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Who was the first person to be made an honorary citizen of the USA? | The 8 Honorary Citizens of the United States | Mental Floss
The 8 Honorary Citizens of the United States
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Let’s say you’re not a citizen of the United States, but you want to be. But not so much that you’d apply for naturalization, which involves interviews, tests, biometrics screening, and oaths. Let’s say you just want it, but again, not so much that you’d want to actually vote in the U.S., or apply for a passport. In such a situation, what you want is called “honorary citizenship of the United States.” You want the U.S. to claim you, kind of, but not so much that we have to do anything for you, nor do you do anything in exchange. As the U.S. State Department puts it :
Honorary citizenship does not carry with it the rights and privileges of ordinary citizenship, and such status does not confer any special entry, travel or immigration benefits upon the honoree or the honoree’s relatives and dependants [sic, really]. It also does not impose additional duties or responsibilities, in the United States or internationally, on the honoree.
Such citizenship is granted by Congress and the president, and the Senate website hosts a complete roster of those who have been so honored. Here are the eight honorary citizens of the United States.
1. Winston Churchill
You probably know Churchill as the wartime prime minister of the United Kingdom, which is likely the reason why the United States bestowed honorary citizenship upon him. You might not know that he was also recipient of the 1953 Nobel Prize in Literature, placing him (in the often unreliable eyes of the Nobel committee) alongside Yeats, Hemingway (who won it the following year), and Marquez.
2. Raoul Wallenberg
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The horror that was the Holocaust defies human imagination (except for the many humans responsible for it). Though Hungary fought alongside Germany in World War II and passed anti-Semitic laws, Jews of Hungary were largely spared the Holocaust. Once Hungary wavered in the Axis cause, however, Hitler ordered the country occupied. Hungarian Jews were rounded up and deported, and within one year, a half-million were murdered.
Raoul Wallenberg, a businessman, was sent to the Swedish Embassy in Hungary. His job was to issue 650 passports to Hungarian Jews with ties to Sweden , which would protect them from deportation. Upon arrival, Wallenberg took in the scope of the crisis and ramped up his operation. Through the creative issuance of diplomatic paperwork, he managed to protect thousands. When the fascists got wise to Wallenberg’s operation, they invalidated the paperwork, rounded up Jews, and forced them to walk to the Austrian border. Wallenberg, undeterred, followed behind in his car, and defying the guns pointed at him, provided food, water, and aid to those on the death march. He continued issuing his documents, finding some success. When the Soviets seized Budapest, Wallenberg was arrested as a spy. In 1981, there were reports that he was still alive in a Soviet prison, and so Congress passed a resolution making him an honorary American citizen to pressure the Soviets to reveal his whereabouts. As of today, it’s still unclear what happened to him, but according to the Soviets, he died in 1947.
3 and 4. William and Hannah Penn
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In 1984—more than three centuries after he founded the Pennsylvania Colony—William Penn was named an honorary citizen of the United States. His colony was notable in that it wasn’t the hell that many Puritan colonies were at the time. It was also notable for having eventually been led by his wife, Hannah, who picked up William’s slack when his health declined toward the end of his life. After he died in 1718, she continued running the Pennsylvania Colony for another eight years.
5. Mother Teresa
Mother Teresa and Churchill are the only two people to have been named honorary citizens of the United States during their own lifetimes. The Catholic nun is known for her work with the poor in Calcutta (now Kolkata) and is presently on the fast track to being declared a saint by the Church. For what it’s worth, one step in the Vatican’s canonization process used to be a hearing with the so-called “devil’s advocate,” whose role was to argue against a candidate’s beatification and canonization. The position was abolished in the 1980s, but the Vatican still seeks out opposing views. During the Vatican’s investigation of Mother Teresa, Christopher Hitchens testified as her de facto devil’s advocate. A frequent critic of Mother Teresa, Hitchens later said of the hearing that he “represented the devil pro bono.”
6. Marquis de Lafayette
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There is a strong argument to be made that the United States would not exist without Lafayette. He was the French general who led divisions of the Continental Army during the American Revolution, and who, according to the 2002 Joint Resolution granting him American citizenship, “secured the help of France to aid the United States’ colonists against Great Britain.” Later, after returning to France, he introduced the “Declaration of the Rights of Man and of the Citizen” before the National Constituent Assembly. (He coauthored the document, which played an important role in the French Revolution, with Thomas Jefferson.) So important was he to the cause of American independence that when he died, the U.S. House and Senate draped their chambers in black.
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In 2016, Daveed Diggs (left) won a Tony for playing Lafayette (and Jefferson) in Hamilton.
7. Casimir Pulaski
U.S. National Archives
Like Lafayette, Casimir Pulaski was drawn to the cause of American independence from Great Britain, and set sail for North America to help fight for the Continental cause. He didn’t waste any time once he got here. Among his accomplishments: During the Battle of Brandywine, he led a cavalry charge that saved George Washington’s life; he was promoted to general; he organized a legion of mounted soldiers; and, while he was at it, wrote the book on cavalry tactics. (Today he is considered one of the fathers of the American cavalry.) By order of Congress, for nearly a century now October 11 has been celebrated as Pulaski Day in the United States. He was made an honorary citizen in 2009.
8. Bernardo de Galvez
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In 1777, Col. Bernardo of Galvez was made interim governor of Louisiana, which was then under Spanish control. An enemy of the British, Galvez helped smuggle supplies to the Continentals by way of New Orleans, a port city. As governor of Louisiana, he also orchestrated a campaign against the Red Coats, defeating them in the Battles of Fort Bute and Baton Rouge. After being appointed general, he also won the Battle of Fort Charlotte, taking Mobile from the British. George Washington considered Galvez to be “a deciding factor in the outcome of the Revolutionary War,” according to the 2014 resolution declaring Galvez to be an honorary American citizen. He’s also the most recent recipient of the honor, meaning the threshold is pretty high. It might be easier just to go through Immigration Services .
| Winston Churchill |
Which Portuguese province borders both the Mediterranean and the Atlantic? | Churchill Honored with US Citizenship
Churchill Honored with US Citizenship
Churchill Honored with US Citizenship
"A Son of America Though a Subject of Britain"
by John Plumpton
Click here for a Video of the Presentation
ON APRIL 9th, 1963, a deeply moved Sir Winston Churchill, sitting in his London home with his wife beside him, watched a satellite relay of a White House ceremony giving him honorary United States citizenship. It had been hoped that he would not only witness the event by TV but would also he able to respond. However, the relay station at Goonhilly, Cornwall, was not ready to transmit and it was decided not to request French help for this special Anglo-American occasion.
In Washington several hundred guests, including Averell Harriman, Dean Acheson and three sons of Franklin Roosevelt, gathered in the White House Rose Garden. A very special guest was 92-year old Bernard Baruch, a close friend of Sir Winston's. Observing from a window and recovering from a stroke was the American President's father, Joseph Kennedy, a former Ambassador to Great Britain and opponent of American involvement in the war. The Churchill family was represented by his son Randolph Churchill and grandson, Winston.
Sir Winston was to share a distinction held only by the Marquis de LaFayette. But it was the first time that Congress had actually resolved that honorary citizenship he bestowed, by the President of the United States, on a foreign national. LaFayette had local citizenry conferred on him by Maryland and Virginia when the colonies became the Union in 1788. Like all other citizens of those states, he then became a citizen of the newly-created United States of America. Churchill, by contrast, had been granted honorary citizenship of eight states: Hawaii, Maryland, Nebraska, New Hampshire, North Carolina, Tennessee, Texas and West Virginia.
President John F. Kennedy praised Sir Winston as a defender of freedom, wartime leader, orator, historian, statesman, and Englishman. The President's opening remarks gave eternity the classic tribute to one of Sir Winston's greatest achievements: "He mobilized the English language and sent it into battle." [ See Kennedy's remarks ]
THE PROCLAMATION
Whereas Sir Winston Churchill. a son of America though a subject of Britain, has been throughout his life a firm and steadfast friend of the American people and the American nation; and
Whereas he has freely offered his hand and his faith in days of adversity as well as triumph; and
Whereas his bravery, charity and valor, both in war and in peace, have been a flame of inspiration in freedom's darkest hour; and
Whereas his life has shown that no adversary can overcome, and no fear can deter, free men in the defense of their freedom; and
Whereas he has expressed with unsurpassed power and splendor the aspirations of peoples everywhere for dignity and freedom; and
Whereas he has by his art as an historian and his judgment as a statesman made the past the servant of the future;
Now, therefore, I, John F. Kennedy, President of the United States of America, under the authority contained in the act of the 88th Congress, do hereby declare Sir Winston Churchill an honorary citizen of the United States of America.
In witness whereof, I have hereunto set my hand and caused the Seal of the United States of America to be affixed.
Done at the City of Washington this ninth day of April, in the year of our Lord nineteen hundred and sixty-three, and of the in-dependence of the United States of America the one hundred and eighty-seventh.
After Sir David Ormsby Gore, the British Ambassador to the United States, thanked the President, Randolph Churchill, in a voice many thought reminiscent of his father's, stepped forward to read Sir Winston's response:
Mr. President, I have been informed by Mr. David Bruce that it is your intention to sign a bill conferring upon me honorary citizenship of the United States.
I have received many kindnesses from the United States of America, but the honour which you now accord me is without parallel I accept it with deep gratitude and affection.
