while watching nearby holes for escaping smoke, then plug them. Repeat until all burrows are closed.
Trapping. Traps are effective. Cage-type traps should be clean and set during daylight hours. Close or disable the trap at night to prevent non-target catches. Place the trap close to, but not blocking, the burrow entrance. Covering or camouflaging the trap is not necessary. Bait with a slice of apple, cantaloupe, or other fruit. Broccoli or cauliflower also work well. Fresh bait works best, so replace daily.
Body-gripping traps are not allowed for dry-land sets in Missouri. Foothold traps are effective but require special skill and experience. Restrictions on use apply, so see current regulations for details. If this type of trap is needed, the local county conservation agent can likely provide the name of a local trapper who can assist you. Browse our contact database to find your county agent. In some situations, the Department wildlife biologist can provide instruction, equipment, and assistance.
Shooting. Groundhogs can be shot with conventional firearms, usually a rimfire. Check with local authorities regarding firearms use. Taken during the prescribed season, a young, medium-sized, properly prepared groundhog makes excellent table fare.
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What is chased downhill in an annual race by villagers of Brockworth in Gloucester? | Extreme Sports - Annual Cheese Rolling event at Cooper's Hill - YouTube
Extreme Sports - Annual Cheese Rolling event at Cooper's Hill
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Uploaded on Dec 11, 2007
Brave runners risked their necks as they chased a rolling cheese down a hill in a traditional contest. The Cheese Rolling at Cooper's Hill in Brockworth, Gloucestershire, is an old custom thought to be part of an old fertility rite celebrating Spring and Summer. The object is to catch the rolling cheese but as it travels as fast as a car the prize is given to whoever reaches the finish line first. The winner of the chase gets to keep the prize of a seven to eight pound Double Gloucester cheese. Jason Crowther from Pembrokeshire won the first of the four races, declaring he had "gone faster than everybody else, bounced better than everybody else" to reach the finish line first. Asked if he ached, he said...
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What was the band Madness’s only UK No.1? | Cheese Rolling | Article about Cheese Rolling by The Free Dictionary
Cheese Rolling | Article about Cheese Rolling by The Free Dictionary
http://encyclopedia2.thefreedictionary.com/Cheese+Rolling
Cheese Rolling
May-June, Monday after Pentecost
In Gloucestershire, England, cheese rolling is believed to have been a popular annual sport for at least 500 years. It is held on Whit-Monday in Birdlip. Cooper's Hill, which is located in Birdlip near Brockworth and is a thousand feet high, is famous for its fine pasture lands. Rolling the cheese down this hill traditionally reminded villagers of their rights to graze their sheep there.
Early in the evening, the event leader, sporting a white smock and top hat, rolls the "cheese" (nowadays, three or four large wooden discs) down the hill. People chase after them, and the first to capture one of the discs receives a small prize. The game is quite tricky, because the descent down Cooper's Hill is very steep, and people often end up tumbling down the side more quickly than the discs.
Cheese rolling is a May Day custom in Stilton, where men and women in teams of four compete to roll the wooden cheese.
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In Heraldry what term describes a figure lying with head erect? | A GLOSSARY OF TERMS USED IN HERALDRY by JAMES PARKER
Abacot . See Cap .
Abased , (fr. abaissé): this term is used when a chevron , fesse , or other ordinary, is borne lower than its usual situation. Charges, however, when placed low down in the shield are said to be in base.
Abatements , sometimes called Rebatements , are marks of disgrace attached to arms on account of some dishonourable act of the bearer. They are shewn by pieces of different shapes being to all appearance cut out of, or off from, the shield; their shapes and positions are represented by the following varieties, which are nine in number, and must be either sanguine or tenné, which the old writers call "staynande colours," otherwise they are no abatements but honourable charges, viz.--
1. Delf. 4. Point dexter. 7. Gore sinister. 2. Inescutcheonreversed. 5. Point pointed. 8. Gusset dexter. 3. Plain Point. 6. Point champaine. 9. Gusset sinister.
As the use of arms in not compulsory, a bearer would of course rather relinquish them than publish his own disgrace by bearing them abated. Abatements such as the above exist only in systems of heraldry, and no instance of their actual use is on record: but under the several headings diagrams will be found explaining the meaning of the terms which are used by heraldic writers.
Broken chevrons, and beasts turned towards the sinister, are supposed by some heraldic writers to have been given as abatements .
"And Edward the Third of England ordained two of six stars which a gentleman had in his arms to be effaced, because he had sold a seaport of which he was made governor." [According to Sir George Mackenzie, in allusion to AYMERY OF PAVIA, a Lombard, governor of Calais in 1349, who bore azure, four mullets or.]
There is another mark of disgrace which is due only to the traitor: is consists in debasing or reversing the entire coat.
Ace : See Cards .
Achievements , spelt sometimes atchievements, and more frequently hatchments: coats of arms in general, and particularly those funeral escutcheons, which being placed upon the fronts of houses or in churches, or elsewhere, set forth the rank and circumstances of the deceased. The arms upon the latter may in all cases be either single or quartered.
When the deceased is the last of his line a death's head may be placed over his arms instead of, or besides, the crest.
A. OFFICIAL PERSONAGES. 1, 2. A king or reigning queen, whether married or not.--The royal arms complete, upon a ground entirely black.
3. A queen consort.--The achievements of a queen consort should be arranged in a manner similar to that of the lady of a peer.
4. Archbishops and bishops.--An archbishop or bishop has his paternal arms impaled after the insignia of his see, both being surmounted by a mitre. The ground must be per pale, white on the dexter side, signifying that the see never dies, and black on the sinister, denoting the decease of the bishop. Whether the bishop be married or unmarried will make no difference in the arrangement of his achievement .
The arms of the bishops of Winchester and Oxford(the one, prelate, and the other, chancellor of the order of the garter) should be encircled by the garter, and have their badges pendent. The archbishops of Armagh and Dublin bear the badge of the order of S.Patrick in the same manner. Prelates having temporal jurisdiction, (as the bishops of Durham had,) may bear a crosier and sword saltirewise behind their arms; the hilt of the sword should be uppermost.
5, 6. The dean of a cathedral or collegiate church, or the head of a college, whether married or not.--The insignia of the deanery or college impaled with the paternal coat must be placed upon a ground parted per pale white and black, as in No. 4. A dean or other clerk should by no means bear a helmet , mantle , or crest .
The deans of Windsor, Westminster, and S.Patrick's, Dublin, should bear the badges of their respective orders.
7. Kings of Arms.--The achievement of a king of arms should contain the insignia of his office and his paternal coat impaled together, and surmounted by his helmet , crest , mantling , and crown . Some kings of arms have encircled their shields with the collar of SS belonging to their office. The ground of this achievement must be, like the above, per pale white and black.
Achievement in case of a Bachelor.
B. BACHELORS. All bachelors(official personages already mentioned being excepted), must have their arms complete, that is to say, with all the external ornaments belonging to their condition, upon a black ground, namely, if an esquire, with his wreath , helmet , and crest , and perhaps it may be with a mark of cadency on the arms. The arms being without any impalement, or any escutcheon of pretence, shews that the bearer was an unmarried man.
Achievement in case of a Knight.
C. HUSBANDS. 1. In general.--All husbands(except those whose wives are peeresses in their own right) should have a shield with the external ornaments proper to their rank, containing their own arms on the dexter side, impaled with their wives' on the sinister side, or if the latter be heiresses theirs must be upon an escutcheon of pretence. In all cases the ground will be per pale black and white, the dexter being black to denote the husband's decease.
According to some modern heralds it is not proper for a knight to include the arms of his wife within the collar, ribbon, or other insignia of his order. In compliance with this opinion it is customary for the achievement of a knight(whether a peer or not) to be arranged thus:--Two shields are placed side by side, the first, which is encircled by the garter or other distinction of the order, contains the husband's arms alone, and the second those of the husband and wife. Both these shields are included within the external ornaments pertaining to the husband's rank. The ground is perpendicularly divided at the middle of the second shield, the dexter side black, the sinister white.
Marriages previous to the last one should not be noticed upon achievements.
2. A husband of any rank, whose lady is a peeress in her own right.--Two escutcheons; the dexter containing the arms of the husband with the lady's upon an escutcheon of pretence ensigned with her coronet : the sinister lozenge-shaped, with the lady's alone. Each must be accompanied by all its proper external ornaments. The ground should be perpendicularly divided at the middle of the dexter escutcheon, and painted black and white.
D. WIDOWERS. Their funeral achievements only differ from those of husbands, under similar circumstances, in the ground being totally black.
Woman ( sovereign princesses excepted) may not bear helmets, crests, or mantlings, but a peeress is entitled to her robe of estate.
E. UNMARRIED LADIES OF ANY RANK. The arms of an unmarried lady must be placed in a lozenge, but no external ornaments of an heraldic nature should be used, unless she were a peeress. In that case her supporters , robe of estate and coronet, should be added: the ground entirely black. Shells, cherubims' heads , and knots or bows of ribbon, are often placed above the arms of women, whether spinsters, wives, or widows.
F. WIVES. 1. In general.--Their achievements are arranged precisely as their husbands' would be, except that the helmet, crest, mantle, and motto, are omitted, and the ground painted per pale, white and black, or, to speak more accurately, black under the arms of the wife, and white under those of the husband.
2. The wife of an archbishop or bishop.--It is customary to arrange the achievement of the wife of a prelate thus:--Two shields, the first containing the impaled arms of the see and the bishop, surmounted by a mitre, and the second, the family arms of the bishop with those of his wife, and over them a knot of ribbons or a cherub's head : the ground all white except that part under the arms of the wife(i.e. about one third per pale on the sinister side), which must be black.
Achievement in case of a Widow.
G. WIDOWS. The achievements of widows differ from those of wives in two respects; the escutcheon or escutcheons are lozenge-shaped(escutcheons of pretence excepted), and the ground is entirely black. The arms should be encircled by a silver Cordon, which is the special symbol of widowhood.
As the episcopal dignity in one in which a wife cannot participate, the achievement of a prelate's widow should not differ from that of the widow of a private gentleman. The same may be said of the widow of a knight.
The place for affixing the arms above described is against the residence of the deceased; but some years ago in many churches, but now in very few, helmets and banners of some deceased knight were frequently found remaining hung up in some aisle or chapel, and these also went by the name of hatchments . The banners in St.George's, Windsor, afford the most complete example of the survival of an old custom, and here also the achievement is engraved on a plate in the stall held by each successive knight of the Order of the Garter.
In France the litre, or lisiere, hung around the churches, answers, perhaps, to the hatchment.
Acorn , (fr. gland, old fr. cheyne): this is usually represented vert , but they may be of other colours. They may also be slipped or leaved. An acorn-sprig is not unfrequently used in the arms, and is often used also as a crest . Sometimes, too, the acorn-cups are represented alone.
Sire Rauf de Cheyndut, de azure, a un cheyne de or, e un label de goules--Roll of Arms, temp. EDW. II.
Argent, three martlets azure, on a chief gules an acorn between two mullets or--CAIRNS.
An acorn slipped and leaved--Seal of town of WOKINGHAM.
Argent, three acorns slipped vert--AIKENHEAD and TATTON.
Vert, three acorns or--HARDING and SMITH, Middlesex.
Quarterly, per fess indented first and fourth gules in chief a maunch argent, in base an acorn sprig--AKERMAN, Surrey.
Argent, three cups of acorns, azure--ATHUL.
Acorns are also borne by the families of ASHTON, Marketfield; ATASTER(or AKASTER); BRETTELL, Worcester; BOYS; CROMIE, Kildare; CUDDERLEY, Derby; DALLING; DUNCAN, Essex; FYFIELD; IFIELD; JOHNSON, Warrington; PALMER, Middlesex; SEVENOKE, and others.
Annodated : bowed embowed , or bent in the form of the letter S.
Annulet , (fr. Anneau and Anelet, written sometimes in plural Anelettz or Anels:) a small ring, possibly derived from the links composing chain armour. It is of frequent occurrence as a charge , and generally more than one appear: the two annulets are often linked in fess, or embraced; or they may be conjunct. Three may in like manner be interlaced in triangle. When three rings are interlaced the expression gimbal rings is sometimes used, and when more, they form a chain, q.v.
The single annulet is likewise the difference, or mark of cadency, assigned to the fifth son.
Azure, three annulets argent, (of another branch or)--ANLETT.
Sir Nicholas de VEPOUND de or a vj aneus de gules--Roll, temp. ED. II.
Sire Johan de CROMWELLE de goules a vj aneus de or--Ibid.
Monsire de BARTON de Fryton port d'ermin, sur fes gules trois anneletts d'or--Roll, temp. ED. III.
Argent, two annulets linked together gules, between three crosses formy sable--THORNHAGH, Nottingham.
Argent, two annulets conjunct sable, within an orle of trefoils slipped vert--John ETON.
Ermine, three annulets interlaced in triangle gules--MANDERE.
Gules, six annulets embraced or, two, two and two--BRACER.
Gules, six annulets interlaced palewise in pairs, and a chief or--CLENCH.
Argent, nine annulets in saltire interlaced[chain], five gules and four azure--HATCHET.
Ermine, three annulets, one within another, gules--FYTTON.
(See also under roundles 'faux rondelets'.)
Annuletty , Annulated, or Ringed: crosses and saltires are occasionally couped and ringed at the ends. See angles and Cross annuletty, the couping being implied.
Ant , (fr. fourmi). Of the insecta of the animal kingdom there are but few representatives. The ants , and with them the emmets, may be mentioned: the former are generally represented on their ant-hill(fr. fourmiliêre).
Vert, an ant argent--KENDIFFE.
Sable, on a chevron between three ant-hills or, each charged with four ants proper, as many holly leaves azure--Benedictine Abbey of PERSHORE.
Argent, a bend azure between three emmets sable--MASSY.
HARRIS.
Antelope : it is now customary with herald-painters to draw animals as they appear naturally, which is, generally speaking, directly contrary to the practice of ancient artists, who drew them conventionally. Hence arises the distinction between the heraldic antelope and the natural. The form of the antelope , as drawn by the old heralds, has a mane and long tail, and differs considerably from the fawn-like appearance of the animal in nature. Antelopes' heads are also frequently named, and both the animal and the head appear among the crests. The antelope gorged with a crown occurs amongst the badges of Henry V., and with an ordinary collar with chain attached amongst those of Henry VI.
Argent, an heraldic antelope gules, tusked, horned, maned and hoofed or--ANTILUPE.
Sable, an antelope salient argent, attired, unguled, tufted, and maned or--HARRIS, Monm. and Devon.
Argent, on a bend gules, three antelopes passant of the first, attired or--HALLIWELL, Lancaster.
Azure, a fess nebuly ermine between three antelope's heads erased argent--SNOW, London.
Sable, three antelope's heads couped argent armed or--BRUSARD.
With the heraldic Antelope must be grouped the Ibex , which resembles it, although belonging to the goat-tribe.
Argent, a fess engrailed between three ibexes passant sable--SEDBOROUGH, York.
Lozengy argent and vert, on a bend azure an annulet in chief of two heraldic ibex's heads or--Sir John YOUNG, Lord Mayor of London, 1466.
Antique , (fr.): a word not infrequent in the blazoning of coats of arms, signifying that the charge, &c., is to be drawn after the antique or ancient manner; e.g. an antique crown , boot , bow , escutcheon , ship , temple , plough , hulk , &c. The antique crown , for instance, is encircled by a series of plain triangular rays.
Argent, a lion rampant gules, crowned with an antique crown or--ROCHE, Ireland.
Azure, an antique bow in fess, and arrow in pale argent.--MULLER.
Or, on a lion rampant sable, an antique escutcheon or, charged with a cross patty gules--POWNALL.
TREMAYNE.
Gules, three dexter arms conjoined at the shoulders, and fixed in triangle[like the legs in the ensign of the Isle of Man], vested or, with fists clenched, proper--TREMAYNE, Cornwall.
Sable, three dexter arms conjoined at the shoulder, and fixed in triangle, vested or, cuffed argent, the fists clenched, proper--ARMSTRONG.
Gules, three dexter arms braced[i.e. vambraced] argent, hands proper--ARMSTRONG, Ballycumber.
Gules, a naked arm embowed, issuing from the sinister holding a battle-axe erect proper--HINGENSON, Bucks.
Gules, an arm in armour proper, holding a Danish battle-axe argent--HINGSTON, Holbeton, Devon.
Gules, issuing from the sinister side a cubit dexter arm unvested, fesswise grasping a sword proper--CORNOCK, co. Wexford.
The arm is also borne by the families of ARMORBERY--DE LA FAY--PUREFOY--BORLASE--ARMORER--RENNCEVALE--HANCOCK--CHAMBERLAYNE, and many others.
An Arm , when used as a Crest , more frequently holds a dagger, arrow, &c.; also two arms sometimes occur.
Armed , (fr. armé): when any beast of prey has teeth and claws, or any beast of chase(except stags, &c.) horns and hoofs, or any bird of prey beak and talons, of a tincture different from its body, it is said to be armed of such a tincture, though, as regards hoofs, hoofed, or unguled(fr. onglé), is the more accurate term. The lion is usually langued of the same tincture . The application to beasts and birds of prey is because their talons are to them weapons of defence.
Argent, three bars azure, over all an eagle with two heads gules, armed or--SPEKE, Cornwall.
When the term is applied to arrows it refers to their iron points: and when a Man is said to be armed at all points it signifies that he is entirely covered with armour except his face .
Armoyé , (fr.): charged with a shield of arms .
Arms in heraldry signify the Armorial bearings(fr. Armoiries), and strictly speaking the term is applied only to those borne upon the shield. Crests, badges, and the like are not properly so described. The origin, or even date, of the earliest examples of armorial bearings has occasioned much dispute, so that the subject requires a treatise to itself.
The various modes of acquiring, and reasons for bearing arms are differently described by different writers, but the following varieties will be found to represent the more usual classification.
Arms of Dominion are those borne by sovereign princes; being those of the states over which they reign: while Arms of Pretension are those borne by sovereigns who have no actual authority over the states to which such arms belong, but who quarter them to express their prescriptive right thereunto.
Arms of Succession, otherwise called feudal arms, are those borne by the possessors of certain lordship or estates: while Arms of Family are hereditary, being borne(with proper differences ) by all the descendants of the first bearer.
Arms of Assumption are such as might rightfully be taken, according to certain laws, from the original bearer otherwise than by grant or descent: and Arms of Alliance are those of a wife, which a man impales with his own, or those which he quarters, being the arms of heiresses who have married into his family. Arms of Adoption are those borne by a stranger, when the last of a family grants him the right to bear his name and arms, as well as to possess his estates: and Arms of Concession are granted when an important service has been rendered to the Sovereign. The grant almost always consists of an Augmentation, q.v. Arms of Patronage: those of the lesser nobility or gentry derived from the arms of the greater.
Arms of Office, such as those borne by Bishop , Deans, Kings of Arms, &c.; and lastly,
Arms of Community, those borne by cities , towns , abbeys , universities, colleges, guilds, mercantile companies, &c. The arms of abbeys and colleges are generally those of their founders, to which the abbeys usually added some charge of an ecclesiastical character, as a crosier , mitre , or key . Such arms, as well as those borne by Sovereigns , are more properly termed Insignia.
The Royal Arms. Arms have been assigned in subsequent times to all the early kings of England from Alfred the Great onwards, but the earliest English sovereign for whose insignia we have any contemporary authority is Richard Cœur-de-Lion. From that time onwards the series is complete; and in most cases the great seal of each successive reign affords a good illustration. The following notes will be found to represent a brief summary of the more important changes.
According to a theory of comparatively late date, HENRY II., upon his marriage with Eleanor, daughter and heiress of the Duke of Aquitaine and Guyenne, added another lion, and hence the Insignia of England(q.v.)
Gules, three lions passant gardant in pale[called the lions of England] or.
These arms appear very distinctly upon the great seal of his successor, RICHARD I., but there is a second great seal of this king(perhaps even earlier), in which a portion of the shield is shewn, and(possibly by carelessness of the die-cutter) this contains a lion counter-rampant.
The great seals of JOHN, HENRY III., and EDWARD I. exhibit the arms of England very clearly. The seal of EDWARD II. is without a coat of arms , but there is abundance of other evidence for ascribing the same to him.
Le Roy de ENGLETERRE, porte de goules a iij lupars passauns de or--Roll, temp. ED. II.
EDWARD III., for some years after his accession, bore the same arms , but after 1340 he bore--
Quarterly 1 and 4; azure semy of fleur-de-lis or[for France] 2 and 3, arms of ENGLAND.
On the seal is represented, for the first time, a distinct crest(a lion passant on a chapeau).
There are several authorities for the same arms being borne by RICHARD II.; but towards the end of his reign he impaled the imaginary arms of EDWARD THE CONFESSOR, his patron Saint.
Azure, a cross patonce between five martlets or.
HENRY IV. bears on his great seal the same arms , and apparently a similar crest. The badges of HENRY V. are sometimes given as the supporters of the arms of HENRY IV., but on no good authority.
HENRY V. bears the same arms , but CHARLES VI. of France having reduced the number of fleur-de-lys in the arms of that kingdom to three, the arms of HENRY V. were then altered, and appear so in the great seal.
HENRY VI. the same; and the arms appear with two antelopes argent, attired, unguled, and spotted or, gorged with crowns as supporters , and the motto , Dieu et mon droit.
EDWARD IV., EDWARD V., and RICHARD III., the same arms , with supporters 'a lion rampant argent, and a bull sable armed and unguled or;' and in one case 'two white boars armed, unguled, and bristled or.'
HENRY VII. and HENRY VIII., EDWARD VI., MARY and ELIZABETH the same arms , excepting that after Mary's marriage with king Philip, she bore the arms of the two sovereigns impaled, viz. with that of PHILIP on the dexter.
Throughout the supporters appear varied. A dragon gules and a greyhound argent appear with the arms of HENRY VII. A dragon and greyhound, also a lion and greyhound, with those of HENRY VIII. A lion and dragon with those of EDWARD VI. A lion and greyhound with those of MARY, and a lion and dragon with those of ELIZABETH. But the authorities, chiefly in sculpture and painting, are not much to be depended on.
JAMES I. On his great seal we find the following:--
JAMES I.
Quarterly, I. and IV. counter quartered: 1 and 4 FRANCE; 2 and 3 ENGLAND. II. Or, a lion rampant within a double tressure flory counter flory gules--SCOTLAND. III. Azure, a harp or stringed argent--IRELAND.
These arms were continued to be used by CHARLES I., CHARLES II., and JAMES II., and are usually represented in carving, painting, &c., with the same supporters , namely, the lion and the unicorn. It may be noted, however, that CROMWELL, as Protector, bore:--
Quarterly 1 and 4; argent a cross gules[i.e. of St.George, for ENGLAND]. 2, Azure, a saltire argent[i.e. of St.Andrew, for SCOTLAND]. 3, Azure, a harp or, stringed argent[for IRELAND], and on an escutcheon surtout sable a lion rampant gardant argent[for CROMWELL].
WILLIAM and MARY bore the same arms , but the former with an escutcheon surtout bearing the arms of NASSAU(Azure, semé of billets and a lion rampant or).
Queen ANNE bore the arms of JAMES II., but on the union with Scotland in 1707 the Royal Arms were marshalled:--
Quarterly 1 and 4, ENGLAND impaled with SCOTLAND; 2 FRANCE; 3 IRELAND;
GEORGE I. and GEORGE II. the same, except that in the fourth quartering the arms of HANOVER were substituted for ENGLAND.
GEORGE III. After the Treaty of Amiens in 1801 the Arms of France were abandoned and the Royal Arms were:--
Quarterly 1 and 4 ENGLAND; 2 SCOTLAND; 3 IRELAND; an escutcheon with the arms of HANOVER surtout ensigned with the electoral bonnet[afterwards with a crown].
GEORGE IV. and WILLIAM IV. the same. VICTORIA as follows:--
Quarterly 1 and 4 ENGLAND; 2 SCOTLAND; 3 IRELAND.
From JAMES I. onwards the Lion and Unicorn remained the supporters, generally with the same motto , Dieu et mon droit.
STANDARD.
Arrow , (fr. flêche): the ordinary position of an arrow is in pale, with the point downward, that is, falling(fr. tombante), but to prevent the possibility of a mistake, it would be better always to mention it, because in French coats they are more frequently the other way. When represented as rising , it should be stated "with point upwards," &c. Arrows appear blazoned as barbed (fr. ferré) or armed(fr. armé) of the tincture of their points, and flighted or feathered(fr. empenné) of that of their feathers; also notched(or nooked) (fr. encoché) of the tincture of the end which rests on the bowstring. The tincture given is that of the shaft, but with French heralds it is sometimes named as shafted (fr. futé ) of such a tincture.
Vert, an arrow in pale, point downwards, or, barbed and feathered argent--STANDARD, Oxfordsh. [A particular arrow was called a standard, and hence this is a canting coat.]
Gules, two arrows in saltire argent, over all a fess chequy of the second and first--MACAULAY.
Argent, two arrows in saltire, points upward azure between four 5-foils of the last--JAMESON.
Per pale embattled gules and azure an arrow in bend or, barbed and feathered argent, point upward--CUGLER, Hertfordshire.
Gules, three arrows double pointed or--HALES.
When arrows are in bundles such bundles are called sheaves of arrows (the number and position being in some cases mentioned).
Gules, three bundles of as many arrows argent--BYEST, Salop.
Gules, three sheaves of arrows points upwards argent--JOSKYN.
Gules, three bundles of as many arrows, two in saltire and one in pale or, feathered headed, and tied in the middle with a string argent--BESTE.
A bird-bolt again differs, not being barbed as an ordinary arrow : it may be described as a blunt-headed arrow used to shoot birds, and shot from a cross-bow. An old French word, 'boson,' also occurs, which appears to mean the same.
Argent, three cross-bows bent, each loaded with a three-headed bird-bolt sable; a chief vert--SEARCHFIELD, Bp. of Bristol, 1619.
Argent, three bird-bolts gules, headed and feathered or--BUSSHAM, Lincolnshire.
Argent, three bird-bolts in fess gules--BOLTON.
Argent, three bird-bolts in pile gules--BOUZUN.
Argent, three bird-bolts gules, headed or, and feathered of the first--BOWMAN, Norfolk.
Or, three bird-bolts gules, nooked and pointed of the first; a label gules--BEARUM.
Sire Peres BOSOUN de argent a iij bosons de gules--Roll, temp. Hen. III.
A broad arrow differs somewhat, perhaps, from the above in the head, and resembles a pheon(q.v.), except in the omission of the jagged edge on the inside of the barbs. By the term broad arrow, the head alone is meant. The bolt and the quarrel were shorter arrows, used with the cross-bow .
Argent, three broad arrows azure--HALES, Stafford.
Gules, a broad arrow between two wings argent--ZINGELL.
Argent, three bolts in pale gules--BOLTSHAM, Devon.
Gules, three quarrels argent--BAGGSHAM.
Arrows are also borne by the families of ARCHARD, HYAM, ZINGEL, TINGEWICK, FLOYER, FORSTER, and many others.
Sable, a chevron or, between three stag's attires fixed to the scalps argent--COCKS(Viscount Eastnor and Earl Somers).
Sable, a stag lodged regardant, and between the attires a bird or--NORTOST, Norfolk.
Argent, a chevron between three stag's attires fixed to the scalps azure--COCKS.
Argent, a hart statant azure, attired or--HARTINGTON.
Auger , or wimble: a tool for boring.
Gules, three augers argent, handles or--BUNGALL.
Ermine, a pile gules, charged with a lion passant gardant in chief or, and a wimble in base proper; a fesse chequy azure and of the third; thereon two escalops sable--WIMBLE, Lewes.
Augmentations : additional charges to the family arms granted to persons by their sovereign as a special mark of honour. Such marks frequently consist of portions of the royal arms, as lions , or roses , that flower being one of the royal badges.
Richard II. is the first English sovereign who is recorded to have granted augmentations of arms to his subjects. Having added the legendary arms of S.Edward the Confessor(i.e. azure, a cross patonce between five martlets or) to his own, he granted the same in 1394 to Thomas Mowbray, Duke of Norfolk, to be impaled by him in the same manner. One of the charges brought against this nobleman's descendant, Henry Howard, Earl of Surrey, in the reign of Henry VIII., was the bearing of this augmentation, which, it was alleged, implied a claim to the crown. King Richard also gave the same arms, with a bordure ermine, to Thomas Holland, Duke of Surrey, and Earl of Kent.
The augmentation of arms granted by K. Henry VIII. to Thomas Howard, Duke of Norfolk, for this victory over the Scots at Bramston, or Flodden-Field, where James IV., king of Scotland, fell(Sep. 9, 1513), is an escutcheon or, charged with a demi lion rampant, pierced through the mouth with an arrow, within a double tressure flory counter-flory gules. It will be observed that this augmentation bears a considerable resemblance to the arms of the vanquished king.
K. Henry granted an augmentation to the family of SEYMOUR, upon his marriage with his third queen, Jane, in 1536. It is 'or, upon a pile gules, between six fleur-de-lis azure, three lions passant gardant in pale or,' and is generally borne quarterly with their paternal coat, in the first and fourth quarters.
Another of Henry's grants was to Richard Gresham, mayor and alderman of London, whose arms were argent, a chevron ermine between three mullets sable pierced of the first. To these were added, on a chief gules a pelican close between two lion's gambs, erased or, armed argent.
Sir Stephen Fox, who faithfully served K. Charles II. during his exile in France, was very appropriately rewarded with a canton azure, charged with a fleur-de-lis or, being a portion of the insignia of that kingdom.
Anciently the chief, the quarter, the canton, the gyron, the pile, flasques, and the inescutcheon, were chosen to receive the augmentations of honour. In modern times the chief and canton have been generally used.
Many of the augmentations granted for naval and military services about the commencement of the present century are so absurdly confused, that all the terms of heraldry cannot intelligibly describe them. Indeed they sometimes rather resemble sea views and landscapes than armorial bearings.
Foreign sovereigns have occasionally granted augmentations to British subjects.
In 1627 Gustavus Adolphus, King of Sweden, knighted Sir Henry Saint George(who was sent to him with the Garter), and gave him the arms of SWEDEN(azure, three crowns or) to be borne in an inescutcheon; and the king of Prussia, and the Prince of Orange, conferred certain augmentations of arms upon the Earl of Malmesbury, which K. George III. gave him permission to assume in 1789.
PAYLER.
From the nature of the usual method of exhibiting the augmentation on the coat of arms, the original charge is frequently debruised(as it is also by the marks of cadency); hence with the French heralds both are included under the term brisures . The example of the arms of the family of PAYLER, possibly arising from an augmentation, exhibits this in a remarkable manner, as the central lion is nearly absconded. But the debruising must not be supposed in any way to be a mark of abatement, as it is quite the reverse.
Gules, three lions passant gardant in pale argent, over all a bend or charged with three mullets--PAYLER.
Auk , (lat. alca): this bird occurs in the following arms, and as in another blazoning of the same arms the term murr occurs instead of auk , we may presume that it is synonymous. The name Razor-bill (alca torda) also occurs on one coats of arms.
Or, a chevron sable between three auks(or murrs) proper--CARTHEU, Cornwall.
Or, the head of an auk proper--AUKES.
Argent, three razor-bill's heads, couped sable--BRUNSTAUGH.
1. The common axe or hatchet, is usually represented as shewn in the margin.
In the arms of the TURNERS' Company it is represented somewhat differently.
Gules, three axes argent--AXALL.
Azure, three axes argent, handles or--AXTELL, Devon.
2. Adz or Addice: this has the blade set transversely to the flattened handle, and is sometimes called the carpenter's axe .
Argent, three addices azure, handles or--ADDICE.
Azure, three carpenter's axes argent--WRIGHT, Scotland.
Gules, a chevron between three carpenter's axes or, hafted argent--PENFOLD.
Bricklayer's axe.
3. Brick, or Bricklayer's-axe: a charge in the armorial insignia of the Company of BRICKLAYERS and TILERS, of London. The metal portion only of the axe in exhibited, and this is made broad with the sides hollowed, as shewn in the margin.
Azure, a chevron or; in chief a fleur-de-lys argent enters[i.e. between] two brick axes palewise of the second; in base a bundle of laths of the last--BRICKLAYERS' Company, incorp. 1508.
Chipping-axe.
4. Chipping-axe: this occurs in the arms of the London Company of MARBLERS(afterwards united to the MASONS), and is the axe which is still used by quarrymen in chipping the stones before they leave the quarry.
Gules, a chevron argent between in chief two chipping-axes of the last and in base a mallet or--Company of MARBLERS.
Slaughter-axe.
5. The Slaughter-axe. The axe used by butchers for killing animals. Such an axe occurs in the arms of the BUTCHERS' Company.
Azure, two slaughter-axes addorsed in saltire argent, handles or between three bull's heads couped as the second armed of the third, viz. two in fess and one in base, on a chief silver a boar's head couped gules, between two block brushes (i.e. bunches of knee holly or butcher's broom) vert--COMPANY OF BUTCHERS, London and Exeter.
7. Battle-axe(fr. hache d'armes), is variously represented. The common form is given in the margin, and it is found very frequently employed as a crest .
Azure, a battle-axe or, headed argent, the edge to the sinister--HEYNGESTON.
Argent, a battle-axe, head downwards, held by a lion rampant guardant proper, within a border azure--CRACKNELL, Devon.
Azure, three battle-axes or, staves argent--BAINBRIDGE.
Azure, a battle-axe in pale or, headed argent--OLDMIXON, Somerset.
8. The Broad-axe seems to be so called only from the breadth of the blade differing in no other respect from other axes.
Sable, three broad axes argent--Sir John PORTER.
Gules, three broad axes argent, a demi fleur-de-lis joined to each handle with inside or, between as many pierced mullets of the last--Thomas TREGOLD.
Danish axe.
9. The Danish axe was probably so called because it occurred in the royal arms of that kingdom, in which it is drawn like a Lochabar axe , but some apply the named to an axe whose blade is notched at the back. There is a form without the notch borne by HAKELUT, and called a Danish hatchet . The Indian tomahawk occurs in the arms of HOPKINS, granted 1764.
Sire Walter HAKELUT, de goules, a iij haches daneys de or, e une daunce de argent--Roll, temp. EDW. II.
Sable, three Danish axes argent--DAYNES, Devon.
Gules, five Danish axes palewise in saltire argent--ROGER MACHADO, [Clarenceux King of Arms, temp. Henry VIII.]
Gules, a Danish battle-axe argent, held by an arms in armour proper--HINGSTON, Devon.
10. The Lochabar axe has a curved handle and a very broad blade, and represents perhaps a Scotch axe.
Gules, a Lochabar axe between three boar's heads erased argent--RANKEN, Scotland.
Argent, two Lochabar axes in saltire heads upward, between a cock in chief and a rose in base--MATHESON, Benetsfield.
11. Pole-axe, or Halbert, (fr. haillebarde): the axe with a long pole , often called the halbert or halberd. It was used by the men at arms in processions and on great occasions for keeping back the crowed.
Argent, two halberts in saltire azure--ECCLES, Scotland.
Gules, two pole-axes in saltire or, headed argent, between four mullets of the last--PITMAN, Suffolk.
Gules, three pole-axes or--Sir Walter HAKELETT, temp. Edward I.
Azure, a halbert or, the edge to the sinister, its lance-head argent--HEYNGESTON.
Ermine, two halberts in saltire sable--MAGDESTON, Lincoln.
| Attitude (heraldry) |
Which mythical hero had a horse called Xanthus? | Dragons in Heraldry | Dragon Topics | The Circle of the Dragon
Footnotes
General Terminology and Background
There are some important terms used in heraldry that I will also use on this site. I won't be reviewing them all, only the necessary ones for explanation.
Augmentation: An addition to a coat of arms, usually granted by a ruler or the like [1]
Dexter: While this part of the 'shield' is on the viewer's left side, it is considered the right side of the shield. [2]
Ensigned: This term means 'placed above'. [2]
Passant: This describes the creature's position on the shield. It is walking towards dexter with one fore leg raised. [3]
Segreant: Also known as rampant, this describes the creature's position on the shield. It stands on its hind foot, with the two forelimbs raised up, as if rearing, and with its third leg lifted as well. [3]
Sejant: The word for 'sitting'. [2]
Sinister: While this side of the 'shield' is on the viewer's right side, it is considered the left side of the shield. [3]
Statant: This describes the creature's position on the shield. The creature faces dexter with all legs on the ground. [3]
Heraldry began in the Middle Ages of Europe. During battles, most knights wore armor that covered their bodies, and, while it served to protect them, it also served to hide their identity. To thwart this, the noble families created designs to wear upon their shields to distinguish each other in battle. [5]
In some cases, heraldic crests and shields were altered to award people. For instance, when Sir Francis Drake became the first English man to circle the globe, Queen Elizabeth modified his family's coat of arms. [6] Occasionally, stories (especially legendary ones) would be reproduced on a person's coat of arms to recognize a great feat or adventure of a famous family member. [1]
Wyverns
Figure 1. Wyvern in statant position.
Wyverns are the most common of the draconic heraldic symbols. They are seen almost as commonly as birds, and they are numerous in design. Since most wyverns were depicted as evil dragons in bestiaries, which were widely circulated at the time of the adoption of coats of arms, the fact that so many families adopted them as their symbol is not yet fully understood. [1] However, the wyvern is most notably show as a creature of valor and protection, and, as most dragons in the past, also believed to have great eyesight. [10] In another light, the wyvern is also a symbol of vengeance or may have been acquired threw a family member's slaying of a dragon. [10]
Figure 1 shows a wyvern in statant position as a crest. The wyvern was, most probably, believed to be a symbol of power and strength, which was important in battle. However, very little about wyvern crests and their symbolism have been recorded.
The crest, however, does represent dragonkind as it was believed in those times. Scales, a forked tong, a spiked back, and a whip-like tail make this creature quite formidable.
Hydras
Figure 2. Statant, seven-headed hydra.
Hydras are far less common in crests than the other dragons present in heraldry. The hydra, however, is said to be used on a crest only when a family (or town, or the like) has defeated a very powerful enemy. [4] This may be due to Hercules' defeat of the Lerean Hydra in Greek mythology.
All hydras have at least two heads, but most have either five or seven heads.
Figure 2 shows a statant, seven-headed hydra, perhaps one of the more common shapes the hydra takes in a coat of arms. The creature comes with four talons, rarely five.
Hydras normally stand alone as the only creature on the coat of arms, but they are usually sighted with other decorations and such about them.
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Drakes
Drakes are perhaps the rarest of the dragon types found on heraldic crests. The fire-drake, which is referred to in Beowulf, is usually defined as a Western dragon rather than a drake as it is known today.
In Figure 3, however, the crest might just be that: a fire-drake. Lacking wings, the dragon is not a Western dragon, so it could be that fire-drake, at least in this instance, does refer to what we today know as a 'drake'.
Figure 3. Drake.
Amphipteres
Figure 4. Amphiptere statant.
While there are some amphiptere in crests, they are rarely very large and usually are not the only creature in the crest. Most are seen at top poles, wrapped around spears, or balanced upon spears.
Figure 4 shows an amphiptere facing dexter statant. The symbolism for an amphiptere is unknown, but the symbolism for its misnomer is. The 'winged snake' is usually worn by someone who swiftly deals justice. [9]
It has also been rumored, although with little confirmation, that this creature is found on the coats of arms of those who went to Ireland to 'fight the serpents' there, also called the Draconis Extinctors.
Basilisks and Cockatrices
Figure 5. Basilisk statant.
Basilisks Both of these creatures are quite similar in shape and thus in heraldry. Cockatrices were greatly feared of in the fifteenth century, such that a rooster was put on trial for laying an egg, thus possibly creating a cockatrice. [7]
Baskilisks and cockatrices were both known for their deadly nature, namely their deadly stare and their venom. [7] It is safe to assume, therefore, that similar symbolism would be found in heraldry. Therefore, those who chose a baskilisk or a cockatrice as a symbol would probably wish to represent themselves as deadly warriors.
Figure 5 shows a baskilisk facing dexter statant. The creature is a baskilisk, as revealed by its rooster-shaped head and draconic-body.
Figure 6. Western dragon passant.
Western Dragons
Figure 7. Western dragon sejant.
While many viewed dragons as a symbol of the Devil, the Western dragon, four-legged and winged, is a very common symbol on crests. This can be explained by history, for Uther Pendragon, the father of legendary King Arthur, had the symbol of the dragon on his crest. [7]
Keen sight, power, and fearsomeness are usually connected to dragons. [8] Treasure is also thought of when Western dragons are imagined. Thus, dragons obviously symbolized powerful, wealthy people who guarded their wealth keenly. [8]
Figure 6 shows a Western dragon facing dexter in passant position, while Figure 7 shows a Western dragon sejant facing dexter.
Dragons were quite common in heraldry, only second to the wyvern. Some of these have been given to those who have slain a dragon. For instance, Sir Moris Berkeley's coat of arms was changed after he slew the Bistern Dragon.
Other
Figure 10. Western dragon impaled by sword.
Slain Dragons were not just chosen to stand alone on crests, they were often there to accompany other things. In most cases, these other objects are dwarfed by the dragon on the crest. However, especially in cases of augmentation and alteration, dragons were used as symbols of stories.
Figure 8, for example, shows a lion toppling a dragon. This may be in reference to the slaying of a dragon by a member of a family whose coat of arms was a lion before; however, it is also quite possible that its symbolism is deeper. Perhaps the lion is a symbol of a victorious family over another family whose symbol was a Western dragon.
Figure 9 holds both a bird and wyvern, which could be an example of two powerful families marrying together. Then again, since the crests were chosen such a long time ago, both figures above could simply have been chosen by a family for their own reasons.
Finally, Figure 10 shows a dragon being slain by a sword, which is probably due to a family member's legend. Again, it could be more of an allegory; they could have defeated an enemy family who held the symbol of the dragon.
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Closing Notes
Dragons of all kinds play a role in Heraldry, especially in Great Britain, where the Pendragon has left his mark, literally, and the various families have adopted dragons as their symbols. [7] While the dragon played a role in heraldry, however, it is also important to know that it did not change the symbolism of the dragon very much; a dragon in the real world versus a dragon a shield were two very different things in the minds of those in the Middle Ages, and perhaps even today.
Figure 9. Bird and wyvern.
Figures 1-10 were provided by James Fairbairn's Heraldic Crests and are not to be removed from this site.
Footnotes
Heraldry Terms & Designs. Link Defunct: <http://home.kc.rr.com/gemstone/heraldry.html>
Dragon Stone - Heraldry: Basic Terminology. Link defunct: <http://www.polenth.com/myth/basic.html>
Sir Francis Drake History. Link Defunct: <http://www.sirfrancisdrakehistory.net/>
The Dragon and its Relatives. Link Defunct: <http://www.heraldryunlimited.com/world/monsters/dragon.htm>
| i don't know |
In Heraldry what term describes a figure walking? | A GLOSSARY OF TERMS USED IN HERALDRY by JAMES PARKER
Abacot . See Cap .
Abased , (fr. abaissé): this term is used when a chevron , fesse , or other ordinary, is borne lower than its usual situation. Charges, however, when placed low down in the shield are said to be in base.
Abatements , sometimes called Rebatements , are marks of disgrace attached to arms on account of some dishonourable act of the bearer. They are shewn by pieces of different shapes being to all appearance cut out of, or off from, the shield; their shapes and positions are represented by the following varieties, which are nine in number, and must be either sanguine or tenné, which the old writers call "staynande colours," otherwise they are no abatements but honourable charges, viz.--
1. Delf. 4. Point dexter. 7. Gore sinister. 2. Inescutcheonreversed. 5. Point pointed. 8. Gusset dexter. 3. Plain Point. 6. Point champaine. 9. Gusset sinister.
As the use of arms in not compulsory, a bearer would of course rather relinquish them than publish his own disgrace by bearing them abated. Abatements such as the above exist only in systems of heraldry, and no instance of their actual use is on record: but under the several headings diagrams will be found explaining the meaning of the terms which are used by heraldic writers.
Broken chevrons, and beasts turned towards the sinister, are supposed by some heraldic writers to have been given as abatements .
"And Edward the Third of England ordained two of six stars which a gentleman had in his arms to be effaced, because he had sold a seaport of which he was made governor." [According to Sir George Mackenzie, in allusion to AYMERY OF PAVIA, a Lombard, governor of Calais in 1349, who bore azure, four mullets or.]
There is another mark of disgrace which is due only to the traitor: is consists in debasing or reversing the entire coat.
Ace : See Cards .
Achievements , spelt sometimes atchievements, and more frequently hatchments: coats of arms in general, and particularly those funeral escutcheons, which being placed upon the fronts of houses or in churches, or elsewhere, set forth the rank and circumstances of the deceased. The arms upon the latter may in all cases be either single or quartered.
When the deceased is the last of his line a death's head may be placed over his arms instead of, or besides, the crest.
A. OFFICIAL PERSONAGES. 1, 2. A king or reigning queen, whether married or not.--The royal arms complete, upon a ground entirely black.
3. A queen consort.--The achievements of a queen consort should be arranged in a manner similar to that of the lady of a peer.
4. Archbishops and bishops.--An archbishop or bishop has his paternal arms impaled after the insignia of his see, both being surmounted by a mitre. The ground must be per pale, white on the dexter side, signifying that the see never dies, and black on the sinister, denoting the decease of the bishop. Whether the bishop be married or unmarried will make no difference in the arrangement of his achievement .
The arms of the bishops of Winchester and Oxford(the one, prelate, and the other, chancellor of the order of the garter) should be encircled by the garter, and have their badges pendent. The archbishops of Armagh and Dublin bear the badge of the order of S.Patrick in the same manner. Prelates having temporal jurisdiction, (as the bishops of Durham had,) may bear a crosier and sword saltirewise behind their arms; the hilt of the sword should be uppermost.
5, 6. The dean of a cathedral or collegiate church, or the head of a college, whether married or not.--The insignia of the deanery or college impaled with the paternal coat must be placed upon a ground parted per pale white and black, as in No. 4. A dean or other clerk should by no means bear a helmet , mantle , or crest .