I am also most sensible of the warm-hearted action of the individual states who accorded me the great compliment of their own honorary citizenships as a prelude to this act of Congress.
It is a remarkable comment on our affairs that the former Prime Minister of a great sovereign state should thus be received as an honorary citizen of another. I say "great sovereign state" with design and emphasis, for I reject the view that Britain and the Commonwealth should now be relegated to a tame, and minor role in the world. Our past is the key to our future, which I firmly trust and believe will be no less fertile and glorious. Let no man underrate our energies, our potentialities and our abiding power for good.
I am, as you know, half American by blood, and the story of my association with that mighty and benevolent nation goes back nearly ninety years to the day of my father's marriage. In this century of storm and tragedy, I contemplate with high satisfaction the constant factor of the interwoven and upward progress of our peoples. Our comradeship and our brotherhood in war were unexampled. We stood together, and because of that fact the free world now stands. Nor has our partnership any exclusive nature; the Atlantic community is a dream that can well be fulfilled to the detriment of none and to the enduring benefit and honour of the great democracies.
Mr. President, your action illuminates the theme of unity of the English-speaking peoples, to which I have devoted a large part of my life. I would ask you to accept yourself, and to convey to both Houses of Congress, and through them to the American people, my solemn and heartfelt thanks for this unique distinction, which will always be proudly remembered by my descendants. --Winston S. Churchill
The official Proclamation was delivered by American Ambassador to Britain David Bruce and Secretary of Defense Robert McNamara personally took a passport-sized copy of the Presidential proclamation for delivery to Sir Winston who was leaving shortly for the French Riviera.
The British House of Commons celebrated the event in a motion, tabled by members of all three parties:
"That this House congratulates the Rt. Ron. Member for Woodford upon the unique honour of honorary citizenship conferred upon him by the President and Legislature of the United States of America; and places on record its deep appreciation of the sentiments which prompted this historical enactment."
Thus closed another chapter in the history of the English-speaking peoples.
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What is the correct name for the bone commonly known as the breastbone? | Sternum - Anatomy Pictures and Information
Home > Skeletal System > Bones of the Chest and Upper Back > Sternum
Sternum
The sternum, commonly known as the breastbone, is a long, narrow flat bone that serves as the keystone of the rib cage and stabilizes the thoracic skeleton. Several muscles that move the arms, head, and neck have their origins on the sternum. It also protects several vital organs of the chest, such as the heart, aorta, vena cava, and thymus gland that are located just deep to the sternum.
The sternum is located along the body’s midline in the anterior thoracic region just deep to the skin. It is a flat bone about six inches in length, around an inch wide, and only a fraction of an inch thick....
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Full Sternum Description
[Continued from above] . . . The sternum develops as three distinct parts: the manubrium, the body of the sternum (sometimes called the gladiolus), and the xiphoid process. The shape of the sternum looks somewhat like a sword pointing downwards, with the manubrium forming the handle, the body forming the blade, and the xiphoid process forming the tip. In fact, the name manubrium means “handle,” gladiolus means “sword,” and xiphoid means “sword-shaped.”
The manubrium is the widest and most superior region of the sternum. It forms joints with the clavicles and the first and second pairs of ribs through their costal cartilages. The clavicles meet the manubrium at the concave clavicular notches to form the sternoclavicular joint, the only point of skeletal attachment between the pectoral girdle of the shoulder and the axial skeleton of the thorax. Slight indentations on the lateral sides of the manubrium provide attachment points for the costal cartilages of the ribs. At its inferior end, the manubrium meets the body of the sternum at the joint with the costal cartilage of the second ribs. Here it forms the sternal angle, a slight posterior bend in the sternum that can be felt through the skin and serves as an important anatomical landmark in the medical profession. Several important muscles attach via tendons to the manubrium, including the sternocleidomastoid, pectoralis major, sternohyoid, and sternothyroid muscles.
The body of the sternum is the longest region of the sternum and is roughly rectangular in shape. The costal cartilages of the second through tenth ribs connect to the body of the sternum to form the bulk of the rib cage. Just like in the manubrium, slight concave indentations in the lateral sides of the body of the sternum provide stronger attachment points for the costal cartilages to prevent rib separation. In addition, the powerful pectoralis major muscles that adduct and flex the humerus at the shoulder attach to the anterior surface of the body of the sternum and manubrium.
The smallest and most inferior region of the sternum, the xiphoid process, begins life as a region of flexible hyaline cartilage attached to the end of the body of the sternum. The xiphoid process slowly ossifies throughout childhood and adulthood until around age 40 when all of its cartilage is replaced by bone. Regardless of its degree of ossification, the xiphoid process serves as an important attachment point for the tendons of the diaphragm, rectus abdominis, and transverse abdominis muscles.
Several undesired events can take place at the sternum. During open heart surgery, the sternum must be cut in half along its long axis to provide access to the heart. After surgery, the two halves of the sternum must be wired back together with stainless steel wire to prevent their separation. Any extreme stresses placed on the broken sternum after surgery, such as lifting heavy objects, can result in the wires cutting through the bony tissue and severely damaging the sternum. Another risk associated with the sternum is the fracturing of the xiphoid process during CPR, which can potentially lead to the xiphoid process breaking off and lodging into one of the delicate vital organs below it.
Prepared by Tim Taylor, Anatomy and Physiology Instructor
| Sternum |
What was Bangladesh called between 1947 and 1971? | The Skeletal System (Bones) | Medical Terminology for Cancer
Medical Terminology for Cancer
6: The Skeletal System (Bones)
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Functions of the skeletal system
There are about 206 bones in the human body, they have the function of protecting and preserving the shape of soft tissues. The skeleton provides a framework for the muscles, it controls and directs internal pressure and provides stability anchoring points for other soft tissues. There are a wide variety of bones/bony tissues adapted for specific functions to aid locomotion and support, bones are moved by the skeletal muscles . In addition the skeletal system stores and produces blood cells in the bone marrow.
It is not the aim of this guide to catalogue each bone, but the following may be useful:
Thorax
the bones of the thorax (ribs, sternum and thoracic vertebrae) form a cage which protects many of the body's vital organs.
The Axial skeleton
This is the main body including the pelvis, thorax, and skull (excluding the arms and legs).
The Proximal skeleton
The femur and humerus (ie the bones proximal to the Axial skeleton)
The Distal skeleton
The lower legs (tibia, fibula, and feet bones) and lower arm (radius, ulna, and bones of the hand). The Proximal and Distal skeleton are sometimes collectively referred to as bones of the extremities.
The spine
The spine is divided into 5 main areas and each bone (verebrae) has a letter and number:
Cervical vetebrae C1 - C7
the neck region. C1 is the upper most vertebrae.
Thoracic vertabrae T1 - T12
vertebrae of the upper body (thorax)
Lumbar vertebrae L1 - L5
vertebrae of the lower back
Bones of the sacrum S1 - S5
vertebra within the pelvic girdle. These bones fuse together between ages 16 and 18.
The coccyx Co1 - Co4
The long shaft of the bone.
Epiphysis
The knob like end of the bone, often contains red marrow (blood cells).
Metaphysis
Region where the diaphysis joins the epiphysis, important in bone growth.
Medullary
Marrow cavity inside the bone. Contains yellow marrow (fat cells).
Foramina
Tiny canals in the bone through which blood and lymph vessels connect to the medullary.
Cartilage
Tough connective tissue covering the ends of the bone. The cartilage reduce friction and acts as a shock absorber.
Ligament
Fibrous tissue that connects bones or cartilage to strengthen and support joints.
The end of the bones are often refered to by the Proximal end (towards the main body) or the Distal end (away from the main body), e.g. the proximal femur is the top end of the thigh bone.
Compact bone is dense and hard, especially the outer layer of the bone
Spongy bone
Made up of a lattice work of bone, the spaces are filled with red marrow which produce blood cells.
Classification of bones by shape:
Long bones
Slightly curved for STRENGTH with long narrow shafts with knobbly ends (especially found in arms and legs e.g. femur).
Short bones
Tend to be spongy e.g. wrists, fingers, toes and ankles.
Flat bones
Plate like and highly PROTECTIVE e.g. bones of the skull protect the brain.
Irregular bones
Bones and growth
Ossification is the gradual conversion of cartilage or other tissue into bone. At birth ossification is not complete, there are still may membrane filled spaces in the skull, these are called fontanels or "soft spots". Most bone growth occurs during childhood, and ossification of most bones is usually complete by age 25. The 5 bones of the sacrum fuse together from ages 18 to 25. When all bone growth is complete the body is said to be skeletally mature.
Roots, suffixes, and prefixes
Most medical terms are comprised of a root word plus a suffix (word ending) and/or a prefix (beginning of the word). Here are some examples related to the Skeletal System. For more details see Chapter 4: Understanding the Components of Medical Terminology
component
arthritis = inflammation of the bone
CHONDR-
costalgia = pain in the ribs
OSTEO-
osteosarcoma = a type of bone tumour
SCOLIO-
scoliosis = curvature of the spine
-LYSIS
osteomyelitis = inflammation of the bone
-OSIS
osteoporosis = reduced bone mass-fracture prone
-TOMY
Osteogenic Sarcoma
Osteogenic Sarcoma (osteosarcoma) is a bone forming cancer. It is the most frequent type of bone tumour and is most common between the ages of 15 to 25. Over 90% of tumours are located in the metaphysis (the growing ends of the bone), the most common sites are the long bones of the legs. Most tumours are solitary, around 2% are multifocal (2 or more bones). It is known that osteosarcoma can be radiation induced. Osteosarcomas vary greatly in radiological and pathological features and therefore needs careful diagnosis to differentiate this from other bone tumours. Most are high grade intramedullary osteosarcomas, about 5% are low grade lesions, some are secondary osteosarcomas (for example those caused by radiation therapy).