The deans of Windsor, Westminster, and S.Patrick's, Dublin, should bear the badges of their respective orders.
7. Kings of Arms.--The achievement of a king of arms should contain the insignia of his office and his paternal coat impaled together, and surmounted by his helmet , crest , mantling , and crown . Some kings of arms have encircled their shields with the collar of SS belonging to their office. The ground of this achievement must be, like the above, per pale white and black.
Achievement in case of a Bachelor.
B. BACHELORS. All bachelors(official personages already mentioned being excepted), must have their arms complete, that is to say, with all the external ornaments belonging to their condition, upon a black ground, namely, if an esquire, with his wreath , helmet , and crest , and perhaps it may be with a mark of cadency on the arms. The arms being without any impalement, or any escutcheon of pretence, shews that the bearer was an unmarried man.
Achievement in case of a Knight.
C. HUSBANDS. 1. In general.--All husbands(except those whose wives are peeresses in their own right) should have a shield with the external ornaments proper to their rank, containing their own arms on the dexter side, impaled with their wives' on the sinister side, or if the latter be heiresses theirs must be upon an escutcheon of pretence. In all cases the ground will be per pale black and white, the dexter being black to denote the husband's decease.
According to some modern heralds it is not proper for a knight to include the arms of his wife within the collar, ribbon, or other insignia of his order. In compliance with this opinion it is customary for the achievement of a knight(whether a peer or not) to be arranged thus:--Two shields are placed side by side, the first, which is encircled by the garter or other distinction of the order, contains the husband's arms alone, and the second those of the husband and wife. Both these shields are included within the external ornaments pertaining to the husband's rank. The ground is perpendicularly divided at the middle of the second shield, the dexter side black, the sinister white.
Marriages previous to the last one should not be noticed upon achievements.
2. A husband of any rank, whose lady is a peeress in her own right.--Two escutcheons; the dexter containing the arms of the husband with the lady's upon an escutcheon of pretence ensigned with her coronet : the sinister lozenge-shaped, with the lady's alone. Each must be accompanied by all its proper external ornaments. The ground should be perpendicularly divided at the middle of the dexter escutcheon, and painted black and white.
D. WIDOWERS. Their funeral achievements only differ from those of husbands, under similar circumstances, in the ground being totally black.
Woman ( sovereign princesses excepted) may not bear helmets, crests, or mantlings, but a peeress is entitled to her robe of estate.
E. UNMARRIED LADIES OF ANY RANK. The arms of an unmarried lady must be placed in a lozenge, but no external ornaments of an heraldic nature should be used, unless she were a peeress. In that case her supporters , robe of estate and coronet, should be added: the ground entirely black. Shells, cherubims' heads , and knots or bows of ribbon, are often placed above the arms of women, whether spinsters, wives, or widows.
F. WIVES. 1. In general.--Their achievements are arranged precisely as their husbands' would be, except that the helmet, crest, mantle, and motto, are omitted, and the ground painted per pale, white and black, or, to speak more accurately, black under the arms of the wife, and white under those of the husband.
2. The wife of an archbishop or bishop.--It is customary to arrange the achievement of the wife of a prelate thus:--Two shields, the first containing the impaled arms of the see and the bishop, surmounted by a mitre, and the second, the family arms of the bishop with those of his wife, and over them a knot of ribbons or a cherub's head : the ground all white except that part under the arms of the wife(i.e. about one third per pale on the sinister side), which must be black.
Achievement in case of a Widow.
G. WIDOWS. The achievements of widows differ from those of wives in two respects; the escutcheon or escutcheons are lozenge-shaped(escutcheons of pretence excepted), and the ground is entirely black. The arms should be encircled by a silver Cordon, which is the special symbol of widowhood.
As the episcopal dignity in one in which a wife cannot participate, the achievement of a prelate's widow should not differ from that of the widow of a private gentleman. The same may be said of the widow of a knight.
The place for affixing the arms above described is against the residence of the deceased; but some years ago in many churches, but now in very few, helmets and banners of some deceased knight were frequently found remaining hung up in some aisle or chapel, and these also went by the name of hatchments . The banners in St.George's, Windsor, afford the most complete example of the survival of an old custom, and here also the achievement is engraved on a plate in the stall held by each successive knight of the Order of the Garter.
In France the litre, or lisiere, hung around the churches, answers, perhaps, to the hatchment.
Acorn , (fr. gland, old fr. cheyne): this is usually represented vert , but they may be of other colours. They may also be slipped or leaved. An acorn-sprig is not unfrequently used in the arms, and is often used also as a crest . Sometimes, too, the acorn-cups are represented alone.
Sire Rauf de Cheyndut, de azure, a un cheyne de or, e un label de goules--Roll of Arms, temp. EDW. II.
Argent, three martlets azure, on a chief gules an acorn between two mullets or--CAIRNS.
An acorn slipped and leaved--Seal of town of WOKINGHAM.
Argent, three acorns slipped vert--AIKENHEAD and TATTON.
Vert, three acorns or--HARDING and SMITH, Middlesex.
Quarterly, per fess indented first and fourth gules in chief a maunch argent, in base an acorn sprig--AKERMAN, Surrey.
Argent, three cups of acorns, azure--ATHUL.
Acorns are also borne by the families of ASHTON, Marketfield; ATASTER(or AKASTER); BRETTELL, Worcester; BOYS; CROMIE, Kildare; CUDDERLEY, Derby; DALLING; DUNCAN, Essex; FYFIELD; IFIELD; JOHNSON, Warrington; PALMER, Middlesex; SEVENOKE, and others.
Annodated : bowed embowed , or bent in the form of the letter S.
Annulet , (fr. Anneau and Anelet, written sometimes in plural Anelettz or Anels:) a small ring, possibly derived from the links composing chain armour. It is of frequent occurrence as a charge , and generally more than one appear: the two annulets are often linked in fess, or embraced; or they may be conjunct. Three may in like manner be interlaced in triangle. When three rings are interlaced the expression gimbal rings is sometimes used, and when more, they form a chain, q.v.
The single annulet is likewise the difference, or mark of cadency, assigned to the fifth son.
Azure, three annulets argent, (of another branch or)--ANLETT.
Sir Nicholas de VEPOUND de or a vj aneus de gules--Roll, temp. ED. II.
Sire Johan de CROMWELLE de goules a vj aneus de or--Ibid.
Monsire de BARTON de Fryton port d'ermin, sur fes gules trois anneletts d'or--Roll, temp. ED. III.
Argent, two annulets linked together gules, between three crosses formy sable--THORNHAGH, Nottingham.
Argent, two annulets conjunct sable, within an orle of trefoils slipped vert--John ETON.
Ermine, three annulets interlaced in triangle gules--MANDERE.
Gules, six annulets embraced or, two, two and two--BRACER.
Gules, six annulets interlaced palewise in pairs, and a chief or--CLENCH.
Argent, nine annulets in saltire interlaced[chain], five gules and four azure--HATCHET.
Ermine, three annulets, one within another, gules--FYTTON.
(See also under roundles 'faux rondelets'.)
Annuletty , Annulated, or Ringed: crosses and saltires are occasionally couped and ringed at the ends. See angles and Cross annuletty, the couping being implied.
Ant , (fr. fourmi). Of the insecta of the animal kingdom there are but few representatives. The ants , and with them the emmets, may be mentioned: the former are generally represented on their ant-hill(fr. fourmiliêre).
Vert, an ant argent--KENDIFFE.
Sable, on a chevron between three ant-hills or, each charged with four ants proper, as many holly leaves azure--Benedictine Abbey of PERSHORE.
Argent, a bend azure between three emmets sable--MASSY.
HARRIS.
Antelope : it is now customary with herald-painters to draw animals as they appear naturally, which is, generally speaking, directly contrary to the practice of ancient artists, who drew them conventionally. Hence arises the distinction between the heraldic antelope and the natural. The form of the antelope , as drawn by the old heralds, has a mane and long tail, and differs considerably from the fawn-like appearance of the animal in nature. Antelopes' heads are also frequently named, and both the animal and the head appear among the crests. The antelope gorged with a crown occurs amongst the badges of Henry V., and with an ordinary collar with chain attached amongst those of Henry VI.
Argent, an heraldic antelope gules, tusked, horned, maned and hoofed or--ANTILUPE.
Sable, an antelope salient argent, attired, unguled, tufted, and maned or--HARRIS, Monm. and Devon.
Argent, on a bend gules, three antelopes passant of the first, attired or--HALLIWELL, Lancaster.
Azure, a fess nebuly ermine between three antelope's heads erased argent--SNOW, London.
Sable, three antelope's heads couped argent armed or--BRUSARD.
With the heraldic Antelope must be grouped the Ibex , which resembles it, although belonging to the goat-tribe.
Argent, a fess engrailed between three ibexes passant sable--SEDBOROUGH, York.
Lozengy argent and vert, on a bend azure an annulet in chief of two heraldic ibex's heads or--Sir John YOUNG, Lord Mayor of London, 1466.
Antique , (fr.): a word not infrequent in the blazoning of coats of arms, signifying that the charge, &c., is to be drawn after the antique or ancient manner; e.g. an antique crown , boot , bow , escutcheon , ship , temple , plough , hulk , &c. The antique crown , for instance, is encircled by a series of plain triangular rays.
Argent, a lion rampant gules, crowned with an antique crown or--ROCHE, Ireland.
Azure, an antique bow in fess, and arrow in pale argent.--MULLER.
Or, on a lion rampant sable, an antique escutcheon or, charged with a cross patty gules--POWNALL.
TREMAYNE.
Gules, three dexter arms conjoined at the shoulders, and fixed in triangle[like the legs in the ensign of the Isle of Man], vested or, with fists clenched, proper--TREMAYNE, Cornwall.
Sable, three dexter arms conjoined at the shoulder, and fixed in triangle, vested or, cuffed argent, the fists clenched, proper--ARMSTRONG.
Gules, three dexter arms braced[i.e. vambraced] argent, hands proper--ARMSTRONG, Ballycumber.
Gules, a naked arm embowed, issuing from the sinister holding a battle-axe erect proper--HINGENSON, Bucks.
Gules, an arm in armour proper, holding a Danish battle-axe argent--HINGSTON, Holbeton, Devon.
Gules, issuing from the sinister side a cubit dexter arm unvested, fesswise grasping a sword proper--CORNOCK, co. Wexford.
The arm is also borne by the families of ARMORBERY--DE LA FAY--PUREFOY--BORLASE--ARMORER--RENNCEVALE--HANCOCK--CHAMBERLAYNE, and many others.
An Arm , when used as a Crest , more frequently holds a dagger, arrow, &c.; also two arms sometimes occur.
Armed , (fr. armé): when any beast of prey has teeth and claws, or any beast of chase(except stags, &c.) horns and hoofs, or any bird of prey beak and talons, of a tincture different from its body, it is said to be armed of such a tincture, though, as regards hoofs, hoofed, or unguled(fr. onglé), is the more accurate term. The lion is usually langued of the same tincture . The application to beasts and birds of prey is because their talons are to them weapons of defence.
Argent, three bars azure, over all an eagle with two heads gules, armed or--SPEKE, Cornwall.
When the term is applied to arrows it refers to their iron points: and when a Man is said to be armed at all points it signifies that he is entirely covered with armour except his face .
Armoyé , (fr.): charged with a shield of arms .
Arms in heraldry signify the Armorial bearings(fr. Armoiries), and strictly speaking the term is applied only to those borne upon the shield. Crests, badges, and the like are not properly so described. The origin, or even date, of the earliest examples of armorial bearings has occasioned much dispute, so that the subject requires a treatise to itself.
The various modes of acquiring, and reasons for bearing arms are differently described by different writers, but the following varieties will be found to represent the more usual classification.
Arms of Dominion are those borne by sovereign princes; being those of the states over which they reign: while Arms of Pretension are those borne by sovereigns who have no actual authority over the states to which such arms belong, but who quarter them to express their prescriptive right thereunto.
Arms of Succession, otherwise called feudal arms, are those borne by the possessors of certain lordship or estates: while Arms of Family are hereditary, being borne(with proper differences ) by all the descendants of the first bearer.
Arms of Assumption are such as might rightfully be taken, according to certain laws, from the original bearer otherwise than by grant or descent: and Arms of Alliance are those of a wife, which a man impales with his own, or those which he quarters, being the arms of heiresses who have married into his family. Arms of Adoption are those borne by a stranger, when the last of a family grants him the right to bear his name and arms, as well as to possess his estates: and Arms of Concession are granted when an important service has been rendered to the Sovereign. The grant almost always consists of an Augmentation, q.v. Arms of Patronage: those of the lesser nobility or gentry derived from the arms of the greater.
Arms of Office, such as those borne by Bishop , Deans, Kings of Arms, &c.; and lastly,
Arms of Community, those borne by cities , towns , abbeys , universities, colleges, guilds, mercantile companies, &c. The arms of abbeys and colleges are generally those of their founders, to which the abbeys usually added some charge of an ecclesiastical character, as a crosier , mitre , or key . Such arms, as well as those borne by Sovereigns , are more properly termed Insignia.
The Royal Arms. Arms have been assigned in subsequent times to all the early kings of England from Alfred the Great onwards, but the earliest English sovereign for whose insignia we have any contemporary authority is Richard Cœur-de-Lion. From that time onwards the series is complete; and in most cases the great seal of each successive reign affords a good illustration. The following notes will be found to represent a brief summary of the more important changes.
According to a theory of comparatively late date, HENRY II., upon his marriage with Eleanor, daughter and heiress of the Duke of Aquitaine and Guyenne, added another lion, and hence the Insignia of England(q.v.)
Gules, three lions passant gardant in pale[called the lions of England] or.
These arms appear very distinctly upon the great seal of his successor, RICHARD I., but there is a second great seal of this king(perhaps even earlier), in which a portion of the shield is shewn, and(possibly by carelessness of the die-cutter) this contains a lion counter-rampant.
The great seals of JOHN, HENRY III., and EDWARD I. exhibit the arms of England very clearly. The seal of EDWARD II. is without a coat of arms , but there is abundance of other evidence for ascribing the same to him.
Le Roy de ENGLETERRE, porte de goules a iij lupars passauns de or--Roll, temp. ED. II.
EDWARD III., for some years after his accession, bore the same arms , but after 1340 he bore--
Quarterly 1 and 4; azure semy of fleur-de-lis or[for France] 2 and 3, arms of ENGLAND.
On the seal is represented, for the first time, a distinct crest(a lion passant on a chapeau).
There are several authorities for the same arms being borne by RICHARD II.; but towards the end of his reign he impaled the imaginary arms of EDWARD THE CONFESSOR, his patron Saint.
Azure, a cross patonce between five martlets or.
HENRY IV. bears on his great seal the same arms , and apparently a similar crest. The badges of HENRY V. are sometimes given as the supporters of the arms of HENRY IV., but on no good authority.
HENRY V. bears the same arms , but CHARLES VI. of France having reduced the number of fleur-de-lys in the arms of that kingdom to three, the arms of HENRY V. were then altered, and appear so in the great seal.
HENRY VI. the same; and the arms appear with two antelopes argent, attired, unguled, and spotted or, gorged with crowns as supporters , and the motto , Dieu et mon droit.
EDWARD IV., EDWARD V., and RICHARD III., the same arms , with supporters 'a lion rampant argent, and a bull sable armed and unguled or;' and in one case 'two white boars armed, unguled, and bristled or.'
HENRY VII. and HENRY VIII., EDWARD VI., MARY and ELIZABETH the same arms , excepting that after Mary's marriage with king Philip, she bore the arms of the two sovereigns impaled, viz. with that of PHILIP on the dexter.
Throughout the supporters appear varied. A dragon gules and a greyhound argent appear with the arms of HENRY VII. A dragon and greyhound, also a lion and greyhound, with those of HENRY VIII. A lion and dragon with those of EDWARD VI. A lion and greyhound with those of MARY, and a lion and dragon with those of ELIZABETH. But the authorities, chiefly in sculpture and painting, are not much to be depended on.
JAMES I. On his great seal we find the following:--
JAMES I.
Quarterly, I. and IV. counter quartered: 1 and 4 FRANCE; 2 and 3 ENGLAND. II. Or, a lion rampant within a double tressure flory counter flory gules--SCOTLAND. III. Azure, a harp or stringed argent--IRELAND.
These arms were continued to be used by CHARLES I., CHARLES II., and JAMES II., and are usually represented in carving, painting, &c., with the same supporters , namely, the lion and the unicorn. It may be noted, however, that CROMWELL, as Protector, bore:--
Quarterly 1 and 4; argent a cross gules[i.e. of St.George, for ENGLAND]. 2, Azure, a saltire argent[i.e. of St.Andrew, for SCOTLAND]. 3, Azure, a harp or, stringed argent[for IRELAND], and on an escutcheon surtout sable a lion rampant gardant argent[for CROMWELL].
WILLIAM and MARY bore the same arms , but the former with an escutcheon surtout bearing the arms of NASSAU(Azure, semé of billets and a lion rampant or).
Queen ANNE bore the arms of JAMES II., but on the union with Scotland in 1707 the Royal Arms were marshalled:--
Quarterly 1 and 4, ENGLAND impaled with SCOTLAND; 2 FRANCE; 3 IRELAND;
GEORGE I. and GEORGE II. the same, except that in the fourth quartering the arms of HANOVER were substituted for ENGLAND.
GEORGE III. After the Treaty of Amiens in 1801 the Arms of France were abandoned and the Royal Arms were:--
Quarterly 1 and 4 ENGLAND; 2 SCOTLAND; 3 IRELAND; an escutcheon with the arms of HANOVER surtout ensigned with the electoral bonnet[afterwards with a crown].
GEORGE IV. and WILLIAM IV. the same. VICTORIA as follows:--
Quarterly 1 and 4 ENGLAND; 2 SCOTLAND; 3 IRELAND.
From JAMES I. onwards the Lion and Unicorn remained the supporters, generally with the same motto , Dieu et mon droit.
STANDARD.
Arrow , (fr. flêche): the ordinary position of an arrow is in pale, with the point downward, that is, falling(fr. tombante), but to prevent the possibility of a mistake, it would be better always to mention it, because in French coats they are more frequently the other way. When represented as rising , it should be stated "with point upwards," &c. Arrows appear blazoned as barbed (fr. ferré) or armed(fr. armé) of the tincture of their points, and flighted or feathered(fr. empenné) of that of their feathers; also notched(or nooked) (fr. encoché) of the tincture of the end which rests on the bowstring. The tincture given is that of the shaft, but with French heralds it is sometimes named as shafted (fr. futé ) of such a tincture.
Vert, an arrow in pale, point downwards, or, barbed and feathered argent--STANDARD, Oxfordsh. [A particular arrow was called a standard, and hence this is a canting coat.]
Gules, two arrows in saltire argent, over all a fess chequy of the second and first--MACAULAY.
Argent, two arrows in saltire, points upward azure between four 5-foils of the last--JAMESON.
Per pale embattled gules and azure an arrow in bend or, barbed and feathered argent, point upward--CUGLER, Hertfordshire.
Gules, three arrows double pointed or--HALES.
When arrows are in bundles such bundles are called sheaves of arrows (the number and position being in some cases mentioned).
Gules, three bundles of as many arrows argent--BYEST, Salop.
Gules, three sheaves of arrows points upwards argent--JOSKYN.
Gules, three bundles of as many arrows, two in saltire and one in pale or, feathered headed, and tied in the middle with a string argent--BESTE.
A bird-bolt again differs, not being barbed as an ordinary arrow : it may be described as a blunt-headed arrow used to shoot birds, and shot from a cross-bow. An old French word, 'boson,' also occurs, which appears to mean the same.
Argent, three cross-bows bent, each loaded with a three-headed bird-bolt sable; a chief vert--SEARCHFIELD, Bp. of Bristol, 1619.
Argent, three bird-bolts gules, headed and feathered or--BUSSHAM, Lincolnshire.
Argent, three bird-bolts in fess gules--BOLTON.
Argent, three bird-bolts in pile gules--BOUZUN.
Argent, three bird-bolts gules, headed or, and feathered of the first--BOWMAN, Norfolk.
Or, three bird-bolts gules, nooked and pointed of the first; a label gules--BEARUM.
Sire Peres BOSOUN de argent a iij bosons de gules--Roll, temp. Hen. III.
A broad arrow differs somewhat, perhaps, from the above in the head, and resembles a pheon(q.v.), except in the omission of the jagged edge on the inside of the barbs. By the term broad arrow, the head alone is meant. The bolt and the quarrel were shorter arrows, used with the cross-bow .
Argent, three broad arrows azure--HALES, Stafford.
Gules, a broad arrow between two wings argent--ZINGELL.
Argent, three bolts in pale gules--BOLTSHAM, Devon.
Gules, three quarrels argent--BAGGSHAM.
Arrows are also borne by the families of ARCHARD, HYAM, ZINGEL, TINGEWICK, FLOYER, FORSTER, and many others.
Sable, a chevron or, between three stag's attires fixed to the scalps argent--COCKS(Viscount Eastnor and Earl Somers).
Sable, a stag lodged regardant, and between the attires a bird or--NORTOST, Norfolk.
Argent, a chevron between three stag's attires fixed to the scalps azure--COCKS.
Argent, a hart statant azure, attired or--HARTINGTON.
Auger , or wimble: a tool for boring.
Gules, three augers argent, handles or--BUNGALL.
Ermine, a pile gules, charged with a lion passant gardant in chief or, and a wimble in base proper; a fesse chequy azure and of the third; thereon two escalops sable--WIMBLE, Lewes.
Augmentations : additional charges to the family arms granted to persons by their sovereign as a special mark of honour. Such marks frequently consist of portions of the royal arms, as lions , or roses , that flower being one of the royal badges.
Richard II. is the first English sovereign who is recorded to have granted augmentations of arms to his subjects. Having added the legendary arms of S.Edward the Confessor(i.e. azure, a cross patonce between five martlets or) to his own, he granted the same in 1394 to Thomas Mowbray, Duke of Norfolk, to be impaled by him in the same manner. One of the charges brought against this nobleman's descendant, Henry Howard, Earl of Surrey, in the reign of Henry VIII., was the bearing of this augmentation, which, it was alleged, implied a claim to the crown. King Richard also gave the same arms, with a bordure ermine, to Thomas Holland, Duke of Surrey, and Earl of Kent.
The augmentation of arms granted by K. Henry VIII. to Thomas Howard, Duke of Norfolk, for this victory over the Scots at Bramston, or Flodden-Field, where James IV., king of Scotland, fell(Sep. 9, 1513), is an escutcheon or, charged with a demi lion rampant, pierced through the mouth with an arrow, within a double tressure flory counter-flory gules. It will be observed that this augmentation bears a considerable resemblance to the arms of the vanquished king.
K. Henry granted an augmentation to the family of SEYMOUR, upon his marriage with his third queen, Jane, in 1536. It is 'or, upon a pile gules, between six fleur-de-lis azure, three lions passant gardant in pale or,' and is generally borne quarterly with their paternal coat, in the first and fourth quarters.