Ewing's Sarcoma
Ewing's sarcoma is most common in children and young adults. The most frequent sites are the pelvis, femur, tibia, and fibula, around a fifth of patients have metastases at diagnosis usually in the lungs or other other bones. Ewing's tumours are more frequently found in the diaphysis (mid-shaft) part of the bone. Ewing's sarcoma can sometimes be restricted to soft tissue (Extraosseos Ewing's sarcoma). There is a spectrum of pathology ranging from 'classical' Ewing's which are negative for neural markers; to PNET (peripheral neuroectodermal tumours) which are strongly positive.
Chrondrosarcoma
Chondrosarcoma is a cancer arising in cartilage cells, it occurs mostly in adults, it is rare in those aged under 20 with 70% of cases occurring between ages 50-75. Rare sub-types include mesenchymal chondrosarcoma which is more common in those aged under 40; Clear cell chondrosarcoma (around 2% of cases); and Dedifferenting chondrosarcoma (a rare tumour which transforms from low grade to a high grade sarcoma).
Other Primary Bone Tumours
Malignant Fibrous Histiocytoma (MFH) account for 10% of bone tumours, they arise from histiocytes that have fibroblastic potential.
Chondoma is rare occurring mostly between ages 30 -70. This is a low grade malignancy which is arises from the remnants of the notochord (cells in the embryo which cause the formation of cartilage).
Fibrosarcoma and desmoid tumours vary in malignant potential.
Giant cell tumours some are benign, others may be malignant e.g. giant cell osteosarcoma, giant cell fibrosarcoma.
Neurogenious tumours of bone These include neuroepithelioma and malignant schwannoma.
Intraosseous liposarcoma is very rare. Liposarcoma arises from fat cells, these tumours are common in muscle but in rare cases are found in bone. Similarly extraosseous osteosarcoma (osteosarcoma found in soft tissue) is very rare with less than 300 cases reported world wide.
Bone sarcomas associated with Paget's disease
Paget's disease is the most common bone disorder characterised by irregular thickening and softening of the bones. The disease is more common after the age of 40, and is frequent in those of European descent but rare in Asians. These is an association with this (non malignant) disease and bone cancer, up to 10% of those with Paget's disease will have a 'sarcomatous transformation' of affected bones giving rise to bone sarcoma. This may be osteosarcoma, fibrosarcoma, chondrosarcoma, or other bone sarcomas.
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The wife of an earl has what equivalent female title? | etymology - Why is the feminine equivalent of an earl a countess rather than an earless? - English Language & Usage Stack Exchange
Why is the feminine equivalent of an earl a countess rather than an earless?
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A comment by Tim Lymington notes that the wife of an earl is a countess. Why is this so? Shouldn't it have been earless? Was this perhaps a conscious decision due to its homography with ear-less ?
Did a jarl ever have a jarless? Ah. Perhaps not.
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-ess is a suffix from French; the most common Germanic suffix is -in, so if there were an inherited feminine form of jarl it would probably be jarlin. One can speculate that this would have come into English as earlen (the only desinence of -in I can think of in English is vixen, from fox). – Colin Fine Jan 19 '13 at 19:41
up vote 5 down vote
The male version of countess is sometimes count. From Wikipedia :
The word count came into English from the French comte, itself from Latin comes—in its accusative comitem— meaning "companion", and later "companion of the emperor, delegate of the emperor". The adjective form of the word is "comital". The British and Irish equivalent is an earl (whose wife is a "countess", for lack of an English term).
An earl was originally another title, but later came to be equivalent to count:
An earl is a member of the nobility. The title is Anglo-Saxon, akin to the Scandinavian form jarl, and meant "chieftain", particularly a chieftain set to rule a territory in a king's stead. In Scandinavia, it became obsolete in the Middle Ages and was replaced with duke (hertig/hertug). In later medieval Britain, it became the equivalent of the continental count (in England in the earlier period, it was more akin to duke; in Scotland it assimilated the concept of mormaer). ...
The Norman-derived equivalent "count" was not introduced following the Norman Conquest of England though "countess" was and is used for the female title. As Geoffrey Hughes writes, "It is a likely speculation that the Norman French title 'Count' was abandoned in England in favour of the Germanic 'Earl' […] precisely because of the uncomfortable phonetic proximity to cunt".
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To further complicate things: "An earl has the title Earl of [X] when the title originates from a placename, or Earl [X] when the title comes from a surname. In either case, he is referred to as Lord [X], and his wife as Lady [X]. A countess who holds an earldom in her own right also uses Lady [X], but her husband does not have a title (unless he has one in his own right)." – Hugo Jan 19 '13 at 6:32
Thanks! So, the reason is "for lack of a better term"? How dull :( Any idea what female jarls were called? – coleopterist Jan 19 '13 at 7:18
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As far as I can tell, jarls were only men with no special title for their wives, although the first ever female Guizer Jarl was chosen in 2010, there's no mention of a feminine title. shetlandtimes.co.uk/2010/11/01/… (But this actual title only dates from 1906, the role was only created in 1881, and some say it's "based upon a flawed Viking perspective".) – Hugo Jan 19 '13 at 7:32
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Before the title died out, jarl was also used for a higher rank in Scandinavia, including rulers of petty kingdoms. I imagine it is for this reason that we normally translate Greve and Lensgreve as Count rather than Earl even though the latter would be a more "complete" translation into English. – Jon Hanna Jan 19 '13 at 14:09
So referring to, for example, Charles Spencer, brother of Diana, in a sentence, one would use his name, "Charles Spencer", as I just did, or "Lord Spencer", but not "Earl Spencer"? Example, "I was in Marks and Sparks the other day when I happened to see Lord Spencer shopping for unmentionables". Not "I was in Marks and Sparks the other day when I happened to see Earl Spencer...". Is that right? Or is it "the Earl Spencer", with the definite article? Is Lord/Lady [X] a form of address only? – Steven Solomon Aug 29 '15 at 0:41
| Count |
Who was the father of English King, Henry III? | On Titles
(If you find this useful, you can say thank you by buying one of my books.
ENGLISH TITLES IN THE 18TH AND 19TH CENTURIES
by Jo Beverley
Member of the RWA Hall of Fame for Regency Romance.
"Arguably today's most skilful writer of intelligent historical romance." Publishers Weekly
This brief run-down of English titles is for use by fiction writers. It is by no means comprehensive, but covers the more common situations arising in novels set in the above periods.
At the end I address the question of choosing fictional titles.
The English peerage basically runs according to primogeniture, ie the eldest son gets nearly everything. If a peer has no eldest son, the title and possessions that belong to it go to the next male heir, probably a brother or nephew.
There are a very few titles that can pass to a female if there is no direct heir, but they will revert to the male line when the lady bears a son. (Such as the monarchy.) Some titles can automatically pass through a female heir (when there is no male heir) and most can be revived by subsequent generations by petitioning to the Crown. But that's getting into more complicated areas. If your plot depends on something unusual, please do research it thoroughly before going ahead.
The eldest son is called the heir apparent, since he is clearly the heir. If there is no such son, the next in line is called the heir presumptive since, no matter how unlikely (the duke is actually an ancient Benedictine Monk on his death bed) the possibility of a closer heir being created is still there. Thus an heir presumptive does not hold an heir's title, if any. (See below about heir's titles.)
If a peer dies leaving a wife but no son, the heir inherits unless the widow says she might be with child. It is for her to do that. If she stays silent, it is assumed that she is not. If she's pregnant, everything waits until the child is born.
An heir must be legitimate at birth to inherit a title, though that could mean a marriage ceremony performed while the mother is in labor. A peer may raise bastards with devotion and/or marry the mother later, but a bastard child can never be his legal heir.
Peers automatically had seats in the House of Lords. Note, however, that courtesy titles (those held by heirs) do not give seats, or any of the other privileges of the peerage.
Most peers do not use their surnames as their title. Thus, the usual pattern would be something like Sebastian Burgoyne, Earl of Malzard. He is Lord Malzard never Lord Burgoyne. (Or, for that matter, Lord Sebastian.) As an author, you might like variety, but take as a general rule is that no one ever had two forms of address.
THE RANKS OF THE PEERAGE
A) Leaving aside royalty, the highest rank is DUKE.
His wife is the DUCHESS. They will be duke and duchess of something, eg. Duke and Duchess of Ithorne. Address is "your grace", though familiars may address them as Duke and Duchess eg "Fine weather for shooting, eh, Duke?" or may address the duke by title. "Care for more port, Ithorne?"
NOTE that the duke will also have a family name, ie. surname (such as Cavendish) but will not use it in the normal course of events. The duchess does not use the surname at all. If Anne Pitt marries the Duke of Stone (whose family name is Cherry), she will be Duchess of Stone and will informally sign herself Anne Stone, not Anne Cherry.
The duke's eldest son is his heir and will have his father's second-best title as his courtesy title. Nearly all peers have a number of titles marking their climb up the ranks. The heir to a duke is often the next lowest ranking peer, a marquess (or marquis -- spelling is optional, but both are pronounced markwess.) The title could, however, be an earldom, or even a viscountcy.