Another of Henry's grants was to Richard Gresham, mayor and alderman of London, whose arms were argent, a chevron ermine between three mullets sable pierced of the first. To these were added, on a chief gules a pelican close between two lion's gambs, erased or, armed argent.
Sir Stephen Fox, who faithfully served K. Charles II. during his exile in France, was very appropriately rewarded with a canton azure, charged with a fleur-de-lis or, being a portion of the insignia of that kingdom.
Anciently the chief, the quarter, the canton, the gyron, the pile, flasques, and the inescutcheon, were chosen to receive the augmentations of honour. In modern times the chief and canton have been generally used.
Many of the augmentations granted for naval and military services about the commencement of the present century are so absurdly confused, that all the terms of heraldry cannot intelligibly describe them. Indeed they sometimes rather resemble sea views and landscapes than armorial bearings.
Foreign sovereigns have occasionally granted augmentations to British subjects.
In 1627 Gustavus Adolphus, King of Sweden, knighted Sir Henry Saint George(who was sent to him with the Garter), and gave him the arms of SWEDEN(azure, three crowns or) to be borne in an inescutcheon; and the king of Prussia, and the Prince of Orange, conferred certain augmentations of arms upon the Earl of Malmesbury, which K. George III. gave him permission to assume in 1789.
PAYLER.
From the nature of the usual method of exhibiting the augmentation on the coat of arms, the original charge is frequently debruised(as it is also by the marks of cadency); hence with the French heralds both are included under the term brisures . The example of the arms of the family of PAYLER, possibly arising from an augmentation, exhibits this in a remarkable manner, as the central lion is nearly absconded. But the debruising must not be supposed in any way to be a mark of abatement, as it is quite the reverse.
Gules, three lions passant gardant in pale argent, over all a bend or charged with three mullets--PAYLER.
Auk , (lat. alca): this bird occurs in the following arms, and as in another blazoning of the same arms the term murr occurs instead of auk , we may presume that it is synonymous. The name Razor-bill (alca torda) also occurs on one coats of arms.
Or, a chevron sable between three auks(or murrs) proper--CARTHEU, Cornwall.
Or, the head of an auk proper--AUKES.
Argent, three razor-bill's heads, couped sable--BRUNSTAUGH.
1. The common axe or hatchet, is usually represented as shewn in the margin.
In the arms of the TURNERS' Company it is represented somewhat differently.
Gules, three axes argent--AXALL.
Azure, three axes argent, handles or--AXTELL, Devon.
2. Adz or Addice: this has the blade set transversely to the flattened handle, and is sometimes called the carpenter's axe .
Argent, three addices azure, handles or--ADDICE.
Azure, three carpenter's axes argent--WRIGHT, Scotland.
Gules, a chevron between three carpenter's axes or, hafted argent--PENFOLD.
Bricklayer's axe.
3. Brick, or Bricklayer's-axe: a charge in the armorial insignia of the Company of BRICKLAYERS and TILERS, of London. The metal portion only of the axe in exhibited, and this is made broad with the sides hollowed, as shewn in the margin.
Azure, a chevron or; in chief a fleur-de-lys argent enters[i.e. between] two brick axes palewise of the second; in base a bundle of laths of the last--BRICKLAYERS' Company, incorp. 1508.
Chipping-axe.
4. Chipping-axe: this occurs in the arms of the London Company of MARBLERS(afterwards united to the MASONS), and is the axe which is still used by quarrymen in chipping the stones before they leave the quarry.
Gules, a chevron argent between in chief two chipping-axes of the last and in base a mallet or--Company of MARBLERS.
Slaughter-axe.
5. The Slaughter-axe. The axe used by butchers for killing animals. Such an axe occurs in the arms of the BUTCHERS' Company.
Azure, two slaughter-axes addorsed in saltire argent, handles or between three bull's heads couped as the second armed of the third, viz. two in fess and one in base, on a chief silver a boar's head couped gules, between two block brushes (i.e. bunches of knee holly or butcher's broom) vert--COMPANY OF BUTCHERS, London and Exeter.
7. Battle-axe(fr. hache d'armes), is variously represented. The common form is given in the margin, and it is found very frequently employed as a crest .
Azure, a battle-axe or, headed argent, the edge to the sinister--HEYNGESTON.
Argent, a battle-axe, head downwards, held by a lion rampant guardant proper, within a border azure--CRACKNELL, Devon.
Azure, three battle-axes or, staves argent--BAINBRIDGE.
Azure, a battle-axe in pale or, headed argent--OLDMIXON, Somerset.
8. The Broad-axe seems to be so called only from the breadth of the blade differing in no other respect from other axes.
Sable, three broad axes argent--Sir John PORTER.
Gules, three broad axes argent, a demi fleur-de-lis joined to each handle with inside or, between as many pierced mullets of the last--Thomas TREGOLD.
Danish axe.
9. The Danish axe was probably so called because it occurred in the royal arms of that kingdom, in which it is drawn like a Lochabar axe , but some apply the named to an axe whose blade is notched at the back. There is a form without the notch borne by HAKELUT, and called a Danish hatchet . The Indian tomahawk occurs in the arms of HOPKINS, granted 1764.
Sire Walter HAKELUT, de goules, a iij haches daneys de or, e une daunce de argent--Roll, temp. EDW. II.
Sable, three Danish axes argent--DAYNES, Devon.
Gules, five Danish axes palewise in saltire argent--ROGER MACHADO, [Clarenceux King of Arms, temp. Henry VIII.]
Gules, a Danish battle-axe argent, held by an arms in armour proper--HINGSTON, Devon.
10. The Lochabar axe has a curved handle and a very broad blade, and represents perhaps a Scotch axe.
Gules, a Lochabar axe between three boar's heads erased argent--RANKEN, Scotland.
Argent, two Lochabar axes in saltire heads upward, between a cock in chief and a rose in base--MATHESON, Benetsfield.
11. Pole-axe, or Halbert, (fr. haillebarde): the axe with a long pole , often called the halbert or halberd. It was used by the men at arms in processions and on great occasions for keeping back the crowed.
Argent, two halberts in saltire azure--ECCLES, Scotland.
Gules, two pole-axes in saltire or, headed argent, between four mullets of the last--PITMAN, Suffolk.
Gules, three pole-axes or--Sir Walter HAKELETT, temp. Edward I.
Azure, a halbert or, the edge to the sinister, its lance-head argent--HEYNGESTON.
Ermine, two halberts in saltire sable--MAGDESTON, Lincoln.
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Pimbley's Dictionary of Heraldry
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Abased - This term is used (1) when the wings, for instance, instead of being expanded, with their apices pointing upward, either look down toward the point of the shield, or else are shut; (2) when a chevron, fesse or another ordinary is borne lower than its usual situation.
Abasement - [See ABASED]
Abatelement - (Ab-a-te'-le-mang) - A mark of disgrace affixed to an escutcheon. [See ABATEMENT]
Abatement - Abatements are real or imaginary marks of disgrace affixed to an escutcheon on account of some flagrantly dishonorable action on the part of the bearer. There is scarcely an instance on record, however, of such marks of disgrace having been actually affixed to an escutcheon. (Some times called rebatements.)
Abyss - The center of an escutcheon. For example, to bear a fleur-de-lis in abyss is to have it placed in the middle of the shield free from any other bearing.
Abyssal - Pertaining to an abyss.
Accident - (Ac'-ci-dent) An additional mark on a coat of arms, which may be retained or eliminated without altering its essential character.
Accolade - (Ac'-co-lade) The ceremony by which in mediaeval times one was dubbed a knight. Antiquaries are not agreed on what this was. It has been made an embrace around the neck, a kiss or a slight blow upon the cheek or shoulder.
"The new attorney-general having stooped down without objection to the usual accolade." - Townsend's Lives of 12 Eminent Judges: Lord Eldon.
Accolle - (Ac-col'-le) Gorged or collared, as lions, dogs and other animals sometimes are in escutcheons. Wreathed, entwined or joined together, as two shields sometimes are by their sides. The arms of a husband and wife were often thus placed. (Gloss. of heraldry, 1847.) Used substantively: (1) An animal with a crown on its head or a collar around its neck; (2) two shields united to each other by their sides; (3) a key, baton, mace, sword or other implement or weapon placed saltirewise behind the shield. (Ibid.)
Accompanied - (Ac-com'-pan-ied) Between. For example, accompanied by four crescents, would mean between four crescents.
Accompaniment - (Ac-com'-pan-i-ment) Any additions made to a shield by way of ornament, as supporters, etc.
Accost - [See ACCOSTED]
Accosted - (Ac-cost'-ed) Applied to a charge supported on both sides by other charges. Example: A pale accosted by six mullets. This term is also applied to two animals proceeding side by side.
Accoutre - (Ak-ku'-ter) To dub a knight.
"One was accoutred when the cry began, Knight of the Silver Moon, Sir Marmadan, His vow was ( and he will perform his vow), Armed at all points, with terror on his brow, To judge the land, to purge atrocious crimes." Cowper: Anti-Thelyphtora.
Achievement - (A-chieve'-ment) A complete heraldic composition, showing a shield with its quarterings, impalements, supporters, crest, motto, etc. This term is applied especially to a funeral escutcheon, exhibiting the rank and family of a deceased nobleman or gentleman, which at his death is placed in front of his house or in some other prominent place. [This is commonly called HATCHMENT.]
Acorned - (A'korned) An oak with acorns on it. (Placed on an escutcheon.)
Addition - Something added to a coat of arms as a mark of honor, such as, for instance, a bordure, a quarter, a canton, a gyron or a pile. [Opposed to ABATEMENT.]
"They clepe us drunkards, and with swinish phrase Soil our addition; and indeed it takes From our achievements." --Shakespeare: Hamlet, 1, 4.
Addorse - (Ad-dor'se) To place back to back.
Addorsed - (Ad-dor'st) Used as an adjective: Two animals on a coat of arms set or turned back to back. This term is occasionally used for other figures capable of being placed back to back.
Adosse - The French word sometimes used for ADDORSED.
Adoption - Arms of Adoption. [See under Arms.]
Adoptive - Adoptive arms are those held by a person not by right of descent or in virtue of himself, but merely by the gift or consent of another.
Adorned - (Ad-orn'ed) Ornamented or furnished with a charge.
Adumbration - (Ad-um-bra'-tion) A figure on a coat of arms traced in outline only, or painted in a darker shade of the same color as the field on which it is represented. Families who had lost their estates, but not their armorial bearings, are said to have occasionally adopted this method of indicating their peculiar position. (Also called transparency.)
Affrontee - (Af-fron'-ta) Two animals on a coat of arms facing each other. Face to face, as contradistinguished from back to back. [See ADDORSED.] Confronting one another is a phrase sometimes used in this connection.
Agacella - (Ag-a-cel'la) An antelope, or a tiger with horns and hoofs.
Aiguisee - (Ag-wis-se') Sharply pointed. Applied especially to a cross on an escutcheon which has its four angles sharpened, but still terminating in obtuse angles. It differs from the cross fitchee in that whereas the latter tapers by degrees to a point, the former does so only at the ends.
Ailettes - (Ai'-lettes) Small escutcheons fastened to the shoulders of armed knights. (Sometimes called emerasses.) They were of steel; were introduced in the reign of Edward I, and were the ancestor of the modern epaulet.
Aisle - (I-la) Winged.
Alaund - A dog. Specifically, a hunting dog.
Albany - One of the herald's of the Lord Lyon's Court. Scotland.
Alberia - (Al-ber'-i-a) A plain shield; without ornament or armorial bearings.
Allerion - (Al-ler'-i-on) An eagle without a beak or feet, and with wings expanded, their points turned downward. (Denoting imperialists vanquished and disarmed.)
Alliance - Arms of Alliance. [See under Arms]
Allocamelus - (Al-lo-ca-mel'-us) The asscamel, a mythical animal compounded of the camel and the ass. This was used as a crest by the Eastland Company.
Allumee - (Al-lu'-may) This term is used to describe the eyes of animals when they are depicted sparkling or red.
Allusive - Allusive Arms. [See under Arms.]
Alternate - Alternate quarters: A term applied to the first and fourth quarters on an escutcheon, which are generally of the same kind. Also applied to the second and forth , which also similarly resemble each other.
Ambulant - This signifies walking: coambulant, walking together.
Amethyst - (Am'-eth-yst) The term applied to the color called purpure when describing the armorial bearings of peers.
Amphisien cockatrice - (Am-phis'i-en cock'-a-trice) A name for the mythical animal called the Basilisk. It resembles a cockatrice, but is two headed, the second head being affixed to its tail.
Anchor - In heraldry the anchor is an emblem of hope.
Anchored Cross - In this cross the four extremities resemble the flukes of an anchor. It is also called anchry or ancre. It is emblematic of hope through the cross of Christ.
Ancient (Anshent) - The guidon used at funerals. A small flag ending in a point.
Anime - (An-e-may') Of a different tincture from the animal itself. The term is used when wild animals are represented with fire proceeding from their mouths. Also called incensed.
Annodated - (An'-no-dated) Bowed, embowed or bent like the letter S.
Annulate - (An'-u-lat) Having a ring or annulet. (Used specifically of a cross with its extremities thus fretted.)
Annulet- (An'-u-let) A ring borne on an escutcheon. Originally it stood as the symbol of nobility and jurisdiction, being the gage of royal favor and protection. In describing the arms the color of the annulet should always be expressed. When used as a difference, the annulet represents the fifth son.
Anserated Cross - (An'-ser-a-ted) A cross with one of its extremities shaped like the heads of lions, eagles, etc.
Ante - (An'-tay) Engrafted or joined into each other in any way, as by dovetails, swallowtails or rounds.
Antelope - Agacella is the heraldic antelope. Brooke, Lord Cobham, had for a dexter supporter an agacella, horned, tusked and armed or.
Apaume - (A-pa'u-me) Appalmed. A hand opened so as to exhibit the palm. A baronet of England or Ireland bears a sinister hand couped gules on an inescutcheon or a canton. It is blazoned "argent, a sinister hand, couped at the wrist, and apaume, gules."
Apple of Grenada - The pomegranate.
Appointee - (Ap-poi'n-tay) Pointed. Applied to things which touch at the points or ends, as two swords touching each other at their points or tips.
Aquilate - (Ak'-wil-ate) To adorn with eagles' heads.
Aquilated - (Ak'-wil-ated) Adorned with eagles' heads. (Used almost exclusively in the past participle.)
Arbalest - [See ARBLAST] A crossbow, consisting of a shaft of wood and furnished with a string and trigger. It was not a popular weapon, as it required no strength or manliness in its use. (Also written arbalist, arbalest and arbalet.)
Arched - Signifies that an ordinary on an escutcheon is bent or bowed. (Sometimes called archy.)
Archy - [See ARCHED]
Argent - (Ar'-jent) White. The silvery color on coats of arms. In the arms of princes it is sometimes called lune, and in those of peers pearl. In engravings it is generally represented by the natural color of the paper. It represents purity, innocence, beauty or gentleness.
He beareth gules upon his shield, A chevron argent in the field. -Tales of a Wayside Inn.
Used as an adjective: Of the coloring of coats armor.
"Rinaldo flings As swift as fiery lightning kindled new; His argent eagle with her silver wings, In field of azure, fair Erminia knew." -Fairfax
Arm - The human arm is sometimes used in emblazoning. Tremaine of Colacombe bore gules, three dexter arms conjoined at the shoulder, flexed in triangle or, fisted argent. The arm is often found as part of the crest. {See CUBIT ARM.]
Armed - (1) Furnished with arms. (2) Adding to anything that which will give it greater strength or efficiency. (3) The term armed of applies to a beast of prey when his teeth and claws are differently colored from the rest of his body. It applies also to predatory birds when their talons and beaks are differently colored from the rest of the body. (4) Armed at all points, in days gone by, meant a man covered with armor except his face.
Armor - Coat Armor. [The same as COAT OF ARMS.]
Armor Buckle - A lozenge shaped buckle.
Armorial - (Ar-mo'ri-al) As an adjective: Pertaining or relating to heraldic arms. As substantive: A book containing coats of arms. Thus the phrase occurs, "the French armorial," "the Spanish armorial," etc.
Armorist - One well acquainted with coats of arms; skilled in heraldry. (Bailey.)
Armory - From the word armor, appertaining to coats of arms.
Arms - Arms or Armories were so called because originally displayed upon defensive arms, and coats of arms because formerly embroidered upon the surcoat or camis worn over the armor. The term coat of arms, once introduced, was afterward retained, even when displayed elsewhere than on the coat. In the days when knights were so encased in armor that no means of identifying them was left, the practice was introduced of painting their insignia of honor on their shield as an easy method of distinguishing them. Originally these were granted only to individuals, but were afterward made hereditary by King Richard I, during his crusade to Palestine. They may be divided into two general classes: (1) Public, as those of kingdoms, provinces, bishoprics, corporate bodies, etc. And (2) private, being those of private families. These two classes are again separated into many subdivisions, founded mainly on the different methods by which they were granted.
Arms of Adoption - This term is used in a case where the last representative of an aristocratic family adopts an outsider to assume his armorial bearings and inherit his estates.
Arms of Alliance - Arms which came into a mans possession by matrimonial alliances, as the arms of his wife which are impailed with his own, and those of heiresses, which he in like manner quarters. To illustrate: When Gilbert Talbot (who died in 1274) married Gwenllian, heiress of the Welsh Prince Rhys ap Griffith, he laid aside his paternal coat - "bendy of 10 pieces, argent and gules" - and adopted that of the lady - "gules, a lion rampant or, within a border engrailed of the field" - as still used by the Earls of Shrewsbury.
Arms of Assumption - Those arms which a person may legitimately assume.
Arms of Attribution - Arms that are fictitious, such as indulged in to absurd extent by the heralds of the fifteenth and sixteenth centuries.
"Almost all the older genealogists attribute coats of arms to ancestors long before they were in use. On the tomb of Queen Elizabeth are emblazoned the arms of William the Conqueror and Matilda of Flanders, and of Henry I and Matilda of Scotland, all, of course, pure inventions. It is only of very late years, since a critical spirit has found its way even into heraldry, that these absurdities have been exposed." -- Ency. Brit., vol xi (1902).
Arms of Community - Those borne by corporations, religious houses, colleges, cities and boroughs, inns of court, guilds and the cinque ports, some of which go back to an early period.
Arms of Concession - Arms granted by a sovereign to commemorate some great deed. The heart on the arms of the Douglases is in memory of the mission of James Lord Douglas with the heart of Robert Bruce to the Holy Land. The families of De la Warr, Pelham, Vane and Fane bear arms in allusion to the share their ancestors had in the capture of John of France at Poitiers.
Arms of Dominion - Are those belonging to empires, kingdoms, principalities, states, etc., officially used by the ruler de facto. The origin of some of these arms is obscure, such as the three legs conjoined in triangle of the Isle of Man and the lion of Scotland. Occasionally the arms of dominion were those of an early sovereign or governor. Thus the lions of England belonged to the Plantagnet kings. In the United States the Stars and Stripes, now so well known throughout the world, had their origin in the coat of arms of the first President, the immortal George Washington, whose English ancestors bore "argent, two bars gules, in chief three mullets of the second." The arms of the State of Maryland are those born by Cecililus Calvert, second Lord Baltimore, Lord Proprietary of the Colony.
Arms of Family - Those received by some distinguished person and borne with modifications by all his descendants.
Arms of Honor - The same as Arms of Concession.
Arms of Office - Those borne by holders of certain offices which designate that office. For instance, the ancestors of the Dukes of Ormond, being hereditary butlers of Ireland, bore three covered cups. Garter, the principal king-at-arms of England, bears "argent, a cross gules, on a chief azure a crown or, encircled with a garter of the order buckled and nowed betwen a lion of England and a lily of France."
Arms of Patronage - (1) Arms borne by the lesser gentry which were derived from the arms of the greater; arms on which there is some mark of subjection or dependence. (2) Arms to indicate the connection between the follower and his feudal lord. (3) Arms added to the family arms as a token of superiority, right or jurisdiction.
Arms of Pretension - Arms quartered by a sovereign belonging to a state over which he does not hold authority. Nearly all the earlier European sovereigns bore arms of this character. The kings of England, from Edward III until 1801, in the reign of George III, bore the lilies of France. The treaty of Amiens (January 1, 1801) stipulated that this quartering of the French arms should be abandoned.
Arms of Succession - The same as Feudal Arms.
Arms Royal - The personal arms borne by the sovereign of a country, as distinguished from those borne by him in his official capacity, being those of the country over which he rules. As set forth in Arms of Dominion, the personal arms of a ruler sometimes become those of the country. On the other hand, neither the arms of Baliol, Bruce nor Stuart ever became the arms of Scotland. Cromwell placed his arms on an escutcheon of pretense over those of the commonwealth, and William of Nassau did the same with those of England.
Allusive Arms - (Called also canting or punning arms, and by the French Armes parlantes) are those in which the charges suggest the bearers name. Thus were the castle and lion for Castile and Leon, the fers de cheval of Ferrers, the corbeau or raven for Corbet, the herons of Heron, the falcon of Falconer, the swine's head of Swinebourne, the hammers of Hammerton and the swallows (hirondelles) of Arundel. Allusive arms were treated with respect until the time of James I, when they fell into disrepute.
Assumptive Arms - This now applies to arms which have been appropriated without proper authority. Originally, however, the term had a different meaning, as seen in the following:
". . . Assumptive arms are such as a person has a title to bear, by virtue of some action done or performed by him, which by birth he could not wear; as if a person that has naturally no coat should, in lawful war, take a prince or nobleman prisoner, he has from that time a right to bear the arms of such prisoner by virtue of that military law that the dominion of things taken in lawful war passes to the conqueror."-Dych: Dict. (1758).
Canting Arms - The same as Allusive Arms.
Feudal Arms - The arms borne by the possessors of certain lordships or estates .
Paternal Arms - Those that descend by custom to the male heir. The descendants of females (heiresses) can only quarter their arms, except by special license.
Arriswise - (Ar'-ris-wise) With one angle facing; showing the top and two sides. Said of a rectangular bearing, such as an altar.
Arrondee - (Ar-ron'-dy) - Made round.
Arrow - The arrow is frequently displayed in heraldry, either singly or in sheaves.
Ashen Keys - The seed vessels of the ash tree. Occasionally represented on an escutcheon.
Aspect - The position which an animal occupies with regard to the eye of the spectator. It may be (1) full aspect, that is full-faced, looking toward the spectator; (2) passant, which is side toward him; (3) trian aspect, neither the one or the other, but between the two.
Aspectant - (As-pect'-ant) A term applied to two birds facing each other, or looking at each other.
Aspecting - [The same as ASPECTANT.]
Aspersed - (As-per'-sed) Strewn or powdered with a number of small charges. {See SEME.]
Assaultant - (As-sa'-ult-ant) Assailant. Applied to a predatory animal when represented on the escutcheon as if leaping on its prey.
Assumption - Arms of Assumption. [See under ARMS.]
Assumptive - Assumptive Arms. [See under ARMS.]
Assurgent - (As-sur'-gent) Rising out of.
At Gaze - Applied to the hart, buck, stag or hind when represented full-faced, or with the face directly to the front.
Athole - One of the pursuivants of the Ofice of Arms, Ireland.