Remember, a courtesy title does not give the holder a seat in the House of Lords or other privileges of the peerage.
If the heir has a son before the heir becomes duke, that son will take the next lowest title as a courtesy title. If the heir dies before his father, his eldest son becomes the heir apparent and takes his father's title.
Apart from the heir, a duke's sons are given the courtesy title Lord with their Christian name, eg. Lord Richard Somerset. Lord Peter Wimsey. They are never Lord Somerset or Lord Wimsey.
All duke's daughters are given the courtesy title Lady, first name, surname eg. Lady Mary Clarendon. (Never Lady Clarendon.) If they marry a commoner, they retain the title. If Lady Mary marries Mr. Sticklethwait, she becomes Lady Mary Sticklethwait. If she marries a peer, she adopts his title. If Lady Mary marries the Earl of Herrick, she becomes Countess of Herrick, ie. Lady Herrick. If she marries the holder of a courtesy title, then she may use his title or her birth title as she wishes.
I'm hammering this home, but it's the most common error in novels. In all cases, the titles Lord or Lady "first name" "surname" (eg Lady Anne Middleton) and Lord or Lady "last name" or "title" (Lady Middleton) are exclusive. No one can be both at the same time. Moreover, Lord or Lady "first name" is a title conferred at birth. It cannot be gained later in life except when the father accedes to a title and thus raises his family.
So, Lady Mary Smith is not Lady Smith and vice versa.
Lord John Brown in not Lord Brown and vice versa.
If Mary Smith marries Lord Brown she becomes Lady Brown, not Lady Mary.
(If she marries Lord John Brown, she becomes Lady John Brown. Yes, it may sound odd to modern ears, but the past is, as they say, a different country. That's the charm of historical fiction.)
B) Next in rank is a MARQUESS (As above, it can be spelled marquis or marquess, but in either case is pronounced markwess.)
He will be Marquess of something, eg Marquess of Rothgar. His wife is the MARCHIONESS. (Pronounced "marshuness".) He is the Marquess of Rothgar, or Lord Rothgar, or Rothgar to his familiars, and his wife is the Marchioness of Rothgar or Lady Rothgar. She will sign herself "firstname" "title" eg. Diana Rothgar.
His heir apparent takes his next highest title as a courtesy title. All other sons have the title Lord "firstname" "surname". All daughters have the title Lady "firstname" "surname". Details are as for duke.
C) Below marquess is EARL.
He will nearly always be earl of something. His wife is the COUNTESS. He is referred to as "the Earl of Saxonhurst" or "Lord Saxonhurst", or "Saxonhurst" to his familiars. Some earls do not use "of" as with Earl Spencer, b and in that case the family surname will be the same as the title -- in this case, Spencer -- but this is sufficiently unusual that I think it should be avoided in fiction unless it's a crucial plot point.
His wife is the Countess of Saxonhurst, or Lady Saxonhurst, and she will sign herself Minerva (or Meg -- viz Forbidden Magic -- Saxonhurst.
As with a duke, the earl's heir will take the next lowest title as a courtesy title, and the heir's son, the next again.
All daughters of an earl are given the courtesy title Lady "firstname"; -- see dukes. All details are the same. Younger sons of an earl, however, are merely "the honorable" which is not used in casual speech.
D) Next is a VISCOUNT (pronounced vycount.)
His wife is a VISCOUNTESS. He is not "of". He will be, for example, Viscount Middlethorpe, usually known as Lord Middlethorpe, or just Middlethorpe. His wife will be known as Lady Middlethorpe and will sign herself Serena Middlethorpe.
His heir has no special title. All children are known as the honorable.
E) The lowest rank in the peerage is BARON.
His wife is a BARONESS. NOTE that the terms baron and baroness are only used in England in the most formal documents, or when the distinction has to be made elsewhere. General usage is simply to call them Lord and Lady. She will sign herself "firstname" "title". Children as for viscount.
F) Next in rank -- and not of the peerage -- is BARONET.
A baronet is called Sir, first name, surname. eg. Sir Richard Wellesley. His wife is called Lady "surname"; eg. Lady Wellesley. NOT Lady Mary Wellesley unless she is the daughter of a duke, marquess, or earl. She will sign herself "firstname" "surname" such as Mary Wellesley.
His children have no special distinction. The title, however, is inheritable which distinguishes it from....
G) A KNIGHT
who is the same as a baronet in usage, but is a title for life only. His wife will be Lady "surname"
OTHER MATTERS
DOWAGERS
When a titled lady is widowed she becomes a dowager, but the practice has generally been not to use that title until the heir takes a wife, when there could be confusion as to who is the real Lady Middlethorpe. (As happens in my novel, Forbidden.)
Even if she has a daughter-in-law, in general usage she would still be referred to by the simple title unless there was likely to be confusion. So, if the Dowager Duchess of Teale was at a house party while her daughter-in-law was in London, people would not be constantly referring to her as the dowager duchess.
PEERESSES IN THEIR OWN RIGHT
There are a few, very few, titles that can pass to a daughter if there is no son -- the Royal Family, for example. In this case, the usage is the same as if they were the wife of a peer of that rank, but their husband gains no title from the marriage, just as the Duke of Edinburgh is not king.
A Peeress in her Own Right retains her title after marriage, and if her husband's rank is the superior one, she is designated by the two titles jointly, the inferior one last. Or she can say what form she wants to use. (eg The marchioness of Rothgar is also the Countess of Arradale by right. She chooses to be Lady Rothgar and Arradale in the most formal situations, Lady Rothgar in general, but Lady Arradale in private, especially when attending to her duties as Countess of Arradale. Unusual situations do tend to get complicated.) Her hereditary claim to her title holds good in spite of any marriage, and will be passed on.
Since the husband gains no title from such a marriage, it's possible to have the Countess of Arbuthnot married to Mr. Smith.
Her eldest son will be her heir and take her next lowest title. If she has no son, her eldest daughter will be her heir, but until she becomes the peer she will hold only the title that comes from her birth -- eg. Lady Anne -- if any, because an eldest daughter is always an heir presumptive. There might still be a boy.
COMMON PROBLEMS SEEN IN NOVELS
Interchanging courtesy titles like Lady Mary Smith and Lady Smith.
Interchanging peerage titles, as when Michael Downs, Earl of Rosebury is variously known as Lord Rosebury, Lord Downs, and Lord Michael Downs.
Applying titles that don't belong, as when Jane Potts marries Viscount Twistleton and erroneously becomes Lady Jane, a title form that can only come by birth.
Having the widow of just about anyone, but especially a peer, remarry before time has elapsed to be sure she is not bearing a child. Or rather, whose child it is that she bears!
Having the heir presumptive assume the title and powers before the widow has made it clear that she's not going to produce an heir.
Having an adopted son inherit a title. Legal adoption was not possible in England until the twentieth century, and even now an adopted son cannot inherit a title. Even if the son is clearly the father's offspring, if he wasn't born after a legal marriage, he cannot inherit the father's title. However, since they didn't have DNA testing, a child was assumed to be legitimate unless the father denied it from the first. Even if the son turns out to look suspiciously like the vicar, the father cannot deny him later. This, I assume was to avoid the chaos of peers coming up with all sorts of excuses to switch heirs on a whim.
Having a title left in a will, which follows from the above. A title cannot be willed to whomever the peer in question chooses. It goes according to the original letters patent, which almost always say that it will go to the oldest legitimate male in direct descent. The property can be left elsewhere, unless it is entailed, but the title goes by legitimate blood.
Having an heiress (ie a daughter without brothers) inherit a title and convey it to her husband. It could be done -- anything could -- by special decree of the Crown, but it was not at all normal.
The question was asked: When writing historical fiction, does one create a title for a character, or do you have to research a title and just use a disclaimer?
Answer: always make it up. When you've come up with a title you like, do an internet search to see if it exists. Also check The Peerage and do a search in Googlebooks advanced search. You can choose date of publication, so you could do a broad search there for the Earl of Glaringdangerously published between 1800 and 1830 and see if any reference turns up.
You don't want to give your fictional character a title that was in use at the time. The main reason is that it's uncouth to appropriate someone's identity. In addition, some, perhaps many, readers will be aware of the real peer which will destroy the fictional reality you're trying to create. Bear in mind that most peers were simple Lord xxxxxx, so you can't have an Earl of Smilingcharmingly when there was a Viscount Smilingcharmingly. If the title was in use in any way, don't use it.
Your internet search should pull up any other uses of the title, and life peerages mean there are lots today. They weren't around a hundred years ago, but it's still not couth to use their title in a fictional work set in the past. Most take their surnames as title, but that can cover a lot of ground. There's a Lord Sugar and a Lord Adonis, both men who've made their way in life from a simple start.
If you really like your title but it exists or existed, it may be possible to alter it and retain the quality that appeals to you. You may fancy Lord Amesbury, but he existed. You could have Lord Aymesbury or Lord Embury.
A good place to hunt for titles is on large scale maps that show the names of villages. Often remainder houses sell last year's large scale UK road atlases for under $10, or you can simply use googlemaps and zoom in. Same thing for surnames. Place names are often specific for certain areas of Britain, so if your character's family has been in Suffolk for generations, look at Suffolk villages for ideas for names.
Or you can get into genealogical records if you want something really local. That's how I came up with a smuggler called Melchisadeck Clyst!
I hope this helps, and though I'm pretty sure it's right it is open to debate and amendment. Please e-mail me at jo at jobevdotcom if you have comments.
Copyright Jo Beverley. You may link to this article or share it, but of you share it I ask that you observe the following rules. Please don't alter it in any way, and please keep the copyright notice in place. Don't use it to make money for yourself or your organization. If possible, include the URL of my web site so people can find out more about my books.
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To which year in the 90s did the Queen refer as her annus horribilis? | BBC News | UK | The tradition of the Queen's speech
Tuesday, 25 December, 2001, 16:26 GMT
The tradition of the Queen's speech
The Queen said 1992 had been 'annus horribilus'
The Queen's message to the Commonwealth on December 25 has become as traditional a part of the British Christmas as roast turkey and Christmas pudding.
Millions of people across the United Kingdom turn on the television to watch the Queen sum up the year and offer the season's greetings to her subjects.
Millions more around the world listen to the speech on their radios and, nowadays, on the Internet.
The tradition was begun by the Queen's grandfather, King George V, in 1932. In the early days, the message went out live but from 1960 onwards it was recorded a few days in advance.
In the past, most of the speeches have been regarded as uncontroversial, even a little dull. The notable exception was the 1992 broadcast - the Queen labelled that year an "annus horribilis".
A royal Christmas
In 1932 when King George V made the first royal Christmas broadcast to what was then the British Empire, it was transmitted live from his small study at Sandringham, in Norfolk, where the royal family always spend their Christmas holidays.
The speech was scripted by the famous author, Rudyard Kipling, and began with the words: "I speak now from my home and from my heart to you all."
Queen Elizabeth II made her first Christmas broadcast on BBC radio in 1952. Her first televised speech took place in 1957.
The contents of the speech are always top secret until it is first transmitted. In 1987 the BBC hit the headlines when its royal correspondent of the time, Michael Cole, accidentally revealed some of its contents.
King George V made the first royal Christmas broadcast in 1932
In her 1992 "annus horribilus" speech, the Queen, expressed her sorrow at a year which saw the break-up of two family marriages, one divorce and the fire at Windsor Castle.
That year, as in many others, she began with references to Sandringham and her own family: "I first came here for Christmas as a grandchild. Nowadays my children come here for the same family festival. To me this continuity is a great source of comfort in a world of tension and violence."
She then went on to speak of how the "sombre year" had been put into perspective by the example of a close friend, who, suffering from a terminal illness had continued to put others first.
This was also the year in which the Sun newspaper printed leaked details of the speech on December 23, much to the dismay of Buckingham Palace.
The message in the making
The speech has traditionally been filmed in great secrecy at Sandringham in the week before Christmas. But in recent years it has been filmed at Windsor Castle and Buckingham Palace.
The Queen speaks directly to camera and the package usually features royal footage from the year. It is sent in advance around the world to 17 Commonwealth countries, to be broadcast at a convenient local time.
As a result of leaks in the press in previous years, many media outlets do not receive the text of the Queen's address until late on Christmas Eve.
The BBC lost exclusive broadcasting rights in 1995
The speech was traditionally produced by the BBC but in recent years the job has been shared with Independent Television News (ITN) on a rotating basis.
When Buckingham Palace decided to end the BBC's monopoly on the rights to produce the speech, it was seen by some as a deliberate snub in retaliation for its Panorama interview with the Princess of Wales in November 1995, which was not sanctioned by Buckingham Palace.
However the palace denied that a slight was intended and said that it had been considering for some time how to involve the ITV network as well as the BBC, "so that the arrangements reflect the composition of the television and radio industries today".
Internet links:
| one thousand nine hundred and ninety two |
What ‘B’ was Daisy’s surname in ‘The Great Gatsby’? | Queen Elizabeth's bad year | The Japan Times
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The year of Princess Diana’s death, 1997, was not Queen Elizabeth II’s “annus horribilis” as noted in the April 13 movie review “ Interpreting a right royal mess. ” Queen Elizabeth used this phrase in her Christmas message of 1992 to refer to the year in which Prince Charles’ and Prince Andrew’s marriages had both ended in disaster and a fire had devastated a large part of Windsor Castle.
“1992 is not a year I shall look back on with undiluted pleasure. In the words of one of my more sympathetic correspondents, it has turned out to be an annus horribilis.”
peter mallett
| i don't know |
What is the name of the character who is the protagonist in the ‘Die Hard’ film series? | Die Hard film series | Die Hard Wiki | Fandom powered by Wikia
Die Hard film series
John McClane , hero of the series.
The Die Hard film series is one of the most critically and commercially successful and popular action film series released by Hollywood. The series is composed of the five Die Hard films: Die Hard , Die Hard 2 , Die Hard with a Vengeance , Live Free or Die Hard and A Good Day to Die Hard . which all follow reluctant hero John McClane as he finds himself in the "wrong place at the wrong time" and must fight terrorists and save his loved ones. Combined, all five films have so far grossed over $1.2 billion dollars from the original released in 1988 to the fifth film's release in 2013.
The series has also spawned six video games and a comic series Die Hard: Year One .
Due to it's popularity and cult-like status, the Die Hard series has also become a magnet of pop culture parodies, references, and homages.
Contents
Main article: Die Hard
In the franchise's first film, McClane takes on an internationally-based group of thugs who have seized control of Nakatomi Plaza in LA. The group have taken hostages and generally hold out on the 30th floor. Though it initially seems to be a straight forward terrorist attack, McClane eventually finds out that the terrorists are not terrorists at all, and the group is actually attempting to steal $640 million dollars worth of bearer bonds from the buildings vault. The main antagonists in this movie are Hans Gruber , Karl , Theo and Eddie .
Die Hard 2 (1990)
Main article: Die Hard 2
In the second film, McClane battles a rogue former military unit who takes control of the landing systems and instruments of Dulles International Airport during a night time blizzard to rescue an imprisoned drug lord from custody. The main antagonists in this movie are Colonel Stuart , General Ramon Esperanza and Major Grant .
Die Hard with a Vengeance (1995)
Main article: Die Hard with a Vengeance
In the third film, the suspended McClane teams up with shopkeeper Zeus Carver to play a terrorist's sadistic game of "Simon Says" to stop a series of bombings in New York City . The main antagonists is this movie are Simon Gruber , Mathias Targo and Katya .
Live Free or Die Hard (2007)
Main article: Live Free or Die Hard
In the fourth film, McClane and computer hacker Matt Farrell tries to stop a group of cyber-terrorists who are performing a deadly cyber-attack to shut down the entire infrastructure of the United States. The main antagonists in this movie are Thomas Gabriel , Mai Linh , Trey and Emerson .
A Good Day to Die Hard (2013)
Main article: A Good Day to Die Hard
In the fifth film, McClane travels to Russia to help his estranged son John "Jack" McClane Jr. held in a Russian prison and discovers that Jack is a CIA operative out to prevent Russian terrorists from getting their hands on weapons-grade uranium. The main antagonists in this movie are Yuri Komarov , Viktor Chagarin , Irina Komarov and Alik .
Die Hard: Year One
Main article: Die Hard: Year One
The sixth and possibly the final film in the franchise will serve as a prequel (as well as a sequel) taking place in 1979, eight-years before the events that unfolded at the Nakatomi Plaza during the original Die Hard. Bruce Willis is expected to reprise his role as John McClane , with another actor to play a younger version.
Characters
Main article: John McClane
The reluctant hero and main protagonist in the series. McClane is a New York cop who finds himself taking on terrorists and saving his loved ones.
Holly Gennero
Main article: Holly Gennero
McClane's now ex-wife whose relationship with John became more strained by each movie until Live Free or Die Hard, when it was confirmed that she and McClane had gotten a divorce sometime between the third and fourth films. Holly works for the Nakatomi Corporation, a career that John thought she would fail, but he was proven wrong. Holly was among the hostages during the Nakatomi Plaza takeover and was on one of the planes when mercenaries took over the Dulles International Airport .
Lucy McClane
Main article: Lucy McClane
Lucy is the daughter of John McClane & Holly Gennero and the sister of John "Jack" McClane Jr. She was estranged from her father, but during her college years in Rutgers University, she was kidnapped by cyber-terrorist Thomas Gabriel. After her father saves her and Matt Farrell, they seemed to be on speaking terms and that she changed her last name from Gennero to McClane. Several years later, Lucy drove her father to the airport as he goes to Russia to investigate the arrest of her brother Jack. She was seen when John returns with Jack and she reunites with them after their adventure in Moscow and Chernobyl, Ukraine.
John "Jack" McClane Jr.
Main article: John McClane Jr.
John "Jack" Jr. is the son of John McClane & Holly Gennero and the brother of Lucy McClane. He will have a main role in A Good Day to Die Hard. When Jack was arrested for an killing in a nightclub in Moscow, McClane who hasn't spoke to his son for several years heads over there to find out what happened to him. It was later revealed that Jack is a CIA operative set on a deep-cover mission in Russia that has lasted for three years without his father's knowledge.
Al Powell
Main article: Al Powell
Al is a Los Angeles Police sergeant who shared a friendship with John McClane after helping with the takeover of Nakatomi Building in Los Angeles. He also helped McClane briefly with the situation in Dulles International Airport.