Attire - (At-ti'-re) The single horn of a stag. (The plural attires is used for two horns.)
Attired - Ornamented with horns or antlers. Applied to the stag or hart. A reindeer is represented with double attires - one pair erect and the other drooping. (Boutell: English Heraldry.)
"Attired is a term used among heralds when they have occasion to speak of the horns of a buck or stag." - Bullokar: Eng. Expos. (1656).
Attribution - Arms of Attribution. {See under ARMS.]
Augmentation - Arms of Augmentation of Honor - A grant from a sovereign of an additional charge on a coat of arms to commemorate some great deed or a notable event. [See Arms of Concession, under ARMS.]
Aulned - (awn'd) Awned; bearded (Used of ears of corn.)
Au vol - [French.] On the wing. (Said of a bird.) [VOLANT.]
Avellane Cross - (A-vel'-lane) A cross resembling four filberts.
Averdant - (A-ver'-dant) Covered with green herbage. The term is used specially of a mount in a base. (Gloss. Of Heraldry.)
Averlye - (Av'-er-lie) The same as ASPERSED, which see.
Aversant - (A-ver'-sant) Turned away. Applied to a hand of which only the back can be seen. Sometimes called dorsed.
Awned - {See AULNED.]
Axe - [See BATTLE AXE.]
Aylet - (Ay'-let) A name used to designate the Cornish cough (Fregilus graculus). A bird belonging to the crow family.
Ayrant - Bright blue. Used especially in describing the escutcheons of gentlemen beneath the degree of baron. The same color on a nobleman's coat is called sapphire, from the stone, and that on the coat of a sovereign prince Jupiter, from the planet of that name. Engravers represent azure in heraldry by horizontal lines.
Azure - Bright blue. Used especially in describing the escutcheons of gentlemen beneath the degree of baron. The same color on a nobleman's coat is called sapphire, from the stone, and that on the coat of a sovereign prince Jupiter, from the planet of that name. Engravers represent azure in heraldry by horizontal lines.
Common Questions
Q. What's the difference between a Coat of Arms & Family Crest?
A. A coat of arms technically refers to the cloth covering worn by knights over their armor to display their arms. Arms are the correct term used to describe what we call today a Coat of Arms or Family Crest, with a Crest being the charge (symbol) over the helmet, so both terms coat of arms and family crest are the same thing.
Q. Why is the Surname History Origin and Coat of Arms Origin different?
A. The history reflects certain information about the surname, but as people move around and names change Coats of Arms may be granted in different countries, but we may have other origins available (see question below).
Q. I want a different Coat of Arms origin than that displayed do you have any more origins for this surname?
A. Yes it is possible we would advise you order via our main website Family-crests.com
Q. I can't find my surname on your database, what should I do?
A. This database is not a complete listing for every surname we have a coat of arms for, if you contact us, we will do a search on your surname to see what we have available.
Q. I need to see the Coat of Arms before I order?
A. As we draw each coat of arms on a per customer basis, we are unable to send samples or display all our coats of arms on our database.
More for your surname
| i don't know |
If a doctor gave you the Ishihara Test for what condition would he be testing you? | Ishihara Color Test – Color Blindness
got to 3 and thats it
bradley says:
tried test only got test 2
admin says:
June 11, 2009 at 8:16 am
Hi Bradley,
You should keep trying each ishihara test until the bottom, dont stop at the first test you can’t do:) Doing them all helps you understand the severity of your color blindness.
Also try the color arrangement test to get a mathematical readout of your color blindness, and its severity!
Charles
July 9, 2009 at 8:17 am
Hi,
I found this website to be really helpful! I was told when I was small that I was color blind, and knew it had something to do with Red, Green and Brown. This website has helped me understand that I’m definately red/green color blind. 20 years after I was told, I now know for sure, thanks to this website. Great stuff. Excellent.
admin says:
July 9, 2009 at 2:05 pm
Jim,
Glad you found the ishihara test useful:) I trialled it on a friend of mine, he’s 40 and just found out he’s mildly color blind too. To some of us it barely makes a difference i guess!
Charles
🙁 i applied for the air force on thursday, a medical was involved… including an isihara eye test……..
i failed it 3 times 🙁 not my job oportunities are extremely limited
im 3CP color blind & a female… i never knew, still quite shocked!!!!!!!
BERTIE says:
September 2, 2009 at 9:20 pm
Just looking at these tests makes me feel more at rest. I have moderate colour acuity due to long sightedness but not colour blind although eyesight does affect your colour vision, yet i can see 22 of the 24 plates. Do you think i would pass an RAF medical colour test?
admin says:
Hi Bertie,
I redid your post without full capitals for you:)
The Air Force is probably the strictest career path in the world when it comes to color blindness. Whether or not you are accepted depends on how well you do with your visual tests, and which position you are seek. Which plates did you get wrong? A couple of the plates are supposed to appear blank if you have normal vision:)
You could also try my color arrangement test, it was designed by american military personel originally, though i doubt it is used in the UK.
Charles
September 24, 2009 at 11:03 pm
Thanks Admin
I can do the colour arrangement test and it reports I’m not colour blind because I complete it correctly. A couple of the plates above that I couldn’t see were 73 and 5. Must point out that some of these plates I have to really look at to get the numbers. I have done the Farnsworth 100 Hue Test and manage to do very well on it. I know my current perscription for glasses has been changed slightly and these glasses are heavily scratched. I find my glasses do affect my colour vision, making colours appear slightly darker then normal. Without the glasses I have very good colour acuity but at a restricted distance. Can I just ask how accurate are these tests? Are your plates a true representation or do you think the reproduction of your plates makes it harder to see the numbers.
Thanks again, Bertie
September 25, 2009 at 8:20 am
Hi Bertie,
The plates do get progressively harder to see, though my wife (who is not color blind) can easily see every plate correctly. Being color blind, i know that some are harder than others for me to see, but cannot really tell you how people with normal color vision see them:).
What you hinted at is correct, these plates are as accurate as possible, but there is every risk that they aren’t exactly the same as a physical copy of the test plates. The images are very close to the same, but everything from the lighting in your room to the quality of your monitor, and its settings will adjust this. Try doing the test from someone elses computer and see how you go – you’d be amazed how different computer monitors show colors differently!
My glasses are not scratched too badly, but if yours are as bad as you say, then i am sure they would manipulate the colors to some extent – much like cataracts? Cataracts dont directly modify your color vision, but the clouding does filter any light entering the eye.
Hope this helps,
| Color blindness |
When the original Top Twenty was compiled it wasn’t for records – what was it for? | Color Blindness Tests and Facts
Test A. I see number
Test F. I see number
Test B. I see number
Test G. I see a
Test C. I see number
Test H. I see a
Test D. I see number
Test I. I see number
Test E. I see number
Test J. I see number
Test your color vision!
The test opposite, based on the Ishihara plates , is designed to give a quick assessment of color vision, and should not replace evaluation by a professional!
The original card version of Ishihara's color test was designed to be carried out in a room adequately lit by daylight. This electronic version may produce some discrepancies in the result as the images have been optimised for web-based delivery and with a 256 color display or greater. The results of this test are not to be considered a valid medical test for CVD and merely serve to illustrate the tests available.
Position yourself about 75cm from your monitor so that the color test image (a dotted disc) you are looking at is at eye level; then, select an image (Test A, B, C, D...) which contains a 1 or 2-digit number, or a shape, and see what you can see! Write your answer into the corresponding textbox. When you are finished, click on the submit button to see your score and compare your responses with the correct answers.
• A color test variant: the Farnsworth color arrangement test
The " Farnsworth arrangement test ", or more commonly – the color arrangement test, was originally developed for Navy use by Commander Dean Farnsworth in 1943 at the Naval Laboratory. To take this color blindness test, simply grab and arrange the colors in order, according to similarity, all along the row. Once you are done, click the button to see your results, then click again to see what type of color blindness you may have. This version of the test was created by Daniel Flück of Colblindor.com .
You need a Frames Capable browser to view this content.
• Additional tools and resources used to test for color blindness
An " anomaloscope " is an instrument that measures quantitative and qualitative anomalies in color perception. You can take a color blindness test with the help of a simple anomaloscope here .
If you know a new device for testing color blindness that is not listed on our page, please, don't hesitate to share it with our visitors/readers.
More color vision deficiency facts and questions...
• How does a man/woman affected by CVD perceive this page?
Click on: Red/Green or Blue/Yellow color filter (Be patient, the filter activation may take a minute or so...).
• What color do color vision deficient people dream in?
We only dream of what we know... People who become blind after birth can see colors and images in their dreams. People who are born blind do not see any images, but have dreams equally vivid involving their other senses of sound, smell, touch and emotion. It is hard for a seeing person to imagine it. So, colorblind people dream in the color set they see in real life... However, a full 12% of sighted people dream exclusively in black and white!
• Can a color deficient person experience 3D movies or stereoscopic images?
It depends on the color vision deficiency, and the degree of severity. A color vision deficient person can see recent 3D movies which are devised to be seen with glasses using crossed polaroid lenses, but not the old style 3D movies devised to be seen wearing anaglyph (red-green) glasses. Redgreen colorblind people do sometimes have difficulties with red-green anaglyph images since although the colors appear similar, the intensities are rather different - the red image typically looks darker than the green.
• How do color vision deficient persons perceive a colorwheel ?
Mouse over this standard colorwheel to see it as a colorblind person might see it.
• Reverse color blindness test
Color vision deficient people have a tendency to better night vision and, in some situations, they can perceive variations in luminosity that color-sighted people could not. In fact, most color blind people can easily read what is written in the picture below... That means, if you fail the test, you probably have the full range of color sensitivity that is attributed to color-sighted people. Anyway, this test is not to be considered by itself sufficient to determinate defective color vision.
(Highlight answer: NO)
Image taken from Sarcone's book Puzzillusions
• What bothers colorblind people most?
- When grilling a piece of meat, a red deficient individual cannot tell whether it is raw or well done. Many cannot tell the difference between green and ripe tomatoes or between ketchup and chocolate syrup! Many others are always buying and biting into unripe bananas - they cannot tell if they are yellow or green, and the matt, natural material makes it even harder to distinguish.
- Some food may look definitely disgusting to color vision deficient individuals: a plate full of spinach, for instance, just appears to them like cow pat.
- They can however distinguish some citrus fruits. Oranges seem to be of a brighter yellow than that of lemons.
- A colorblind person is generally unable to interpret the chemical testing kits for swimming pool water, test strips for hard water, soil or water pH tests because they rely on subtle color differences.
- Many colorblind people cannot tell whether a woman is wearing lipstick or not. More difficult to handle for some is the inability to make the difference between a blue-eyed blonde and a green-eyed redhead.
- Color vision deficiencies bother affected children from the earliest years. At school, coloring can become a difficulty when one has to take the blue crayon - and not the pink one - to color the ocean.
- Bi-color and tri-color LEDs (Light Emitting Diodes): is that glowing indicator light red, yellow, or green? Same problem with the traffic lights...
Your personal experiences of being a color blind
If you are a color blind person you may want to help us by answering these two questions ...
• I need to pass a color blindness test for work. What can I do?
Some jobs require their employees to take a color vision deficiency test (often using the Ishihara plates above). For instance, good color vision is vital for recognizing various lights and signals important to pilots, especially at night. These tests are required by, among others, the coast-guard and most military and emergency services. Unfortunately, if you really are colorblind, there is very little you can do to pass these tests.
However, the CAA UK and the FAA US are currently reviewing the color vision requirements for professional flight crew. Many documents and papers over the last 20 years have stated the need for new color vision tests that are more appropriate to the tasks that pilots carry out. That is the reason why a new range of tests has been developed by Applied Vision Research Centre . For the few subjects that fail or are judged borderline from the results of the first CVD screening test, then a second program will measure the subject's chromatic sensitivity for stimulus conditions that are considered important experimentally. The results from this will then make it possible to judge whether the subject's performance meets the minimum color vision requirements that yield acceptable visual performance in the tasks investigated.
• Color blindness cure?
No cure exists yet for inherited color deficiency. However, the researchers Jay Neitz and his wife have developed and used gene therapy to restore color vision in two adult male squirrel monkeys that have been unable to distinguish between red and green hues since birth - raising the hope of curing color blindness and other visual disorders in humans.
They introduced the human form of the red-detecting ‘ opsin ’ gene into a viral vector, and injected the virus behind the retina of the monkeys. The researchers then assessed the monkeys’ ability to find colored patches of dots on a background of grey dots by training them to touch colored patches on a screen with their heads. After 20 weeks, the monkeys’ color skills improved dramatically. The insertion of the red-detecting ‘opsin’ gene gave rise to new color perception stimuli and, in fact, their brain started to react on this new visual information. Gaining this new dimension of color vision becomes a simple (!) matter of splitting the preexisting "blue-yellow" pathway into two systems, one for "blue-yellow" and a second for "red-green" color vision.
The Neitz’s are still in the middle of clinical trials. Actually, they are not only looking for a cure, but also trying to develop a test that can help forecast the severity of someone’s color blindness.
More info at http://www.neitzvision.com/content/genetherapy.html
• How can colorblind people compensate for their deficient color vision?
While there are no cures for color blindness, there are many possibilities to help control the annoyance of this disease. A possible treatment for color vision deficiency is to use special glasses with particular color filters to make it easier to interpret colors or actually to better see contrasts. Another way to control symptoms is to use what is called the X-Chrom lens . The X-Chrom lenses are red contact lenses worn on the non-dominant eye of color deficient people and which helps some to better interpret colors or contrasts. The X-Chrom lens does not restore normal color vision, it just allows some colorblind individuals to distinguish colors better.
EnChroma Cx Explorer for Colorblindness Correction
• How can I create a colorblind friendly website?
Apart from its aesthetic appeal, seeing many different colors allows us to distinguish things in the world. However, remember that there are always colorblind people among your audience and readers. Actually, there could be more than TEN colorblind people per 250 people visiting your site.
Then, we, the web community, must create an atmosphere which makes it easier for colorblind individuals to differentiate between text and background along with images! There are 2 ways that we can make information in pictures available to colorblind people:
1) The simplest way is to increase the red/green contrast in the images.
2) We can also convert the variations in red and green colors into variations in brightness and/or blue/yellow coloration.
One way to test your website for colorblind usability is by using these tools:
Each tool will show a copy of your web page as if it was seen as a select type of color vision deficiency.
Firefox also has a great add-on which allows webmasters to see color contrasts:
- Color Contrast Analyser Firefox Extension.
Below is a proposal of a color range selection that may be unambiguous both to color vision deficient people and normal sighted persons.
Some useful hints: when combining colors from this pallet, try to use 'warm' and 'cool' colors alternatively. Avoid combination of colors with low saturation or low brightness!
Set of colors unambiguous to color vision deficients
and to normal sighted persons
Original
Protanopia: CVD resulting from insensitivity to red light, causing confusion of greens, reds, and yellows.
Deuteranopia: CVD resulting from insensitivity to green light, causing confusion of greens, reds, and yellows.
Tritanopia: a rare form of CVD resulting from insensitivity to blue light, causing confusion of greens and blues.
• How can teachers help if a student has a color vision deficiency?
1) Always use white chalk, not colored chalk, on the board to maximize contrast. Avoid yellow, orange, or light tan chalk on green chalkboards.
2) Xerox parts of textbooks or any instructional materials printed with colored ink. Black print on red or green paper is not safe. It may appear as black on black to some color vision deficient students.
• I am colorblind and work on a computer - is there a way that I can determine the various colored graphics or letters?
Yes, there is a new product called Visolve that might help you. It is an interactive software program that takes a picture of your screen and allows you to manipulate various color.
• What is the relation between colorectal cancer and color deficiency?
Men are statistically more likely to die of colorectal cancer than women, and it is thought that one reason for this is that they are more likely than women to be color vision deficient. The link is that if you are red colorblind, when you look at a piece of used toilet paper it may all look the same color, even though there is red and brown on there. Hopefully, the other symptoms will prompt the color deficient person to seek medical attention (source: h2g2 ).
• Are there 'false' colorblind persons?
There is a type of color vision deficiency that is caused by damage to the cerebral cortex of the brain, rather than abnormalities in the cells of the eye's retina. This kind of color vision deficiency is called " cerebral achromatopsia ". People affected with cerebral achromatopsia are perfectly aware of their visual experiences; however, they are unable to imagine or remember colors. They see the world like a black & white television where everything is a shade of gray. They cannot chromatically order or discriminate hue but they can distinguish color contrasts like a normal person. 'Transient achromatopsia' is a temporary loss of colour vision caused by a short-lived vascular insufficiency in the occipital cortex.
• Are cats and dogs color vision deficient?
Yes, we can compare man’s best friends’ vision with the vision of human being suffering from red or green color vision defiency (protanope, deuteranope, see fig. below). Dogs do see in color, but have two-color, or dichromatic vision , that is, they cannot distinguish between red, orange, yellow or green. They can see various shades of blue and can differentiate between closely related shades of grey that are not distinguishable to people.
Cats have the ability to distinguish between blues and greens, but lack the ability to pick out shades of red. They have a wider field of view — about 200 degrees, compared with humans' 180-degree view. So, cats have a greater range of peripheral vision. They also are crepuscular, that means they are active at dawn and dusk. Their night vision is far superior to that of humans: cats' eyes have 6 to 8 times more rod cells, which are more sensitive to low light [Images: See What a Cat Sees ].
Cats and dogs are primed to see "motion", rather than defining the world through sight alone. They use a blend of senses such as smell and hearing with their vision to do what we humans use our eyes alone to do.
• Are goldfish color vision deficient?
The common goldfish is not colorblind. It seems that it can see a very wide range of the spectrum both infra-red and ultra-violet and has the largest range so far discovered.
In that sense, it is tetrachromatic because its color vision is based on four types of cones (ultraviolet, short, medium and long wavelength-sensitive). Goldfish are actually the only animals that can discriminate, under certain conditions, both infra-red and ultra-violet light.
Since they have greater sensitivity to light than we do, it is important then to protect your goldfish from bright lights and sudden movements, and to spend a little time working out the right location for their tank.
You're encouraged to expand and/or improve this article. Send us your comments, feedback or suggestions.
We welcome the re-use and distribution of the content published on this Web page on the condition that you credit us by including the following information: "Copyright © 1992-2015, Gianni A. Sarcone, Archimedes-Lab.org. Used with permission".
You may not use this editorial content for commercial purposes!
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Which fictional detective has a name that is also a type of picture puzzle? | Rebus Puzzles Brainteasers - Kids Environment Kids Health - National Institute of Environmental Health Sciences
Kids Environment Kids Health
Rebus Puzzles Brainteasers
(also called Frame Games© or Word Picture Puzzles)
A REBUS is a picture representation of a name, work, or phrase. Each "rebus" puzzle box below portrays a common word or phrase. Can you guess what it is?
Answer: Since the word HEAD is over the word HEELS, the answer to the puzzle would be HEAD OVER HEELS! Get it? That's great! Now wake up your brain by having some more fun with the teasers below! To see the answers, just click on the little arrow in the box below each puzzle! But don't peek until you make a guess!
Reveal Answer
| Rebus |
An ovoid object is shaped like …what? | Rebus Puzzles Brainteasers - Kids Environment Kids Health - National Institute of Environmental Health Sciences
Kids Environment Kids Health
Rebus Puzzles Brainteasers
(also called Frame Games© or Word Picture Puzzles)
A REBUS is a picture representation of a name, work, or phrase. Each "rebus" puzzle box below portrays a common word or phrase. Can you guess what it is?
Answer: Since the word HEAD is over the word HEELS, the answer to the puzzle would be HEAD OVER HEELS! Get it? That's great! Now wake up your brain by having some more fun with the teasers below! To see the answers, just click on the little arrow in the box below each puzzle! But don't peek until you make a guess!
Reveal Answer
| i don't know |
Who fell in love with Heloise the beautiful 17-year-old daughter of Canon Fulbert? | Heloise -Abbess of Paraclet - Google Groups
Heloise -Abbess of Paraclet
Gilbert de Garlandewho was married to the Comtesse Eustachie apparently
had a daughter Heliose de Garlande. Some of the writing on the period state
that Heloise, the Abbess of Paraclet who had Abelard as a lover was a
member of the de Garlande family.
Can any member on the list confirm that the Heloise de Garland and
Heloise, Abbess of Paraclet are one in the same person and give a reference?
Alf Garland
The only thing I can suggest is that she PROBABLY NOT the same person.
ES XIII page 113 shows how Gilbert de Garlande had a son, Gui who died
in 1190, another son, Manasses who died in 1185, and a daughter
Heloise without any further details. Gilbert had brothers : Gilbert dit
Paien, Etienne, Anseau and Guillaume I.
According to The Cambridge Biographical Encyclopedia, published 1994,
page 3: Peter Abelard 1079-1142 : fell in love with the 17-year old
niece of canon Fulbert. Heloise died in 1164. The year 1121 is important
as by then Abelard has been castrated for some time.
According to Chambers Biogr. Abelard was 38 and Heloise 17, which gives
us about 1100 as a year of birth for Heloise. This still makes it possible
for Heloise to be a Garlande, but why is she referred to as "niece of
canon Fulbert"? When she, if a Garlande, has aristocratic parents?
Her father has no brother called Fulbert and her mother is possibly
from the family of the Counts of Dammartin-en-Goele. And this keeps
the possibility open. But if Canon Fulbert was such an important
person, surely ES would have recorded the mother as sister of Canon
Fulbert, as ES does this quite a lot. Also I believe that ES would have
marked of by Heloise de Garlande, either she was Abbess of Paraclete,
or her marriage to Abelard and probably both. My suggestion is that it is
a coincidence of having two Heloises approximately the same time.
Hope this helps?
> Gilbert de Garlandewho was married to the Comtesse Eustachie apparently
>had a daughter Heliose de Garlande. Some of the writing on the period state
>that Heloise, the Abbess of Paraclet who had Abelard as a lover was a
>member of the de Garlande family.
>
> Can any member on the list confirm that the Heloise de Garland and
>Heloise, Abbess of Paraclet are one in the same person and give a reference?
Abbess Heloise was the niece of Fulbert, canon of Notre-Dame at Paris.
Her family connections, and Fulbert's, are not know beyond that. Heloise
was not known to have comital connections in her immediate family, so this
identification is not sound.
| Peter Abelard |
The coordinate Y is the ordinate – what do we call the coordinate X? | Peter Abelard Facts
LINK / CITE ADD TO WORD LIST
Peter Abelard Facts
Peter Abelard Quotes
The French philosopher and theologian Peter Abelard (1079-1142) was a leading thinker of the Middle Ages. His reputation outside academic circles is based upon his more human qualities as reflected in his love affair with Heloise.
In comparison with the literary and intellectual activity of the 9th century (the so-called Carolingian Renaissance), the period from 900 to 1050 contained few figures of cultural importance. Toward the end of the 11th century, however, the monastic and cathedral schools of northern France began to produce a series of gifted thinkers. This reawakening was part of the social, economic, and cultural transformation of Europe during the 12th century. The intellectual revival in particular was significant in laying the foundations for the development of scholastic philosophy and theology. The two most important figures in the early stages of this development were Anselm of Canterbury and Peter Abelard.