Richard Thornburg
Main article: Richard Thornburg
Thornburg is an arrogant, narcissistic reporter who exposed Holly's identity to Hans Gruber when he was interviewing Lucy and caused everyone in Dulles Airport to evacuate in mass panic after revealing the terrorist situation to the media, which interferes police efforts.
See also
| John McClane |
Who played Stephen Hawking in the 2014 film, ‘The Theory of Everything’? | Fiction University: 10 Traits of a Great Protagonist
10 Traits of a Great Protagonist
By Janice Hardy, @Janice_Hardy
It's so disappointing to read a book or see movie and find a great story idea surrounding a protagonist I couldn't care less about. It robs the excitement and enjoyment from the tale, and hurts my soul a little. Great ideas deserve great protagonists. Without them, those ideas wither away and die slow, horrible deaths.
But we can save our stories from this terrible fate.
At the heart of every story is a person with a problem, and the more compelling that person is, the better the story will be. Flat, boring protagonists lead to flat, boring stories. And no one wants that.We want jump off the page and grab the readers by the throat kind of characters. The ones you keep thinking about long after the book is over.
Here are ten ways you can turn your protagonist from good to great:
1. She has a problem that needs solving
You'd think this would be obvious, but I’ve seen plenty of manuscripts where the protagonist could have died on page one and the story would have continued without missing a step. Make sure the protagonist is the one with the problem that has to be solved. No one else can solve this problem (or solve it as well as she can) and she’s central to the entire issue.
2. He has the ability to act
Protagonists who do nothing but react to the situation are boring. A good protagonist makes things happen and moves the story along through his actions and choices. If your protagonist isn’t in a position to affect change, consider how you can adjust it so he is.
3. She has reasons to act
Plenty of people might be able to do something, but unless they have a good reason, it starts to stretch credibility why they would get involved in something that clearly doesn’t matter to them. Imagine how unrealistic Die Hard would have felt if John McClane hadn’t been a cop and hadn’t had a wife being held hostage by bad guys. Why on earth would he have risked his life if there wasn’t a good reason? If your protagonist is risking her life or happiness, make sure it's for a reason readers will understand.
(More on raising your stakes here)
4. He has something to lose
Just having a reason to act isn’t enough. Losing something that matters is a powerful motivating tool and will force your protagonist to do what he normally wouldn’t. He'll take risks he'd never take if he didn't have this consequence hanging over his head. It'll also make readers worry that he might suffer those consequences and lose what matters most to him.
5. She has something to gain
This is an important aspect of the story’s stakes that's sometimes forgotten or not thought through well enough. Watching a protagonist not lose has its merits, but when was the last time you went to a sporting event to see if your team didn't lose? Readers want to see a protagonist rewarded for all her hard work and sacrifice, and a reason for her to keep going when everything tells her to give up.
6. He has the capacity to change
Character growth feeds the soul to the story. It’s what turns it from a series of plot events to a tale worth telling. A great protagonist has the ability to learn from his experiences and become a better (though not always) person. He won't be the same person he was when the story started.
(More on creating strong character arcs here)
7. She has a compelling quality
Something about the person is interesting. Maybe she’s funny and likable. Maybe she’s twisted and fascinating. She might have an unusual talent or skill, or a unique manner about her. Whatever it is, there’s a quality that makes a reader curious to know more about her. Often, what's compelling is also contradictory, and wanting to know how these two things work together is what keeps readers hooked.
8. He has an interesting flaw
Perfect people are boring--it’s the flaws that make them interesting. Flaws also give you an opportunity to show character growth and give the protagonist a way to improve himself. Maybe he knows about this flaw and is actively trying to fix it, or he has no clue and change is being forced upon him. Maybe this flaw is the very thing that will allow him to survive and overcome his problems. Or the cause of the entire mess.
9. She has a secret
Open-book characters are too predictable, and predictable usually equals boring. If the protagonist is hiding something, readers will wonder what that secret is and how it affects the story. Let your protagonist be a little cryptic until readers are dying to know what her secret is.
(More on raising the tension through secrets here)
10. He has someone or something interesting trying to stop him
A protagonist is only as good as the antagonist standing against him. Where would Sherlock Holmes be without Professor Moriarty? Dorothy without the Wicked Witch? Buffy without Spike? A great protagonist needs someone worth fighting or his victory is meaningless. Think of your antagonist as the opposite of your protagonist. The dark to his light, the evil to his good. Match them well for a villain readers will love as well as hate.
A protagonist who knows what she wants and makes the story happen is a far more compelling character than one who sits around and waits for the story to happen to her. Make sure your protagonist is more than just someone in the middle of a mess.
Who's your favorite protagonist? Why?
Looking for tips on revising your novel? Check out my book Revising Your Novel: First Draft to Finished Draft , a series of self-guided workshops that help you revise your manuscript into a finished novel. Still working on your idea? Then try my just-released Planning Your Novel Workbook .
A long-time fantasy reader, Janice Hardy always wondered about the darker side of healing. For her fantasy trilogy The Healing Wars, she tapped into her own dark side to create a world where healing was dangerous, and those with the best intentions often made the worst choices. Her novels include The Shifter , Blue Fire , and Darkfall from Balzer+Bray/Harper Collins. The Shifter, was chosen for the 2014 list of "Ten Books All Young Georgians Should Read" from the Georgia Center for the Book. It was also shortlisted for the Waterstones Children's Book Prize, and The Truman Award in 2011.
Janice is also the founder of Fiction University, a site dedicated to helping writers improve their craft. Her popular Foundations of Fiction series includes Planning Your Novel: Ideas and Structure , a self-guided workshop for planning or revising a novel, the companion Planning Your Novel Workbook , Revising Your Novel: First Draft to Finished Draft , and the upcoming Understanding Show Don't Tell (And Really Getting It).
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Which English rugby club are the current Aviva champions? | Aviva Premiership Live
Aviva Premiership Live
Click here to Watch Aviva Premiership Live
The Aviva Premiership is England's top rugby competition. The Premiership consists of 12 rugby clubs and it has been played since 1987. The current Aviva Premiership champions from last year are the Saracens. This year the Worcester Warriors were promoted into the Aviva, while Leeds Carnegie ended up being relegated. They had been here for two seasons. The Aviva Premiership clubs quality to be in the two club competitions. The first is the Heineken Cup and the other is the European Challenge Cup. It features some of the best rugby played all year.
The Aviva Premiership teams consist of Bath and the Exeter Chiefs, who play in Sandy Park. Gloucester is another team and then we have the Harlequins, Leicester Tigers and the London Irish. The London Wasps are also part of the competition as well as the Newcastle Falcons, the Northampton Saints, Sale Sharks and the Saracens. Last is the newest member, the Worcester Warriors. Click on the banners, sign up for a membership and watch Aviva Premiership matches all year online. You'll also get access to Rugby World Cup matches as well and other rugby competitions in high quality streams.
| Northampton |
In honour of Bobby Moore, what shirt number was retired by West Ham in 2008? | Aviva Premiership Live
Aviva Premiership Live
Click here to Watch Aviva Premiership Live
The Aviva Premiership is England's top rugby competition. The Premiership consists of 12 rugby clubs and it has been played since 1987. The current Aviva Premiership champions from last year are the Saracens. This year the Worcester Warriors were promoted into the Aviva, while Leeds Carnegie ended up being relegated. They had been here for two seasons. The Aviva Premiership clubs quality to be in the two club competitions. The first is the Heineken Cup and the other is the European Challenge Cup. It features some of the best rugby played all year.
The Aviva Premiership teams consist of Bath and the Exeter Chiefs, who play in Sandy Park. Gloucester is another team and then we have the Harlequins, Leicester Tigers and the London Irish. The London Wasps are also part of the competition as well as the Newcastle Falcons, the Northampton Saints, Sale Sharks and the Saracens. Last is the newest member, the Worcester Warriors. Click on the banners, sign up for a membership and watch Aviva Premiership matches all year online. You'll also get access to Rugby World Cup matches as well and other rugby competitions in high quality streams.
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Which is the largest of the Baltic States by land area? | Baltic states | region, Europe | Britannica.com
Baltic states
Baltic states, northeastern region of Europe containing the countries of Estonia, Latvia, and Lithuania, on the eastern shores of the Baltic Sea .
The Baltic states: Estonia, Latvia, and Lithuania.
Encyclopædia Britannica, Inc.
The Baltic states are bounded on the west and north by the Baltic Sea, which gives the region its name, on the east by Russia , on the southeast by Belarus, and on the southwest by Poland and an exclave of Russia. The underlying geology is sandstone, shale, and limestone, evidenced by hilly uplands that alternate with low-lying plains and bear mute testimony to the impact of the glacial era. In fact, glacial deposits in the form of eskers, moraines, and drumlins occur in profusion and tend to disrupt the drainage pattern, which results in frequent flooding. The Baltic region is dotted with more than 7,000 lakes and countless peat bogs, swamps, and marshes. A multitude of rivers, notably the Neman (Lithuanian: Nemunas) and Western Dvina (Latvian: Daugava), empty northwestward into the Baltic Sea.
The climate is cool and damp, with greater rainfall in the interior uplands than along the coast. Temperatures are moderate in comparison with other areas of the East European Plain , such as in neighbouring Russia. Despite its extensive agriculture, the Baltic region remains more than one-third forested. Trees that adapt to the often poorly drained soil are common, such as birches and conifers. Among the animals that inhabit the region are elk, boar, roe deer, wolves, hares, and badgers.