Although writing before most of the works of Aristotle had been recovered, Abelard made an important contribution to philosophy and logic by his solution to the problem of universals. His theological writings also had great influence, especially his work on Christian ethics and his contribution to the development of the scholastic method.
Abelard was born at Le Pallet in Brittany near Nantes in 1079. His father, Berengar, was lord of Pallet. Since Abelard was the eldest son, it was expected that he would be knighted and succeed his father. He sought, however, an ecclesiastical career as a teacher in one of the cathedral schools that then flourished in northern France. Leaving home at the age of 15, he studied logic or dialectic under Roscelin of Compi'ne. Several years later, having been at various schools, he went to Paris to study under William of Champeaux, head of the cathedral school and archdeacon of Notre Dame. Abelard must have seemed a difficult student, for he questioned the method and conclusions of his master and raised points in class that embarrassed William in front of his students. According to Abelard, it was in such public debate that he later forced William to rethink his position on the question of universals.
Early Career
In 1102 Abelard set up his own school at Melun. He quickly attracted students and, on the basis of his growing reputation, shifted his lectures to Corbeil, closer to Paris. About 1106 poor health forced Abelard to visit his home in Brittany. He returned to Paris in 1107 and taught at the cathedral school. But under pressure from William, Abelard moved his lectures to Melun and later to the church of Ste-Genevi'e, located on a hill on the southern edge of Paris. There he taught until the entrance of his parents into monastic life about 1111 forced him to return to Brittany to help reorganize family affairs.
Although many of Abelard's works in logic were written later in his life, his thinking on this subject seems to have been formed in the early period of study and teaching. Eventually he was to produce two sets of glosses on the parts of Aristotle's logic that were then known, Categories and De interpretatione. He also glossed the logical treaties of Porphyry and Boethius. Much of this material was eventually drawn together in an extensive work entitled Dialectica.
The problem of universals was the most pressing philosophical question in Abelard's day. This problem concerned the degree of reality possessed by a universal concept, such as "man" or "tree." Some thinkers approached the problem with Platonic presuppositions and tended to give a high degree of reality to the universal concept. According to this ultrarealist position, the universal exists in reality apart from the individuals embraced by that category. This separately existing universal is the archetype and cause of the individual things that reflect it. On the other hand, the ultranominalist position maintained that the universal was only a concept in the mind, a term that conveniently related individual things which, apart from such an arbitrary classification, would have little or nothing in common.
Abelard took a different approach to this problem. Beginning with the question of how men come to know a universal, he maintained that they know such only through their experience with individual things that make up a class. According to Abelard, the quality that individual things in a class have in common is a universal, but such a universal never exists apart from the individual thing.
Affair with Heloise
The decision of his parents to enter the religious life or the development of his own interests led Abelard upon his return to Paris to seek instruction in theology. Journeying to the cathedral school at Laon, northeast of Paris, Abelard studied under the most renowned master of this subject, the elderly Anselm of Laon. As had happened so often in the past, Abelard found the teaching shallow and boring, and in response to the urging of his fellow students he lectured on the scriptural book of Ezekiel. The resulting breach between Abelard and Anselm precipitated Abelard's expulsion from Laon, and in 1113 he returned to the cathedral school in Paris, where he taught theology for a number of years in relative peace.
By mutual agreement of Abelard and Fulbert, a canon at the Cathedral in Paris, Abelard became a resident in Fulbert's house and tutor of his young, cultured, and beautiful niece Heloise. Abelard and Heloise fell in love, and after some months Fulbert discovered their affair and forced Abelard to leave his house. At this time Abelard was about 40 years old and Heloise about 18.
Heloise, however, soon found that she was pregnant, and with Abelard's cooperation she left Paris in order to have the child in the more secluded and secure surroundings of Le Pallet, where Abelard's relatives lived. She gave birth to a son, Astralabe, and soon afterward at the request of Fulbert and over her objections Heloise and Abelard were married in Paris. The marriage initially was to have remained a secret in order to protect Abelard's reputation as a committed philosopher and to leave the way open for his advancement in a Church career. Fulbert, however, was concerned about his own reputation and that of his niece, and he openly acknowledged Abelard as his nephew-in-law.
The denial of the marriage by Abelard and Heloise angered Fulbert, and Abelard in order to protect her sent her to the convent at Argenteuil. Fulbert, thinking that Abelard was seeking to annul the marriage by forcing Heloise into the religious life, hired men to seize Abelard while he slept and emasculate him. This crime resulted in the disgrace of Fulbert and the death of those who had attacked Abelard. More importantly, it brought a temporary end to Abelard's teaching career, and both he and Heloise adopted the monastic life, she at Argenteuil and he at St-Denis, the famous Benedictine monastery north of Paris.
Monastic Years, 1118-1136
Abelard's life at St-Denis was difficult not only because of the public disgrace occasioned by his emasculation and the exposure of his affair with Heloise, but also because separation from the cathedral schools and subjection to the authority of an abbot were new and unpleasant experiences for him. Abelard's reputation attracted students, and his abbot permitted him to set up a school in a daughter priory separate from the monastery.
The resumption of teaching by Abelard brought criticism from his rivals, especially Alberic and Lotulf of Rheims, who maintained that a monk should not teach philosophy and that Abelard's training in theology was insufficient. They specifically attacked a work on the Trinity that Abelard had written for his students at St-Denis. Alberic in particular was instrumental in calling a council at Soissons in 1121 which condemned Abelard's work and placed him under "house arrest," first at St-Médard and then at St-Denis. Additional friction with his fellow monks forced Abelard to flee to a priory of St-Denis in Provins, located in the territory of the Count of Chartres, who was friendly toward him.
In spite of these reversals, Abelard still found time to write for his students. His most famous work, Sic et non, seems to have been written in this period. It was intended to provide source materials for students to debate theological questions. Conflicting quotations from earlier Christian authorities were placed side by side, and the introduction indicated the procedures the student should follow in arriving at a solution to the problems. The work did not attack traditional authorities, but it suggested that reliance on authority should be combined with a critical examination of the theological issues involved in each problem as well as an examination of the intention and merits of the authorities quoted.
In 1122 the abbot of St-Denis allowed Abelard to found a primitive hermitage on a piece of land between Provins and Troyes. There he built a school and a church, which he dedicated to the Paraclete, or Holy Spirit. This period of quiet teaching away from the centers of civilization was interrupted in 1125 by opposition from representatives of a new type of piety, probably Norbert of Prémontré and Bernard of Clairvaux. Seeking the safety of his homeland, Abelard returned to Brittany to accept the abbacy of the unruly monastery of St-Gildas, on the coast near Vannes. For 10 years Abelard struggled to bring order to the monastery at the risk of his life, and he was able to befriend Heloise and her fellow nuns, expelled from Argenteuil by the abbot of St-Denis, by deeding to them the hermitage of the Paraclete.
Return to Teaching
In 1136 Abelard returned to Paris to teach at the church of Ste-Genevi'e. For the next 4 years he continued to attract students as well as opposition from Bernard and others. During this period Abelard wrote a work on ethics which took as its title the Socratic admonition, "Know thyself." In this work Abelard stressed the importance of intention in evaluating the moral or immoral character of an action.
The opposition of Bernard was instrumental in provoking a second trial of Abelard's orthodoxy. A council was convened at Sens in 1140, which resulted in the second condemnation of Abelard. Convinced of his innocence, Abelard decided to take his case before the Pope. He began his journey to Italy, but illness forced him to terminate his journey in Burgundy at the Cluniac priory of St-Marcel near Chalon-sur-Saône under the protection of his former pupil Peter the Venerable, Abbot of Cluny. There he died on April 21, 1142.
Further Reading on Peter Abelard
Abelard's autobiography is available in an excellent translation by J.T. Muckle, The Story of Abelard's Adversities (1964); written in a clever and convincing style, it presents only Abelard's side of events and issues. A scholarly study based on the life of Abelard and his relationship with Heloise is étienne Gilson, Heloise and Abelard (1938; trans. 1951). The delightful historical novel of the English medievalist Helen Waddell, Peter Abelard (1933), provides insight into the period. See also Cedric Whitman, Abelard (1965). The best introduction to the thought of Abelard remains J.G. Sikes, Peter Abailard (1932). The lengthy introduction to the translation of one of Abelard's most important works, Christian Theology, edited by J. Ramsay McCallum (1948), is informative. The influence of Abelard's teaching is covered by D.E. Luscombe, The School of Peter Abelard (1969).
Additional Biography Sources
Ericson, Donald E., Abelard and Heloise: their lives, their love, their letters, New York, N.Y.: Bennett-Edwards, 1990.
Luscombe, D. E. (David Edward), Peter Abelard, London: Historical Association, 1979.
Marenbon, John., The philosophy of Peter Abelard, New York: Cambridge University Press, 1997.
| i don't know |
What do we call a quadrilateral with one pair of sides parallel? | Quadrilaterals - Square, Rectangle, Rhombus, Trapezoid, Parallelogram
Quadrilaterals
Quadrilateral just means "four sides"
(quad means four, lateral means side).
A Quadrilateral has four-sides, it is 2-dimensional (a flat shape), closed (the lines join up), and has straight sides.
Try it Yourself
(Also see this on Interactive Quadrilaterals )
Properties
The interior angles add up to 360 degrees:
Try drawing a quadrilateral, and measure the angles. They should add to 360°
Types of Quadrilaterals
There are special types of quadrilateral:
Some types are also included in the definition of other types! For example a square, rhombus and rectangle are also parallelograms. See below for more details.
Let us look at each type in turn:
The Rectangle
A rectangle is a four-sided shape where every angle is a right angle (90°).
Also opposite sides are parallel and of equal length.
The Rhombus
A rhombus is a four-sided shape where all sides have equal length.
Also opposite sides are parallel and opposite angles are equal.
Another interesting thing is that the diagonals (dashed lines in second figure) meet in the middle at a right angle. In other words they "bisect" (cut in half) each other at right angles.
A rhombus is sometimes called a rhomb or a diamond.
The Square
A square has equal sides and every angle is a right angle (90°)
Also opposite sides are parallel.
A square also fits the definition of a rectangle (all angles are 90°), and a rhombus (all sides are equal length).
The Parallelogram
A parallelogram has opposite sides parallel and equal in length. Also opposite angles are equal (angles "a" are the same, and angles "b" are the same).
NOTE: Squares, Rectangles and Rhombuses are all Parallelograms!
Example:
angles "a" and "b" as right angles
is a square!
Isosceles Trapezoid
A trapezoid (called a trapezium in the UK) has a pair of opposite sides parallel.
And a trapezium (called a trapezoid in the UK) is a quadrilateral with NO parallel sides:
a pair of parallel sides
NO parallel sides
a pair of parallel sides
(the US and UK definitions are swapped over!)
(Note: when the two sides joining parallel sides are equal in length and both angles coming from a parallel side are also equal we call it an Isosceles trapezoid, as shown above.)
The Kite
Hey, it looks like a kite (usually).
It has two pairs of sides.
Each pair is made up of adjacent sides (they meet) that are equal in length.
The angles are equal where the pairs meet. Diagonals (dashed lines) meet at a right angle, and one of the diagonal bisects (cuts equally in half) the other.
... and that's it for the special quadrilaterals.
Irregular Quadrilaterals
The only regular (all sides equal and all angles equal) quadrilateral is a square. So all other quadrilaterals are irregular.
Example: a square is also a rectangle.
So we include a square in the definition of a rectangle.
(We don't say "Having all 90° angles makes it a rectangle except when all sides are equal then it is a square.")
This may seem odd, as in daily life we think of a square as not being a rectangle ... but in mathematics it is.
Using the chart below we can answer such questions as:
Is a Square a type of Rectangle? (Yes)
Is a Rectangle a type of Kite? (No)
Complex Quadrilaterals
Oh Yes! when two sides cross over, we call it a "Complex" or "Self-Intersecting" quadrilateral, like these:
They still have 4 sides, but two sides cross over.
Polygon
A quadrilateral is a polygon . In fact it is a 4-sided polygon, just like a triangle is a 3-sided polygon, a pentagon is a 5-sided polygon, and so on.
Play with Them
Now that you know the different types, you can play with the Interactive Quadrilaterals .
Other Names
A quadrilateral can sometimes be called:
a Quadrangle ("four angles"), so it sounds like "triangle"
a Tetragon ("four and polygon"), so it sounds like "pentagon", "hexagon", etc.
| Trapezium |
Which famous play takes place at Monkswell Manor? | Quadrilaterals
Year 8 Interactive Maths - Second Edition
Quadrilaterals
A quadrilateral is a 2-dimensional closed shape with four straight sides. E.g. The shape ABCD shown here is a quadrilateral.
A line segment drawn from one vertex of a quadrilateral to the opposite vertex is called a diagonal of the quadrilateral. AC is a diagonal of quadrilateral ABCD, as is BD.
Types of Quadrilaterals
There are seven types of quadrilaterals that can be divided into two groups: parallelograms and other quadrilaterals.
Parallelograms
Quadrilaterals are called parallelograms if both pairs of opposite sides are equal and parallel to each other. Different parallelograms and their properties are described below.
Parallelogram
Opposite sides of a parallelogram are parallel and equal in length.
Opposite angles are equal in size.
Note:
Opposite sides of a rectangle are parallel and equal in length.
All angles are equal to 90�.
Square
Opposite sides of a square are parallel and all sides are equal in length.
All angles are equal to 90�.
Rhombus
All sides of a rhombus are equal in length
Opposite sides are parallel.
Opposite angles of a rhombus are equal.
The diagonals of a rhombus bisect each other at right angles.
Note:
Rectangles, squares and rhombuses (or diamonds) are parallelograms .
Other Quadrilaterals
Other quadrilaterals include trapeziums, kites and irregular quadrilaterals.
Trapezium
A trapezium has one pair of opposite sides parallel.
A regular trapezium has non-parallel sides equal and its base angles are equal, as shown in the diagram.
Kite
Two pairs of adjacent sides of a kite are equal in length
One pair of opposite angles (the ones that are between the sides of unequal length) are equal in size.
One diagonal bisects the other.
Diagonals intersect at right angles.
Irregular Quadrilateral
An irregular quadrilateral does not have any special properties.
Angle Sum of a Quadrilateral
Draw a quadrilateral ABCD. Then draw the diagonal AC to form two triangles.
Finding the Fourth Angle of a Quadrilateral
If the measurements of three angles of a quadrilateral are known, then the missing angle can be calculated.
Example 21
Find the value of the pronumeral x in the accompanying diagram. Give reasons for your answer.
Solution:
Find the value of the pronumerals in the following diagram. Give reasons for your answer.
Solution:
Find the value of the pronumerals in the following diagram. Give reasons for your answer.
Solution:
Key Terms
| i don't know |
Which BBC2 drama series featured the Birmingham criminal gang scene of the 1920s? | Birmingham's real Peaky Blinders - BBC News
BBC News
By Michael Bradley BBC News, West Midlands
12 September 2013
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Image caption Records of the gang members and their crimes are preserved in Sparkhill's West Midlands Police Museum
The dank, slum streets are ruled by gangs made up of hundreds of youths armed with knives, razor blades and hammers.
Murders are rife. Robberies, thefts and riots are a daily occurrence at the hands of young gang members who hold the entire city in a fearful, bloody grip.
Police do their best to control the daily nightmare but are vastly outnumbered.
Welcome to Birmingham 1919.
Now - nearly a century later - a six-part drama series explores the lives of the members of the city's most notorious gang from a century ago - the Peaky Blinders.
Their chilling nickname was derived from the razor blades carefully stitched into the front of their caps which could be used to blind their victims.
But who were the gangs that inspired the BBC Two series, and why were they formed?
'Sloggers and brawlers'
From as early as the 1870s, inner-city Birmingham streets were filled with overcrowded slums and extreme poverty - and the lure of crime was a pull for some.
It soon led to an eruption of gangs and violence across the city.
Image caption The original Peaky Blinders - some of whom are pictured here - are to be portrayed in BBC2's new six-part series
Battles to "own" areas such as Small Heath and Cheapside broke out. These saw hundreds of youths fighting - sometimes to the death - in mass brawls that lasted for hours.
The most prominent - and ruthless - of these early gangs were known as the Sloggers, or the Cheapside Slogging Gang.
For 30 years they ruled the city's streets with protection rackets and violence.
Led by John Adrian, and his trusted lieutenant James Grinrod, they began their reign of terror in about 1870.
Their weapon of choice was a heavy-buckled belt used to pummel male and female victims of all ages into submission.
Image caption The Garrison Lane slums were home to Henry Lightfoot; one of the first to be referred to as a "Peaky Blinder"
An 1872 Birmingham Mail report records a typical example of the Sloggers' antics.
It states how "400 roughs brought indiscriminate violence to the Cheapside area, attacking and stealing".
"A small body of police were sent to deal with the Slogging Gang," the report continues.
"Officers made three arrests, including two very poor youths of no fixed home."
Notorious Sloggers included Aston's Simpson Brothers and George "Cloggy" Williams, whose notoriety grew quickly after the 1897 killing of PC George Snipe .
Many rival gangs formed, and one in particular soon became the most fearful force on the city's streets.
The Peaky Blinders as a gang were as deliberately stylish as they were violent.
'Blinders and blindness'
Historian David Cross, of the West Midlands Police Museum in Sparkhill, is curator of the country's largest collection of prisoner photographs.
The collection contains court papers which document the exploits of the city's bygone gangs.
"If you think of your grandfather's cap in those days, then it would have had a very hard peak," said Mr Cross.
"They used their hats with razor blades sewn in to rob people. That's what a Peaky Blinder was.
"When they hit someone or headbutted someone on the nose while wearing one, it would cause their victim temporary blindness."
Image caption The Peaky Blinders members included Stephen McHickie, Tom Gilbert, Harry Fowler and Ernest Bayles
Image caption Many of the violent gang members were children, such as 12-year-old Charles Lambourne
Image caption Details of the Peaky Blinders' crimes are preserved in the West Midlands Police Museum
Victims were chosen indiscriminately, regardless of whether they were male or female, young or old, rich or poor, according to Mr Cross.
"They would target anybody who looked vulnerable, or who did not look strong or fit," he said.
"Anything that could be taken, they would take it."
Their carefully stylised image was an attempt to bring a touch of class to their actions, Mr Cross said, as well as making them stand out from their rivals.
Peaky Blinders would wear a silk scarf tied around their necks, bell-bottom trousers and a flat, bladed cap tilted to one side.
Image caption The new six-part BBC2 drama series charts the lives of some of the most notorious Peaky Blinders
Children, in the same desperate situation as adults, were also recruited regularly into the ranks.
Prominent members included 13-year-old David Taylor, jailed for carrying a gun, and 12-year-old Charles Lambourne.
Older gang members ruled the roost, such as Stephen McHickie, Harry Fowler and Tom Gilbert.
Members were loyal - and local legends. It was often impossible to tell how many fighters in a gang were actually Peaky Blinders, and how many were claiming to be simply for the status it gave them.
As families began to move out of the city centre in the early 20th Century, the rule of the gangs started to decline.
As areas such as Small Heath grew, so did the physical distance between the rivals.
Most of the once-feared names of the gang members are now forgotten, but their reputations are cemented in Birmingham's folklore.
Peaky Blinders is on BBC Two at 2100 BST and will be available on the iPlayer after.
| Peaky Blinders |
Which Indian dish gets its name from the Hindu word for ‘bucket’? | The TRUTH behind Peaky Blinders: No razor blades in their caps - but Brum's real gangsters were just as brutal - Birmingham Mail
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The TRUTH behind Peaky Blinders: No razor blades in their caps - but Brum's real gangsters were just as brutal
Birmingham historian Carl Chinn says city's gangs of the 1920s and the real Billy Kimber were stylish, cunning and ruthless
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Clockwise from top left, Cillian Murphy as the fictitious Tommy Shelby, the real Billy Kimber and three genuine Peaky Blinders from police photographs
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The hit TV series Peaky Blinders has placed Birmingham in the national spotlight. But how close to the truth is it? In part one of a two part series, ZOE CHAMBERLAIN talks to historian and Mail columnist Carl Chinn about the city’s real Peaky Blinders.
Mesmerising and dark, the BBC series of the Peaky Blinders tells of the rise of gangster Thomas Shelby and his criminal gang.
But these fictional characters echo a truth that is just as dramatic , bloody and compelling as the weekly plot lines.
Historian Carl Chinn has researched the real story behind the glamorous serie s – and admits he’s impressed by how the good the programme has done for his beloved hometown.
Below: Peaky Blinders premiere at The Mailbox, Birmingham
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“With its captivating cinematography, charismatic performances, and dramatic title, the Peaky Blinders series on BBC2 seized the attention of viewers and critics alike in the autumn of 2013,” writes Carl, who began researching these notorious Birmingham gangs back in the 1980s.
“Stylish yet dark, it was set in the back streets of Birmingham after the First World War and told of the rise to power of Tommy Shelby and his criminal gang of Peaky Blinders.
(L-R) Peaky Blinders Henry Fowler, Ernest Bayles and Stephen McHickie
“Fashionably dressed, they were named after the weapon they used in fights: the peaks of their flat caps into which had been sewn safety razors and which were slashed across the foreheads of their opponents, causing blood to pour down into their eyes and blind them.”
And yet, Carl’s research has shown it is highly unlikely these gangsters ever used razor blades in their caps and that the name probably just came from the peaked hats they chose to wear.
“It’s really interesting to look back at the mythologized version of the story and the reality,” says Carl, who has written a new book called The Real Peaky Blinders.
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“There was no real Tommy Shelby and the Peaky Blinders were around in the 1890s and yet the series is set in the 1920s.
“As for the razor blades? They were only beginning to come in from the 1890s and were a luxury item, much too expensive for the Peaky Blinders to have used.
“And any hard man would tell you it would be very difficult to get direction and power with a razor blade sewn into the soft part of a cap. It was a romantic notion brought about in John Douglas’s novel, A Walk Down Summer Lane.
“But I can understand why the series producers used the name because it’s infused with gangsterdom.
“And I’m pleased the matriarchal strong women are a huge aspect of the programme. I think most working class men were raised by strong women .
“ The series is gripping and beautifully shot . It has gained national attention and done a lot for Birmingham.”
Carl believes references to Birmingham pubs such as the Garrison and firms like the BSA help evoke a powerful sense of place amidst the fast-moving, thrilling plot.
Carl’s research shows the Peaky Blinders were followed by a large pre-war gang called the Brummagem Boys, made up of a “loose collection of pick-pockets, racecourse thieves and pests who were gaining a lot of power”.
By the 1920s, when the TV series is set, a group called The Birmingham Gang emerged, many of whom had come from the Brummagem Boys. They went onto become the most feared gang in the country .
“My book is not about the series , it’s about the real people behind the story, and their story is as dramatic and compelling and bloody as the series,” he adds.
Charlie Creed-Miles who is portraying Billy Kimber in hit TV series Peaky Blinders. (Photo: BBC/Tiger Aspect/Robert Viglasky)
The Birmingham Gang was led by a fearsome gangster called Billy Kimber, a former Brummagem Boy who went on to become the most powerful gangster in England.