The Latvian and Lithuanian peoples speak languages belonging to the Baltic branch of the Indo-European linguistic family and are commonly known as Balts . The Estonian (and Livonian) peoples, who are considered Finnic peoples , speak languages of the Finno-Ugric family and constitute the core of the southern branch of the Baltic Finns. Culturally, the Estonians were strongly influenced by the Germans, and traces of the original Finnish culture have been preserved only in folklore. The Latvians also were considerably Germanized, and the majority of both the Estonians and the Latvians belong to the Lutheran church . However, most Lithuanians, associated historically with Poland, are Roman Catholic.
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Tombali
The vast majority of ethnic Estonians, Latvians, and Lithuanians live within the borders of their respective states. In all three countries virtually everyone among the titular nationalities speaks the native tongue as their first language, which is remarkable in light of the massive Russian immigration to the Baltic states during the second half of the 20th century. Initially, attempts to Russify the Baltic peoples were overt, but later they were moderated as Russian immigration soared and the sheer weight of the immigrant numbers simply served to promote this objective in less-blatant ways. Independence from the Soviet Union in 1991 allowed the Baltic states to place controls on immigration, and, in the decade following, the Russian presence in Baltic life diminished. At the beginning of the 21st century, the titular nationalities of Lithuania and Estonia accounted for about four-fifths and two-thirds of the countries’ populations, respectively, while ethnic Latvians made up just less than three-fifths of their nation’s population. Around this time, Poles eclipsed Russians as the largest minority in Lithuania. Urban dwellers constitute more than two-thirds of the region’s population, with the largest cities being Vilnius and Kaunas in southeastern Lithuania, the Latvian capital of Riga , and Tallinn on the northwestern coast of Estonia. Life expectancy in the Baltic states is comparatively low by European standards, as are the rates of natural increase, which were negative in all three countries at the beginning of the 21st century, owing in part to an aging population. Overall population fell in each of the Baltic states in the years following independence, primarily because of the return emigration of Russians to Russia, as well as other out-migration to western Europe and North America . In some cases, Russians took on the nationalities of their adopted Baltic countries and were thus counted among the ethnic majorities.
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After the breakup of the Soviet Union, the Baltic states struggled to make a transition to a market economy from the system of Soviet national planning that had been in place since the end of World War II. A highly productive region for the former U.S.S.R., the Baltic states catered to economies of scale in output and regional specialization in industry—for example, manufacturing electric motors, machine tools, and radio receivers. Latvia, for example, was a leading producer of Soviet radio receivers. Throughout the 1990s privatization accelerated, national currencies were reintroduced, and non-Russian foreign investment increased.
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Agriculture remains important to the Baltic economy, with potatoes, cereal grains, and fodder crops produced and dairy cattle and pigs raised. Timbering and fisheries enjoy modest success. The Baltic region is not rich in natural resources. Though Estonia is an important producer of oil shale , a large share of mineral and energy resources is imported. Low energy supplies, inflationary prices, and an economic collapse in Russia contributed to an energy crisis in the Baltics in the 1990s. Industry in the Baltic states is prominent, especially the production of food and beverages, textiles, wood products, and electronics and the traditional stalwarts of machine building and metal fabricating. The three states have the highest productivity of the former constituent republics of the Soviet Union.
Shortly after attaining independence, Estonia, Latvia, and Lithuania abandoned the Russian ruble in favour of new domestic currencies (the kroon, lats, and litas, respectively), which, as they strengthened, greatly improved foreign trade. The main trading partners outside the region are Russia, Germany, Finland , and Sweden . The financial stability of the Baltic nations was an important prerequisite to their entering the European Union and the North Atlantic Treaty Organization in 2004. Each of the Baltic states was preparing to adopt the euro as its common currency by the end of the decade.
This article covers the history of the region from antiquity to the post-Soviet period. Additional information on the region’s physical and human geography can be found in the article Europe . For discussion of the physical and human geography as well as the history of individual countries in the region, see Estonia , Latvia , and Lithuania . Area 67,612 square miles (175,116 square km). Pop. (2001 est.) 7,412,000.
Prehistory to the 18th century
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In prehistoric times Finno-Ugric tribes inhabited a long belt stretching across northern Europe from the Urals through northern Scandinavia , reaching south to present-day Latvia. The predecessors of the modern Balts bordered them along a belt to the south, stretching west from a region in what is now central Russia to the area of the mouth of the Vistula River in Poland. Large areas of present-day Russia, Belarus, Latvia, Lithuania, and northern Poland were settled by Balts. During the Bronze Age , roughly 1250 bc, the western part of this Baltic region became known in the civilized areas of the Mediterranean basin as the “land of amber .”
The extensive trade relations that developed lasted until the decline of the Roman Empire and the Germanic migrations. Thereafter, from the 8th century ad, the Baltic peoples experienced the expansion of the bellicose trading societies of Scandinavia, which made extensive use of the river systems. Likewise, from the 10th century they came under pressure from East Slav expansion, primarily in the region of modern Belarus.
Early Middle Ages
During the early Middle Ages the Finno-Ugrians who subsequently became Estonians lived in eight recognizable independent districts and four lesser ones. Their kinsmen, the Livs , inhabited four major areas in northern Latvia and northern Courland . The western Balts were divided into at least eight recognizable groupings. The westernmost, the Prussians, formed 10 principalities in what subsequently became East Prussia . The Jotvingians and Galindians inhabited an area to the south stretching from present-day Poland east into Belarus. The settlements of the ancestors of the Lithuanians—the Samogitians and the Aukstaiciai—covered most of present-day Lithuania, stretching into Belarus. Five more subdivisions formed the basis for the modern Latvians. Westernmost of these were the Kuronians, who were divided into five to seven principalities on the peninsula of Courland (modern Kurzeme ). To the east were the Semigallians, in present-day central Latvia and portions of northern Lithuania. Eastern Latvia was inhabited by the Selonians and Latgalians. At least four major principalities can be distinguished among the latter.
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The brunt of the German effort in the region was that of the Crusading Order of the Brothers of the Sword , founded in 1202 by Bishop Albert of Buxhoevden. An allied group, the Knights of the Teutonic Order , focused its attention on the lands of the Prussians, which were conquered between 1236 and 1283. The German incursions catalyzed the Lithuanian tribes, who inhabited the most-remote areas, into organizing effective resistance. The focus of struggle shifted to Samogitia, an area that separated the German holdings in Prussia from their conquests in Latvia. In 1236 the Brothers of the Sword suffered a crushing defeat at the hands of the Lithuanians and Semigallians at Saule, not far from present-day Šiauliai , Lithuania. The remnants of the Brothers of the Sword, reorganized as the Livonian Order, became a branch of the Knights of the Teutonic Order. An attempt in 1260 to overrun Samogitia likewise was defeated at Durpe (Durbe).
The old order along the Baltic coast was replaced by a number of small feudal political entities. Northern Estonia, including Revel (modern Tallinn ), formed part of the Danish realm. The domains of the Teutonic Knights covered East Prussia, and those of the Livonian Order encompassed the bulk of what is now Latvia and southern Estonia. This region also included the four independent ecclesiastical states: the archbishopric of Riga and the bishoprics of Courland (Kurland; Latvian: Kurzeme), Dorpat (now Tartu , Estonia), and Ösel-Wiek. Riga itself was a free city. The German rulers subjugated the local populations but proved insufficiently strong to Germanize them. Even in East Prussia the extinction of the indigenous population took place only under considerably changed circumstances by the end of the 17th century and may have been due as much to epidemics as to cultural assimilation. Apart from the realm of the Teutonic Order in East Prussia, the German Baltic entities were internally weak. Following the pattern in feudal western Europe, internecine warfare proved endemic .
Independent Lithuania
The less-accessible Lithuanians , living in dense forests and swamplands, managed to withstand the foreign incursions and preserve their independence. In 1236 a chieftain, Mindaugas , united several tribes into a Lithuanian political entity. In 1251 he accepted Roman Christianity, and in 1253 he joined the western political hierarchy through coronation at the hands of a papal legate. Ten years later, however, he was assassinated, and the Lithuanians reverted to their traditional nativistic paganism.
It is quite likely that another chieftain, Traidenis , founded the dynasty that subsequently became known as that of Gediminas , who acceded to the throne about 1315 and ruled until his death in 1341 or 1342. Although Lithuanian expansion into the lands of the Kiev realm, which had been destroyed by the Mongols , had begun in the 13th century, it was Gediminas who carved out the empire that became known as historic Lithuania, including more or less the area of present-day Lithuania, Belarus, and northwestern Ukraine. Eastward expansion continued under Gediminas’s successors, Algirdas and Kęstutis , who divided the realm between them. In 1370 Great Prince Algirdas besieged Moscow . The eastward expansion provided resources for the Lithuanian state in its resistance to assaults from the Teutonic Order in the west.
The success of a small non-Christian people in carving out and maintaining an extensive empire testifies to the political skill of its ruling princely caste as well as to the policy of wide autonomy and religious toleration. Lithuanian princes frequently intermarried with the ruling families of the East Slav principalities that fell under their sway and often accepted Orthodox Christianity .