In the TV series, gang leader Tommy Shelby is traumatised by the first world war but Carl doesn’t believe the war had such an impact on the likes of Billy Kimber .
“Billy Kimber deserted during the war,” explains Carl.
“Although he and others in the gang may have been traumatised by the war, they were mostly violent men before the war.
“The fighting they did was vicious fighting.
“Kimber was a very intelligent man with a fighting ability, a magnetic personality and a shrewdness of the importance of an alliance with London.”
A rare picture of the real Billy Kimber as a young man (Photo: Brian McDonald)
Whilst exploring these notorious gangsters , Carl wrote to author Graham Greene to ask about the research he carried out for his famous book Brighton Rock.
Carl writes: “In a letter that he wrote to me in 1988 he explained that “my novel Brighton Rock it is true deals a little with something similar to the Sabini gang, but I have forgotten now what I may have known when I wrote it.
"In those days I used to go frequently to Brighton and once spent an evening with a member of a gang who introduced me to a certain amount of slang in use and took me to one of the meeting places of his fellow gangsters. But the details are beyond recall, and would be no good to you.”
Carl adds: “I thought it was very kind that he took the time to write back to a young researcher. I was quite humbled by that.”
While conducting his research, he found many of the gang members' families knew little of their ancestors' shady pasts, simply because it was something that was never discussed.
“A lot of gang members didn’t talk about it when they got older, they were often ashamed of what they’d done when they were younger,” he explains.
Winson Green Road, Birmingham, in the early 20th Century
“In writing the book, I’m not excusing this behaviour. It’s not about romanticising it because, in reality it was brutal.
“A lot of national newspapers become hysterical about gang fights but it’s important to remember they were nothing like the American mafia.
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What is the country of origin of the yeastless beer called ‘faro’? | Back To Beer Basics, Part 2: European And American Ales | Noble Hops
Back To Beer Basics, Part 2: European And American Ales
by RTW | Mar 1, 2015 | Uncategorized |
We now know that yeast and brewing temperature make the difference between the two types of beer, lagers and ales. We also know that both beer types are made up of a variety of styles. But generally speaking, what is the difference between an American Ale and a European Ale? You could break the styles down into eight different categories based on European country, plus one category of styles for the American ales. Read on to find out more.
European Ales
The major styles of European ale originated in Belgium, Germany, and England, but there are also Scottish, Irish, Finnish, and Russian styles. The Belgian heavy-hitters include dark and pale ales, dubbel, faro, oud bruin, red ale, lambics, trippel and quadrupel, saisons, witbier, bière de champagne, and bière de garde. The most famous ones in the US market are trippels, saisons, lambics, and bière de champagne. Belgian pale ales are the most popular style in that country. They are different from other pale ales in that they are delicate, not very bitter, and carry sweeter, toasty flavor tones. Leffe is one example of a Belgian pale ale that you can find in the US. The German ales have more regionally specific names than “pale” or “dark,'”and include such styles as Altbier, Weissbier, Hefeweizen, Kölsch, Roggenbier, Kristalweizen, and Weizenbock. Kölsch, which has recently become more popular on the American market, is a style that originated in Cologne (Köln in German). This style is lighter, very pale, and rather dry, but not particularly bitter. There is also a younger version of this style called “Frühkölsch” (Early Kölsch), which is extremely light and watery.
English ales are perhaps the most numerous in variety of the European styes. These include Baltic porter, braggot, barlewine, bitter, brown, dark mild, Indian pale, pale mild, porter, stout, strong, extra special, milk stout, oatmeal stout, old, Russian imperial, and winter warmer. Many of the names for these styles denote their strength among other ales (dark mild, pale mild, strong, etc.). English stouts are dark brown to black in color and are made with roasted barley. The barley gives stouts their chocolatey, roasted coffee notes. Oatmeal stouts are brewed with the addition of oats, which give them their silky smoothness and a touch of a sweet flavor. Beyond the ales of the big three countries, there are also Finnish sahtis, Irish stouts and red ales, Scottish ales, and Russian kvass. Most of these styles have been honed over centuries of European beer production and consumption, however many European brewers have also been inspired by the creativity of American craft brewers in recent years.
American Ales
Although German and Belgian beers have influenced American ales in many ways, the greatest influence comes from English ales. This is evident in the names of the many American ales, which include amber, black, brown, blonde, IPA and imperial IPA, stout and imperial stout, pale, porter, strong, wild, cream, pumpkin, and wheat ales. The American pale ale, also referred to as an APA, is based on the English pale ale. It is well-balanced but slightly hoppier, somewhat fruity,and can range from moderately to extremely floral. British pale ales are more balanced, maltier, and more buttery. American stouts are quite different from English stouts, and often take on inventive characteristics from having been brewed with coffee, in whiskey barrels, or with chocolate added. They are often easier to drink than English stouts. The American blonde is perhaps the American ale that most closely resembles the German Kölsch. Despite the similarities, this malt beer is a purely American creation. American blonde ales are golden in color, malty, fruity, and not very bitter; they feel very similar to a lager. Thus we see that the American versions of traditionally European ales have come a long way thanks to the spirit of creativity that characterizes most American brews, and some are truly unique. Yet the styles of the beers–pale, stout, wheat, etc.–are indicators of basic characteristics that you can expect across the board. What the brewer did with them, depending on country of origin, ingredients, recipe, and intentions, is where the story changes.
In the next and final installation of Back to Beer Basics, we’ll go over the similarities and differences among the other classification of beers: Lagers. Again, the discussion will be split between American and European beers.
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Which country declared war on Britain in 1812? | Brouwerij de Troch | Bravo Beer Co
Bravo Beer Co
Brouwerij de Troch
A unique Belgian artisan beer brewery of fruit beers that started more then 100 years ago. Brewery De Troch is a pioneers is his work, making one of a kind Gueuzes, Faros and Lambic fruit beers.
GUEUZE and KRIEK are brewed by age-old methods which depend on spontaneous fermentation and ripening. In the first stage a mixture of malt, wheat and water is prepared. During the process, the starch is transformed into sugars suitable for fermentation. The mixing is repeated several times over. A liquid is obtained by filtering the mix. This is the wort, which ultimately becomes beer. Matured hops are added to the wort, which is then boiled for 4 to 5 hours so that it reaches a density of 5 Belgian degrees. After boiling the by now useless hop buds are removed. The wort is then cooled in shallow vats. The outside air is allowed to pass freely over the large open vats. This air is essential to the brewing method, as it contains the micro-organisms which give LAMBIC its unique flavour. For this reason LAMBIC brewing is a seasonal activity (October to end April). The cool wort is then run into tubs before being directly transferred to casks. A few days later the main fermentation process becomes evident with the appearance of foam in the bung holes. The beer is then allowed to ripen on oaken casks which hold about 650 litres each. This is the true spontaneously fermented LAMBIC.
By mixing young (one-year old) Lambic with older Lambic a second spontaneous fermentation in the bottle is obtained. The result is called GEUZE. When our cherries are added to the casks of Lambic a drink is obtained after about 5 months called KRIEK, which has a very special flavour and a red colour. FARO is another traditional specialty, and is obtained by sweetening the spontaneously fermented Lambic with crystallized sugar. After bottling, both GEUZE and KRIEK are stocked for 7 to 8 months in the cellars of the brewery so that they can continue to ferment further in the bottle. GEUZE and KRIEK for a couple of years in your own cellar - just like any good French wine.
Country of Origin:
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Which group of people were freed from discrimination by a Relief Act in 1829? | Catholic Emancipation | British and Irish history | Britannica.com
British and Irish history
Roman Catholicism
Catholic Emancipation, in British history, the freedom from discrimination and civil disabilities granted to the Roman Catholics of Britain and Ireland in a series of laws during the late 18th and early 19th centuries. After the Reformation, Roman Catholics in Britain had been harassed by numerous restrictions. In Britain, Roman Catholics could not purchase land, hold civil or military offices or seats in Parliament, inherit property, or practice their religion freely without incurring civil penalties. A Roman Catholic in Ireland could not vote in Parliamentary elections and could be readily dispossessed of his land by his nearest Protestant relative.
By the late 18th century, however, Roman Catholics had ceased to be considered the social and political danger that they had represented at the beginning of the Hanoverian succession. The first Relief Act (1778) enabled Roman Catholics in Britain to acquire real property, such as land. Similar legislation was enacted in Ireland in a series of measures (1774, 1778, and 1782). In 1791 another bill was passed that enabled British Catholics to practice their religion without fear of civil penalties, a measure applied on a much wider scale by the Irish Parliament with the Relief Act of 1793, which granted Irish Roman Catholics the franchise and admission to most civil offices.
Further emancipatory measures following the Act of Union (1801), which united Great Britain with Ireland, foundered in the face of resistance from the bitterly anti-Catholic George III and from powerful Irish Protestants and British Tories who feared Roman Catholic participation in Britain’s public life. In the next two decades, however, the charismatic Irish lawyer and orator Daniel O’Connell began to mobilize the Irish Roman Catholic peasantry and middle class to agitate for full emancipation. He formed the Catholic Association to this end in 1823, bringing into its ranks hundreds of thousands of members in Ireland. By 1828 the British government was faced with the threat of a nationwide rebellion in Ireland if action was not taken to conciliate this broad-based and energetic movement intent on the alleviation of Catholic grievances. O’Connell himself forced the issue when he entered a Parliamentary by-election in County Clare in 1828, insisting that he would not take his seat until the anti-Roman Catholic oath required of members of Parliament was abolished. O’Connell’s ensuing triumphant election compelled the British prime minister, the Duke of Wellington , and Sir Robert Peel to carry the Emancipation Act of 1829 in Parliament. This act admitted Irish and English Roman Catholics to Parliament and to all but a handful of public offices. With the Universities Tests Act of 1871, which opened the universities to Roman Catholics, Catholic Emancipation in the United Kingdom was virtually complete.
Learn More in these related articles:
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Which English club has won the European Cup more times than its own League Title? | Human Rights: 1815-1848 - Background
You are here: Home > Exhibitions > Human Rights > 1815-1848 - Background
Human Rights
A complete list of all the supporting documents for the time periods between 1215 and 1945.
1815 - 1848
Related documents
Economic distress and popular radicalism
The immediate effect of the end of the French Wars in 1815 was economic distress. Industry contracted, as did European markets. This meant that newly returned soldiers and sailors were unemployed or working for low wages. Increasing demands for political rights could be seen through the rising number of 'Hampden Clubs'. The original Hampden Club was formed in 1812 by the veteran campaigner Major John Cartwright. Towards the end of the French Wars, Cartwright had toured the country arguing for political reform, resulting in the formation of large numbers of the clubs. These were especially concentrated in the midland and northern counties. By 1816 'popular radicalism' had returned with democratic ideals and criticisms of government corruption .
In addition, the end of the French Wars prompted a return to political meetings and riots, such as the 'Spa Fields Riot' in London in 1816, failed insurrections - such as the attacks on gun shops and the Tower of London in 1816, and the rising at Pentrich in 1817. A few months before the events at Pentrich, a Lancashire weavers' march from Manchester to London, petitioning for reform and against economic distress, was broken up by troops. As significant as the risings and disturbances were the discussions of democracy in rural and out of the way places . It was certainly a popular ideal.
Peterloo Massacre
Perhaps the best known demonstration for political rights at this time is known to us as the ' Peterloo Massacre '. The reform meeting at St Peter's Field in Manchester in August 1819 followed two years of revived interest in the radical press, mass petitioning and a revival in trade unionism, still illegal at this time. It has been estimated that perhaps 100,000 people met at St Peter's Field to hear Henry Hunt and others speak in favour of political reforms and rights for the poor. When Hunt arrived the Manchester and Salford Yeomanry were sent by the magistrates to arrest him. They slashed their way through the crowd killing 11 and injuring hundreds.
Cato Street Conspiracy
Repressive legislation following Peterloo discouraged many reformers from capitalising on the revulsion felt by many about the killings. However, one group at this time decided on insurrection rather than reform. In 1820 the Cato Street Conspirators (named after the street where they last met) led by Arthur Thistlewood, planned to assassinate the Cabinet and have their heads placed on poles or spikes . Their plan was reported to the Home Office: the 'conspirators' were arrested and five of them were later executed.
The 1820s were certainly less violent. In November 1820, the Government was forced to give up its attempt to take away some of Queen Caroline's rights and privileges. Her short term victory brought protesters against the Government to the streets but had little to do with any demands for popular rights: her death the following year brought the affair to a close.
County meetings were still called by Whigs to argue for reform. A campaign against the Combination Acts successfully ended in their repeal in 1824, although the following year, a second act seriously limited trade union activity and fell far short of providing the right to strike. Until this time it was an offence to join together to raise wages .
Irish Catholics
In 1793 legislation had given Irish Catholics the right to vote but not to sit in Parliament. Following the Irish Act of Union in 1800 (which came into operation in 1801) both William Pitt 'The Younger' and Lord Castlereagh resigned their government positions when King George III refused to accept religious equality. In 1823 Daniel O'Connell founded the Catholic Association with the aim to removing discrimination against Catholics. In 1828 O'Connell was elected for County Clare but being a Catholic, he could not take his seat as an MP in the House of Commons. To avoid the possibility of a series of disturbances or an uprising in Ireland the 1829 Roman Catholic Relief Act granted Catholic emancipation and O'Connell took his seat.
Abolition of Slavery
In 1823 a new Anti-Slavery Society formed to argue for the abolition of slavery. Over the next 10 years, more than 70 separate women's Anti-Slavery Societies came into existence, with the Sheffield Female Society the first to call for the immediate emancipation of slaves. These women's societies were more radical than the national Anti-Slavery Society: through their influence the Anti-Slavery Society dropped the words 'gradual abolition' from its title. In 1831 the Society presented the House of Commons with a petition seeking the "immediate freeing of newborn children of slaves". This period saw a massive debate on slavery. Added to the moral and legal arguments against slavery - that it was un-Christian and illegal under British law - were economic reasons; that it was expensive and inefficient.
The continued resistance of slaves themselves in the 18th and 19th centuries was an essential component of the abolition movement. The 1833 Emancipation Act outlawed slavery in the British Empire and committed the British Government to pay compensation to the slave owners. From 1834, when the Act came into operation, until 1838, slaves were still indentured to their former owners as apprentices.
1830s: Swing Riots and Reform
The 1830s began badly for the Government with numerous acts of arson, machine breaking and the sending of threatening letters. Popularly known as the 'Swing Riots', this series of disturbances engulfed parts of rural England in the second half if 1830. Prompted by a decline in the prices of agricultural produce and wages, the introduction of threshing machines and an influx of Irish labour, the rioters wished to restore their standard of living .
Most of the attacks collectively referred to as the 'Swing Riots' took place in rural South and South East England, but some took place elsewhere. Some were aimed at industrial rather than agricultural targets, such as the attacks on Buckinghamshire paper mills. Most 'Swing' activity was not overtly political but was phrased in terms of a defence of 'traditional rights' of an era long since past.
However, the riots should be seen in the context of a government under pressure to extend political rights. Although in early November 1830 the Tory leader Wellington declared against parliamentary reform, the Government was defeated a few weeks later. This led to his resignation and the formation of a new administration under the Whig , Earl Grey. Over the next 14 months, campaigns inside and outside Parliament were waged. There aims were to increase the numbers of people entitled to vote and to redistribute some seats from the poorly populated 'rotten boroughs' to the new urban centres such as Birmingham, Bradford and Manchester.
Reform Acts
The period also saw increased activity within the trade union movement often linking their demands with the reform movement.
The Whigs' first two bills failed, prompting riots in several parts of the country. This period also saw the establishment of middle class political unions arguing locally in favour of reform. The third bill was eventually passed; in the Lords only when the king agreed to Grey's request to create a large number of Whig peers. The 1832 'Great Reform Bill' increased the United Kingdom electorate from around 500,000 to around 800,000.
Political rights of the poor
The reform undoubtedly extended political rights to large numbers of previously unenfranchised people. However, overwhelmingly the poor and working class people were still excluded from political representation. The weakness of the Reform Act of 1832 for those with no vote was quickly demonstrated by two events.
The first was the conviction and sentencing to transportation of the ' Tolpuddle Martyrs ' in March 1834. These were a group of Dorset agricultural labourers who swore not to work below a certain wage. They were convicted for the illegal swearing of oaths to each other, but it was clear that the crux of the matter was the combination of rural workers in the aftermath of the Swing Riots.
The second was the introduction of the Poor Law Amendment Act (the 'New Poor Law') later in the same year in England and Wales. The New Poor Law introduced a national system of relief based on a deterrent workhouse designed to repel all but the most desperate of claimants. Families were to be divided within the workhouse, inmates were to undertake pointless labour (such as picking oakum) and all of the conditions in the workhouse were to be below that of the poorest independent labourer, as this page from ' The Glorious Working of the Whigs ' depicts.
Organised resistance to the New Poor Law drew support from the already existing Short Time Committees, formed to reduce the hours worked in the numerous industrial factories. Anti-Poor Law agitations reached their peak in 1837 and 1838 when the Poor Law Commissioners turned to the industrial north and midlands.
Chartism
The anti-Poor Law riots and demonstrations provided the focus for the movement that would dominate the next decade: Chartism. The inadequacy of the 1832 Reform Act was seen in the injustices of the treatment of the Tolpuddle Martyrs, the introduction of the New Poor Law and the continuing long hours and poor conditions of early industrial life. Chartism drew together a variety of concerns, aims and aspirations of ordinary working people and expressed these through its own newspapers, such as the Northern Star , which at its peak sold over 50,000 copies a week.
Chartism was a working class movement and was most active between 1838 and 1848. The aim of the Chartists was to gain political rights and influence for the working classes. The movement got its name from the formal petition, or 'People's Charter', that listed the six main aims of the movement. These were:
a vote for all men (aged over 21)
the secret ballot
no property qualification to become an MP
payment for MPs
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Which club had the 1990’s anthem ‘Marching On Together’? | Marching On Together | Life, Leeds United, the Universe & Everything
Life, Leeds United, the Universe & Everything
Reblogging this only because I initially omitted to include an Alzheimer’s Society link – and if just a few quid can be raised in the fight against this insidious robber of life and happiness, then it’ll be worthwhile.
Thanks for all the earlier comments – you can have no idea how much it’s helped. MOT
Kenneth Atkinson 7th July 1927 – 27th February 2015
Taken on my parents’ wedding day, 1959
My Dad died in the early hours of this morning. He’d been afflicted with Alzheimer’s for the very last part of his life, and there’s that inescapable feeling that this loss is just final confirmation of what has been a gradual departure over the last few years. It’s still a shock, though – and, blogs being blogs, this is where I have to say how I feel – and make my last farewell.
Dad was a ridiculously handsome man who failed utterly to pass those fortunate genes on to me, bequeathing instead a fanatical love for Leeds United Football Club. He was Mr. LUFC to me, John Charles’ greatest fan and a dedicated match-goer through the Don Revie glory years – when I was just a small child with no interest in the game…
| Leeds United F.C. |
What is the common name of Hansen’s Disease? | Marching on together with Massimo Cellino posing a challenge for Uwe Rösler | The Times
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Marching on together with Massimo Cellino posing a challenge for Uwe Rösler
Rösler is Leeds’s fifth head coach since Cellino took control of the club in April 2014
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Rösler is Leeds’s fifth head coach since Cellino took control of the club in April 2014 Paul Redding/Reuters
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He’s learnt the words to “Leeds! Leeds! Leeds! . . . Marching On Together”, the booming anthem that reverberates around Elland Road on match day. He’s joined a club that’s even bigger than he imagined when he played against them for Manchester City in the 1990s. He describes his tryst with Massimo Cellino, his chairman, as like a marriage. “You have healthy discussions, you give and you take.”
Then Uwe Rösler, Leeds United’s fifth head coach since Cellino took the reins in April 2014, is happy to clarify something I have read: “Sometimes you have to speak in pictures. We are not a
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Which creature has varieties called Chinook, Chum, Coho, Sockeye and Steelhead? | Washington Salmon and Steelhead Species
Salmonscape
Salmon and Steelhead Species in Washington
Salmon and steelhead have long played an important role in the ecology, economy and culture of the Pacific Northwest, providing a source of food for humans and wildlife alike. Unfortunately, many naturally spawning stocks are struggling to survive significant losses in spawning and rearing habitat and other factors related to growth in the region's human population over the past century.
There are five species of Pacific salmon in Washington - chinook, coho, chum, pink and sockeye - all emerge from eggs and rear in freshwater, migrate to sea to feed, then return to their natal waters to spawn. Scientists use the term "salmonid" to refer to salmon, steelhead and anadromous trout species that share this anadromous lifecycle.
Oftentimes "salmon and steelhead" will be used as well as "salmon" to generally refer to all salmon and steelhead species.
Each salmonid species is adapted to the natural conditions found in Washington rivers and in the ocean. Salmon and steelhead are further divided into 486 known "populations," each a scientifically designated, biologically distinct group of individuals (e.g., Lower Columbia River Spring Chinook, Skagit River coho) adapted to specific streams, estuaries and other conditions. When thousands of mature salmon spawn and die, they do far more than produce another generation. They also provide a source of nutrition, arriving in the fall, that allows many animals to survive the harshness of winter. Where salmon runs have become extinct, the local ecosystem suffers. Species such as bear, eagle, mink and river otter suffer large population losses when salmon runs decline.
What Salmon need
Although the habitat requirements of each species of salmon and steelhead differ somewhat, all share some common habitat needs to support life stage development (Spence et al. 1996).
Common habitat functions include:
stable incubation environment (flow regime/water quantity),
cool, well-oxygenated, unpolluted water (water quality),
cover (habitat structure),
sufficient sources of prey (food source), and
unimpeded access to off-channel areas and saline waters (access).
How are Washington's Salmon and Steelhead doing?
In 1991, the federal government declared Snake River sockeye salmon as endangered.
In the next few years, 16 more geographically distinct subgroups (i.e., evolutionarily significant units composed of several populations) of Chinook, coho, chum, and sockeye salmon, as well as several steelhead groups, were listed as either threatened or endangered. By 1999 75% of the state was covered by federal listings of at-risk salmon.
Washington's 2010 State of the Salmon in Watershed Report provided an overview of which salmon and steelhead populations are increasing, decreasing or showing no changes.
For status and information on specific populations in Washington you can click on each species of "salmonid" below and get a listing of all the populations within that species name:
| Salmon |
In cinema history which sport has been the subject of most films? | Trout and Salmon
Trout and Salmon
Spawning sockeye salmon
Trouts and salmon all belong to one large group, the Order Salmoniformes. They are often called "salmonids" because they belong in the Family Salmonidae. Members of this group are found around the world, not only in streams and rivers, but also in lakes and oceans. Salmonids tend to prefer cool temperatures; they can be found even in the Arctic Ocean.
The Salmonidae include "true" trouts such as rainbow, brown, cutthroat, Gila, Apache, and golden. Other fish that we also call trouts are not really, but are "chars," like the lake, bull, and brook trout, and Dolly Vardens. Whitefish, ciscos, and graylings are also salmonids. The "salmon" include chinook (king), coho (silver), chum (dog), pink, sockeye, kokanee, and Atlantic salmon.
"True" trouts and Pacific salmon have latin names that begin with the genus name Oncorhynchus, while brown trout and Atlantic salmon have the genus name Salmo. The chars have the genus name Salvelinus, and there are also the Coregonus (whitefish and ciscos).
Salmonids are considered to be a "primitive" fish: they developed earlier than most other fishes. They all have an adipose fin (a small, fatty fin between the dorsal fin and the tail), the function of which no one yet knows. They are all predators that eat other fish, and they all have a way of swimming that is called sub-carangiform; that is, they slowly wave most of the body in order to swim forward, with the head waving a little less than the posterior part of the body. Many of them migrate up streams and rivers to spawn and return downstream--to a lake or ocean--when they mature. Fishes that do this are called anadromous (an-AD-reh-mus), and include most salmon, some trouts, striped bass, sturgeon, lampreys, shad, and herring. (Eels are catadromous: they live in freshwater and migrate to the ocean to breed).
Rainbow trout are an anadromous salmonid. Rainbows are called "steelhead" when they are at sea even though they are still the same species, Oncorhynchus mykiss. Other trouts can be found in the ocean as well. Brook trout also often go to sea from northeastern North American streams, but return to their home streams in winter. Anadromous brown trout and brook trout (once believed to be the same species) are both called "sea trout" when they are at sea. Anadromous cutthroat (Oncorhynchus clarkii) are called "sea-run cutthroat" when at sea. Many Dolly Varden also turn anadromous.
Often, the main factor in whether trouts migrate to sea seems to be whether the coast is near enough to their home streams. Rainbow trout may be considered land-locked (they never go to sea). Most salmon go to sea, but "kokanee" are land-locked sockeye salmon (Oncorhynchus nerka). Adult kokanee are smaller than adult sockeye, and they spend their adult lives in lakes or streams instead of the ocean.
Salmonids that live in streams, such as trout, some chars, and very young salmon, tend to be more colorful and smaller in size than their ocean-faring cousins. Because they have smaller mouths, they eat smaller food. They begin small, with microscopic cladocerans and copepods, and build up as they grow to aquatic invertebrates like flies, worms, and fly nymphs. Eventually, they will be come so large that they are capable of eating other fish, including younger versions of themselves!
Many sea-going salmonids eat large amounts of shrimp-like copepods that have carotenoid pigments. These orange pigments will be transferred to their flesh. That is why some salmonids, like rainbows, chinook and coho salmon, and Atlantic salmon have such bright orange meat. Sockeye salmon also have an orange tint to their flesh, but when they begin their run upriver to spawn, the orange tint migrates to their skin. Thus their skin becomes bright red, while their flesh turns white. Chum salmon eat mostly jellyfish, and so as you might guess, their flesh is lighter colored--because jellyfish have no carotenoid pigments.
Salmon have a fascinating life-cycle. They start life in streams, migrate to the ocean to grow big and fat, and return to the same stream to spawn (to reproduce) and then die. Their deteriorating flesh then provides the nutrients that nourish their young when they hatch. There are exceptions, of course. We've already mentioned that kokanee go to lakes instead of the sea. Chum and pink hardly spend any time at all in their streams, while chinook and coho spend one or two years in them.
When adult salmon and anadromous trouts go to sea they turn a bright, silvery color to camoflage themselves from large predators. Trout that stay in their home streams remain colorful. When adult salmon return to their streams at the end of their lives to spawn, they stop eating and change into brightly colored animals, flashing red and often green. Spawning salmon, especially the males, change shape as well, developing large, vicious looking teeth, curved jaws, and humped backs. They somehow manage to find, most of the time, the very same stream they were spawned in so long ago. They endure many hardships--starvation, disease, and obstacles--to reach the shallow headwaters of their birth. Once there, they make nests in gravel nests (redds), deposit their eggs, fertilize them, and cover them back up. These salmon are now finished with their lives, and die.
Spawning coho salmon
Underneath the gravel, the large eggs receive oxygen from the water that runs between the rocks. When they hatch, the small fish, with yolks still attached to their bellies, are called alevin. The photo on the left shows two alevin and an egg. When the yolk sacs are gone, they will have to begin eating, so they leave the gravel as fry, shown in the middle photo. The young salmon will spend most of the rest of their time in the stream as parr, in the photo on the right. Salmon parr look almost alike, and species are hard to tell apart. Most of them are small, silvery, and have dark, vertical blotches down their sides.
Two alevins and an egg
Fry
Parr
When it is time for the young salmon to go to sea, they will smoltify. That is, they will turn into smolts and become the silvery color that they will have in the ocean. They also change their body chemistry so that they can withstand exposure to saltwater. (When a fish lives in fresh water, it must work to retain enough salt in its blood. When it enters salt water, it must expel salt from its blood). They swim, taking the long, perilous journey downstream to the ocean.
Smolts must avoid birds like eagles, osprey, and kingfishers, and large fish, like squawfish and trout. They may find themselves trapped for too long in the high temperatures of a reservoir behind a dam, or suffer injury and death while trying to get through a dam.
When they finally reach the estuary--the place where river and ocean meet and their waters mingle--they will spend some time there, getting used to the saltwater, new food, and new predators. When they are ready, they will begin their sea voyage. Each run of salmon has its own destination, and some will go farther and range wider than others. All, however, will come home again.
Ocean-run chinook salmon
If you have comments or suggestions, email me at [email protected]
Farmed salmon
Today the salmons of America, especially the Pacific salmons, are being driven into extinction by over-fishing and loss of habitat. Most of the salmon now offered in stores has been grown on salmon farms. These farms look like docks attached to shorelines. The docks have "net pens" attached to them, in which the salmon live in crowded conditions. They are fed by hand with processed meal. Farmed salmon are raised much like chickens, in other words.
Since farmed salmon eat human-prepared meal, they tend to be relatively tasteless. Since they never get any exercise, their flesh is fatty and loose. Since they never eat crustaceans with orange and pink coloring, their flesh is gray rather than orange or pink. Fish marketers know that consumers would never buy gray salmon, so they dye the flesh orange.
So although the salmon you eat for dinner today may be greasy and tasteless, at least it will look authentic.
Salmon is good for humans due to its low levels of trans fatty acids and its high levels of omega-3 fatty acids. For all the strangeness of farmed salmon, it is very important that people buy and eat it rather than paying top dollar for wild-caught salmon. Wild salmon species are currently being driven to extinction by political influences that have led to over-fishing, hydroelectric dams, development, pollution, competition with hatchery fish, and climate change. Eating farmed salmon is a much more environmentally friendly way to enjoy salmon.
Some salmonid species and their scientific names
Salmo salar, Atlantic salmon: Atlantic species. Eats primarily squids, shrimps, and fish. This is the species most commonly farmed. Endangered species.
Salmo trutta, brown trout: A large European trout that is notoriously difficult to catch. Introduced to North America by humans in 1883, this trout has driven the more flavorful brook trout from much of its native range. It has also been introduced to Argentina where it has become anadromous and forms the basis of a popular tourist fishing industry.
Oncorhynchus tsawytscha, chinook salmon: Pacific species. Also known as "king salmon." Eat small fish. Endangered and threatened runs.
Oncorhynchus kisutch, coho salmon: Pacific species. Eat small fish. Threatened and endangered runs.
Oncorhynchus nerka, sockeye salmon: Pacific species. Landlocked variety called "kokanee." Primarily eat plankton, insects, and small crustaceans. Endangered and threatened runs.
Oncorhynchus keta, chum salmon: Pacific species. Also known as "dog salmon." Eat primarily jellyfish and plankton. Threatened species.
Oncorhynchus gorbuscha, pink salmon: Pacific species. Also known as "humpback salmon." Migrate up rivers every other year. Eat primarily plankton, insects, and small crustaceans.
Oncorhynchus mykiss, rainbow or steelhead trout: A trout native only to the Pacific Coast of North America. Now raised in hatcheries and introduced world-wide for sport fishing. An aggressive competitor. The rainbow is the land-locked version of the steelhead trout.
Oncorhynchus clarkii, cutthroat trout: A native trout found only west of the Rocky Mtns., and consisting of 10 subspecies. Most are threatened, some are endangered. Often hybridizes with introduced rainbow trout. There is a sea-run form.
Oncorhynchus gilae, Gila trout: An endangered species living only in the Gila River in Arizona/New Mexico.
Oncorhynchus apache, Apache trout: A threatened species living only in mountain streams in Arizona.
Oncorhynchus aguabonita, golden trout: A threatened trout with several subspecies, one of which is threatened. Native to California.
Salvelinus fontinalis, brook trout: Actually a char. A small, handsome, easy-to-catch trout native to the Great Lakes Region and NE United States, introduced to Western streams. Becomes anadromous ("sea trout") in northeastern North America.
Salvelinus malma, Dolly Varden: A large char closely related to the bull trout, and native to Pacific Coast states and Northeast Asia. May be found in marine waters as well as fresh water.
Salvelinus namaycush, lake trout: A large char found throughout the far north but never in saltwater. Nearly exterminated from the Great Lakes Region by the combined effects of overfishing, introduced fishes, and an intrusion into the great lakes by the sea lamprey, which was caused by human engineering.
Salvelinus confluentus, bull trout: An endangered char native to the West.
Coregonus clupeaformis, lake whitefish: Extremely popular foodfish. Schools with other whitefish in deep waters of Great Lakes.
Coregonus artedi, cisco or lake herring: Small, silvery fish that gathers into spawning schools in fall. An important part of lake trout's diet, as well as that of other large predator fish like pike.
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Where in the British Isles is Ronaldsway Airport? | Car rental Isle Of Man Ronaldsway Airport | Europcar
United Kingdom
Car rental in Isle Of Man Ronaldsway Airport
Explore one of the most interesting destinations in the British Isles when you pick up a car rental in the Isle of Man from Europcar. This autonomous island is compact in size but big in adventure; from great outdoor activities like hiking, cycling and boating to cultural endeavours and indulgent shops and restaurants, there’s plenty here to keep you busy. And with unique landmarks like stone churches, castles, forts and intricately carved Celtic crosses, you can’t help feeling like you’ve wandered back in time.
Explore the best of the island on your own schedule when you book an Isle of Man car rental with Europcar. Our simple 3-step booking system makes it easy to choose the vehicle that’s right for you. Book ahead before you go and we’ll have it waiting when you get here, so all that’s left to do is head out and go exploring.
Why choose Europcar in Isle Of Man Ronaldsway Airport
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Which monarch moved the royal residence from St James Palace to Buckingham Palace? | Car Hire Ronaldsway Airport - Hertz Car Rental
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Hertz at Ronaldsway Airport
Isle of Man Airport, or more commonly known as Ronaldways, is just over 11 miles away from the capital, Douglas, and is the main civilian airport for the whole Island. With services to Ireland, the UK, and the Channel Islands, it's the second main gateway to the Island, with the Isle of Man Sea Terminal the first. Due to this airports importance of connecting the Island to the UK, Channel Islands, and Ireland, it will come as no surprise that you can car hire in Ronaldsway Airport to make your trip there even more convenient. If you want to travel to the capital, you can reach your destination in under 25 minutes by taking the A5, or travel to the closer location of Castletown in under 10 minutes.
The Isle of Man is an Island that has been dramatically shaped by its history and past, which is evident when you're exploring the Manx landscape. Dotted all over the place are Neolithic burial sites, with Meayll Hill being the largest Neolithic burial site in the British Isles, which of course makes it a must see point of interest during your stay. Educational, intriguing, and a brilliant means of connecting with an ancient past, you don't want to miss out on one of the historic and cultural gems that is available to the public - use your Ronaldsway Airport car rental and ravel the A5 and within 15 minutes you will be there.
A good reason to rent a car in Ronaldsway Airport is so that you can take the family to see and experience one of Europe's best preserved medieval castles: Castle Rushen. It's located in Castletown, and is an interactive way for the young and old to get to grips with the local history of the Isle of Man. Hiring a car in Ronaldsway Airport also means you can do a good amount of shopping while you're visiting the Island – head to Douglas for high street retail therapy, or head to Ramsey for more independent bespoke shops. Even at the opposite end of the Island, Ramsey is only a 4 minute drive from the airport.
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Which US Trade Union boss vanished in Bloomfield, Michigan in July, 1975? | New chapter in Jimmy Hoffa search: Police drill at Michigan home - CNN.com
New chapter in Jimmy Hoffa search: Police drill at Michigan home
By Josh Levs and Michael Martinez, CNN
Updated 10:27 AM ET, Fri September 28, 2012
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Jimmy Hoffa search picks up at new site 01:25
Story highlights
Police begin drilling in search for former union boss Jimmy Hoffa
A tipster told police a body was buried at a home at the time of Jimmy Hoffa's disappearance
Crews will take a core sample and test it for human remains
Former Teamsters leader Hoffa disappeared in 1975
Police began drilling Friday outside a suburban Detroit home in the search for Jimmy Hoffa, the labor strongman whose disappearance is one of the most notorious and mysterious in U.S. history.
A tipster told police that a body was buried at the spot in Roseville, Michigan, about the time the Teamsters boss disappeared in 1975.
The tipster did not claim it was Hoffa's body, authorities said.
Police Chief James Berlin said Thursday that while the tipster's information seems credible, he's not convinced the body is Hoffa's because of the timeline. He spoke with the tipster August 22 and believes the person did see a burial.
The tipster did not come forward sooner out of fear, Berlin said.
Photos: Photos: The mystery of Jimmy Hoffa
Photos: Photos: The mystery of Jimmy Hoffa
The mystery of Jimmy Hoffa – Nearly 40 years after his disappearance, former Teamsters boss Jimmy Hoffa, pictured circa 1955, remains among America's most famous missing persons. Authorities have been searching for the once powerful union boss since he vanished in 1975.
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New hunt for Hoffa's remains 01:39
Dan Moldea, author of "The Hoffa Wars," said the tipster, a former gambler, contacted him March 30. The tipster used to do business with a man who had ties to Anthony Giacalone, an organized crime figure who was supposed to meet Hoffa the day he disappeared, Moldea said.
"I am very skeptical," Moldea said of the planned dig. If Hoffa's burial had taken place at the spot, it would have been in full view of the neighborhood, the author argued.
And if Hoffa's body was disposed of, it would have been done in a way that no evidence would be left years later, he said.
It shouldn't take long to get a sample, which will be sent to Michigan State University for analysis, CNN affiliate WXYZ reported.
The reading will determine whether there are human remains at the site but will not identify them, Berlin said.
"It took us a while to get the proper equipment to do what we're going to do. If this is a person, they've been down there for 35 years. What's a few more days?" Berlin asked.
Results from the soil testing should be available next week, the chief said Wednesday.
"If they are positive, we will then start excavating," Berlin said.
The alleged burial site is under a concrete slab, and the residence is occupied by new homeowners, who've been "cooperative and excellent to police," Berlin said.
The FBI in Detroit had no comment on the planned search, and a statement from the International Brotherhood of Teamsters said the Hoffa family had nothing to say at this time.
"The Hoffa family does not respond every time a tip is received by authorities. The FBI keeps the family informed, and they will have no comment until there is a reason to comment," the statement said.
Hoffa remains among America's most famous, and in many ways infamous, missing people. His presumed death has vexed investigators for four decades.
One of the most powerful union leaders at a time that unions wielded a great deal of sway over elections -- and were notoriously tied to organized crime -- Hoffa was forced out of the organized labor movement when he was sent to prison in 1967.
He served time for jury tampering and fraud at a federal penitentiary in Lewisburg, Pennsylvania, until being pardoned by President Richard Nixon on December 23, 1971 -- on the condition that he not try to get back into the union movement before 1980.
Two weeks before Hoffa's disappearance in 1975, federal investigators discovered that hundreds of millions of dollars had been stolen from the Teamsters' largest pension fund, Time magazine points out in its list of the top 10 most famous disappearances.
Hoffa, 62, was last seen July 30, 1975, at Machus Red Fox restaurant in suburban Detroit. He was there ostensibly to meet with reputed Detroit Mafia street enforcer Giacalone and Anthony Provenzano, chief of a Teamsters local in New Jersey, who was later convicted in a murder case. Both men have since died.
Hoffa believed Giacalone had set up the meeting to help settle a feud between Hoffa and Provenzano, but Hoffa was the only one who showed up for the meeting, according to the FBI.
Giacalone and Provenzano later told the FBI that no meeting had been scheduled.
The FBI said at the time that the disappearance could have been linked to Hoffa's efforts to regain power in the Teamsters and to the mob's influence over the union's pension funds.
Police and the FBI have searched for Hoffa intermittently ever since.
In September 2001, the FBI found DNA that linked Hoffa to a car that agents suspected was used in his disappearance.
In 2004, authorities removed floorboards from a Detroit home to look for traces of blood, as former Teamsters official Frank Sheeran claimed in a biography that he had shot Hoffa. Sheeran died in 2003.
Investigators ruled that blood found in the house was not Hoffa's. The FBI has a sample of his DNA from a hair brush.
Two years later, the FBI razed a horse barn in Michigan after what it called "a fairly credible lead."
But the disappearance remains unsolved.
Urban lore long suggested that Hoffa was buried around the end zone at the former Giants Stadium in New Jersey.
As TruTV puts it , the mystery surrounding Hoffa is not simply a "whodunnit."
"The likely suspects are all known, and their motives are well documented. The question is: Where? What exactly did they do to Jimmy Hoffa, and where did they dispose of his body?"
But over the years, numerous theories have been floated. In 1987, Joe Franco -- a former Hoffa strong-arm -- and a New York Times reporter published "Hoffa's Man," which Fortune described as "the hair-raising inside story of Jimmy Hoffa."
"Rather than being kidnapped by rival union forces as law enforcement authorities have long speculated, Franco says Hoffa was abducted by two federal agents," Fortune reported. "He thinks they drove Hoffa to a nearby airport, took off in a small plane, and pushed him out over one of the Great Lakes. Franco says he did not tell federal investigators this bizarre, and unverifiable, story because they would not grant him immunity."
Hoffa's son, James P. Hoffa, is the current president of the Teamsters.
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On which island is Adam’s Peak? | 9 Places Jimmy Hoffa (Probably) Isn’t Buried - History Lists
History Lists
June 20, 2013 By Barbara Maranzani
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In 2013 the long search for missing ex-Teamster boss James Riddle Hoffa took yet another frustrating turn for federal authorities when they called off their latest investigation after three days of digging in suburban Detroit following a tip from a Mafia informant. It was the latest in a long line of unsuccessful leads in the 40-year search that began after Hoffa mysteriously disappeared in July 1975. As the Feds continue the hunt, here’s a few places that can probably be crossed off the Jimmy Hoffa burial site list.
Gardena, California
As the search for the vanished Hoffa got underway in Michigan after his 1975 disappearance, an early theory regarding his fate cropped up thousands of miles away on the West Coast. When rumors surfaced that Hoffa may have been involved in an acrimonious negation with a Gardena businessman, conspiracies swirled that Hoffa had been murdered and buried in the foundation of a nearby poker club and restaurant. It remained a local legend for decades until the property was bought up by magazine publisher Larry Flynt, fully excavated and reopened as a casino in 2000.
Hampton, Michigan
This latest search isn’t the first (or even the fifth) time investigators have targeted Michigan in their hunt for Hoffa. And though it’s probably a bit presumptuous to rule out the entire Wolverine state as the likely location of Hoffa’s remains, several spots have already received a thorough going over. In 2003, following a tip, investigators dug up the backyard pool in Hampton’s Thumb neighborhood in search of either Hoffa or evidence regarding his death—specifically a briefcase supposed to have contained a medical syringe and pharmaceutical material used to kill Hoffa. The search turned up nothing but dirt.
Bloomfield, Michigan
A year later in 2004, the FBI was at it again, this time in a suburban Detroit home once owned by one of Hoffa’s erstwhile friends, Frank Sheeran. Sheeran, who claimed that he had murdered Hoffa himself after the two men had a severe falling out, claimed to have committed the murder in his Bloomfield home. Search teams descended on the house and did find traces of blood—but medical examiners stated that they weren’t from Hoffa.
Milford, Michigan
A seemingly promising lead sent the FBI to a horse farm located northwest of Detroit. The Feds spent more than two weeks digging at the site in May 2006 before calling it quits. The FBI, normally close-lipped about ongoing investigations, stated that they may not have located Hoffa’s body, but believed that it may have been buried there before being moved elsewhere.
Roseville, Michigan
Just 10 months before the July 2013 investigation, the FBI received yet another Michigan-based tip that Hoffa had been buried beneath a backyard shed in Roseville. When sonar of the site revealed abnormalities in the soil composition, they decided to drill for samples. Once again, no evidence of Hoffa’s remains turned up.
Giants Stadium
The most popular urban legend associated with Jimmy Hoffa’s disappearance is that he was buried beneath a football stadium at the sprawling Meadowlands Complex in East Rutherford, New Jersey. The idea was first floated by mob hit man Donald “Tony the Greek” Frankos in an interview with Playboy magazine in 1989. Frankos, an informant who turned state’s witness, insisted that he had no personal involvement with the murder, but had been told that two other Jersey wiseguys were responsible for the murder, dismemberment and eventual burial of Hoffa’s body beneath one of the stadium’s end zones. Federal officials and Hoffa’s own family voiced their suspicions over Frankos’ story, but that didn’t stop it from capturing the public’s attention. Supporters of the theory noted that Hoffa did disappear while the complex was under construction and his last known public meeting was with reputed New Jersey crime boss Anthony “Tony Pro” Provenzano, who Frankos insisted had himself ordered the hit on Hoffa. The Giants Stadium theory was put to rest in 2010, when the building was demolished to make way for new sports complex.
Jersey City, New Jersey
Michigan may have cornered the market in Hoffa-mania, but the Garden State isn’t far behind. In fact, more than 200 FBI agents have been assigned to the case over the past 38 years, most of them in Michigan and New Jersey. Just weeks after Hoffa’s disappearance, the FBI began surveillance on a Jersey City landfill situated near the Hackensack River, based on an anonymous tip that Hoffa had been buried there in a 55-pound drum. They soon called off the search.
Florida Everglades
In 1982, another mob hit man, Charles Allen, claimed that he had the inside scoop on what really happened to Hoffa. Testifying before a U.S. Senate committee, investigating Anthony Provenzano and other organized crime leaders, Allen said that Hoffa had been shot and killed shortly after his disappearance, with his body later ground up, dumped in a steel drum and brought down to Florida where it was dumped unceremoniously in a nearby swamp. Shortly after testifying, Allen entered the witness protection program, which didn’t stop him from granting interviews with reporters to further press his claim. The federal government, however, was doubtful, noting Allen’s credibility problem and eagerness to sell his salacious story to the highest bidder. The same year Allen testified before Congress, Jimmy Hoffa was declared legally dead.
Japan
One of the most surreal theories surrounding Hoffa’s remains is the one most difficult to prove, or disprove. As with many Hoffa theories, it begins with his violent death at the hands of his enemies and the dismemberment of his body. In this version, however, rather than a fairly pedestrian burial underground, the pieces were compacted even further at a Detroit-area factory, then added to locally produced steel used for auto manufacturing. According to this myth, the controversial labor leader who championed America’s unions was himself exported—as part of an auto shipment to Japan.
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