After Algirdas’s death, strife between his son Jogaila on the one hand and Jogaila’s uncle Kęstutis and Kęstutis’s son Vytautas on the other, coupled with growing pressure from the Teutonic Order, presented the Lithuanians with the need for an ally. The choice was between Moscow, which would entail the acceptance of Orthodoxy, and Poland , which would require the adoption of Roman Catholicism . In 1385 Jogaila reached agreement with Poland. He married the 12-year-old Queen Jadwiga and acceded to the Polish throne as Władisław II Jagiełło ; Lithuania thus became a part of the Latin Christian world. Subsequently, Jogaila made peace with his cousin Vytautas, who became ruler of Lithuania.
Vytautas renewed the policy of eastward expansion but suffered a defeat in 1399 at the hands of the Golden Horde (lands and peoples of the western Mongol empire) in the Battle of the Vorskla River . The successful campaign in 1410 against the Teutonic Order, however, permanently removed the threat from that quarter; on July 15, 1410, a Polish-Lithuanian army inflicted a crushing defeat on the Teutonic Order at Tannenberg (Grünwald), from which the order never recovered. Vytautas continued the policy of expansion in the east. During his reign the Lithuanian state reached its apogee , extending from the Baltic to the Black seas.
In the long term the acceptance of Roman Catholicism pushed Lithuania culturally toward the West. Such development alienated the East Slav principalities, which increasingly came under pressure from Orthodox Moscow. Simultaneously, the cultural Polonization of the Lithuanian nobility began. Increasingly, a gap developed between the Lithuanian-speaking peasantry and their Polonized overlords, analogous to that between German barons and indigenous peasants in Latvia and Estonia.
The early modern age
During its first two centuries Lithuania’s political union with Poland consisted of a loose alliance based on a joint ruler. On July 1, 1569, the purely personal union was refashioned by a joint parliament meeting in Lublin into a Commonwealth of Two Peoples. While the state entity thereafter had a common elected sovereign and a joint parliament, the legal and administrative structures of the two lands, as well as their armed forces, remained separate. This situation lasted more than two centuries.
The Polish-Lithuanian union (sometimes called the Union of Lublin ) initiated a period of political glory, prosperity, and cultural development. Until the middle of the 17th century, the Commonwealth contained the threat from Moscow. Indeed, during the Time of Troubles in Muscovy at the beginning of the 17th century, a Polish-Lithuanian force occupied Moscow. The Catholic Counter-Reformation that accompanied the union placed an indelible stamp on Lithuania. Vilnius emerged as a centre of Baroque culture . Its university, founded in 1579, is the oldest institution of higher learning in that part of the world.
The internal strength of the Confederation of Livonia diminished during the 16th century, though trade with Russia by the Hanseatic League (an organization of German merchants) brought prosperity to the towns. The Reformation rendered the ecclesiastical states anachronisms . The Confederation was unable to withstand the onslaughts of the Russian tsar Ivan IV (Ivan the Terrible), who in 1558 had laid claim to the region in an effort to gain an outlet to the sea. The region broke up into three duchies— Courland , Livonia , and Estland—an administrative division that lasted until 1917. Estland, the northern part of modern Estonia, came under Swedish rule. Livonia, with its capital, Riga, became a part of Lithuania, while Courland became a hereditary duchy nominally under Lithuanian suzerainty. German law and administration were retained. The nobility and the magistrates of the free cities kept their privileges.
In 1592 the Baltic lands became an object of contention between the Polish-Lithuanian Commonwealth and Sweden. The bulk of Livonia, with Riga, was ceded to Sweden in 1629. The southeastern portion, Latgale, remained a part of Lithuania.
The Swedish period remains one of happy memory among the Estonians and Latvians. The Swedish kings, accustomed to a free peasantry in their home country, sought in their struggles with the local nobility to improve the lot of the peasant serfs. Compulsory elementary education was introduced, and the Bible was translated into the indigenous languages. A secondary school was opened in Riga in 1631 and a university in Dorpat in 1632. Swedish administrative efforts, however, were largely thwarted by external turbulence and intermittent warfare in the region.
Courland, nominally under Lithuanian suzerainty, developed as a virtually independent state. Duke Jacob (1642–82) actively fostered trade and industry and created a navy. He acquired two colonies: Tobago in the West Indies and a settlement in Gambia on the west coast of Africa.
Russian hegemony
From the second half of the 17th century, the Baltic region faced increasing Russian pressure. During the first decade of the 18th century, Estland and Livonia came under Russian rule. By the end of the century, the remainder of Latvia and Lithuania had likewise been incorporated into the Russian Empire. In the middle of the 17th century, peasant unrest among the Cossacks in Ukraine and endemic war with Sweden over Livonia strained the resources of the Polish-Lithuanian Commonwealth. Vilnius was taken for the first time by a Russian army in 1655. The Truce of Andrusovo in 1667 reestablished a temporary balance with Moscow, with some territory lost in the east. Even though the Commonwealth lost no territory as a result of the Great Northern War (1700–21), this conflict signaled the definite decline of the Polish-Lithuanian state.
The Great Northern War was a watershed in the historical development of Estonia and Latvia. As a result, the Swedish dominion over Livonia and Estland passed to Russia, though a special status of wide autonomy was maintained. In 1795 Courland, a fief of Lithuania, likewise came under Russian rule with a similar status. Incorporation into the Russian Empire provided great opportunities for the German nobility to increase its privilege and power over the peasants as well as to serve in the administration of the Russian Empire as a whole. The servile status of the peasantry increased.
During the greater part of the 18th century, the Polish-Lithuanian Commonwealth remained an insignificant pawn ruled by a succession of Saxons who tended to embroil it in their dynastic struggles in Germany. An attempt at rejuvenation under Stanisław II August (Stanisław Poniatowski), who ruled from 1764 to 1795, led to direct foreign intervention. As a result of three partitions (1772, 1793, and 1795), the Commonwealth was erased from the political map of Europe. The first two partitions affected only the East Slav lands of Lithuania, which were ceded to Russia . As a result of the third and last partition, the bulk of the ethnographically Lithuanian lands passed to Russia as well. Only the southwestern part, between the Neman River and East Prussia, was annexed by Prussia. In 1815 that area also came under Russian control.
Throughout the 19th century tsarist rule differed considerably between the Baltic provinces of Estland, Livland, and Courland on the one hand and the Lithuanian lands and Latgale on the other. The former maintained a wide degree of autonomy, especially during the period of liberal reforms during the 1860s and ’70s. After 1881 there was a policy of Russification that lasted until 1905. It extended to education as well as to the legal and administrative systems. However, it could not affect the considerable progress that had been made in education over the century. By the middle of the 19th century, the German University of Dorpat (Tartu), reopened in 1802, had become a focal point in the development of Estonian and Latvian national consciousness . By the end of the century, there was virtually no illiteracy among the Estonians and Latvians.
The Lithuanian lands participated in the abortive Polish risings of 1830–31 and 1863–64 and suffered considerable repression in their aftermath. In 1832 the University of Vilnius was closed, and in 1840 the distinctive law code, in force since the 16th century, was abrogated . After the 1863 revolt Russification was extended to public life. Books in Lithuanian or Latgalian could be published only in the Cyrillic (i.e., the Russian) alphabet . Use of the Russian language became mandatory in all areas of public life, including education. Lithuanian resistance capitalized on the not insignificant Lithuanian population across the border in East Prussia. Books and periodicals printed there were smuggled across the border into Lithuania. Private “schools of the hearth” were organized in villages to provide a substitute for the Russian educational system.
Gradual modernization
The process of social and national emancipation began in the 19th century. The first step came with the abolition of serfdom . The earliest emancipation occurred in southwestern Lithuania, which had come under Prussian control in 1795. In 1807 it became part of the Napoleonic Grand Duchy of Warsaw and participated in the social reform that French rule introduced. Between 1816 and 1819 serfdom was abolished in the German Baltic provinces of Estland, Livland, and Courland. While the peasants acquired personal freedom, they were not allowed to own land. By the middle of the century, however, this prohibition had been lifted, and the peasantry could acquire leased land as personal property. The Baltic provinces and southwestern Lithuania began to develop a social structure quite distinct from that prevalent in Russia. The big estates, however, remained untouched, and most peasants were unable to acquire enough land to be self-supporting.
In the 19th century there was considerable socioeconomic change in the three Baltic provinces. Emancipation without land in the early part of the century stimulated migration to the cities. The coming of the railroad age during the second half of the century connected these port cities with a vast hinterland. Reval ( Tallin ), Narva , Riga , and Libau (modern Liepāja , Latvia) emerged as significant centres of export and industry and as homes for substantial commercial fleets. By the end of the century, Riga had become a port of worldwide significance. Its population grew from 250,000 to 500,000 in the period between 1900 and 1914.
Growth affected the character of the urban population. The Baltic German population, which had never made up more than 10 percent of the total, declined in proportion and importance. While German influence remained strong in industry, banking, and the professions, it was slowly superseded by the rising Estonian and Latvian urban classes in the trades, business, and civil service. The percentage of Estonians in the city of Reval rose from 51.8 in 1867 to 88.7 in 1897. That of Latvians in Riga rose from 23.5 to 41.6 during the same period.
Such developments were not mirrored in Lithuania. The peasantry in the greater part of the Lithuanian lands were not emancipated from serfdom until 1861, along with those in the rest of the Russian Empire. Unlike Russia, where land was given to peasant communes, in Lithuania it was granted to individual peasant farmers. As the tsarist government distrusted the Polonized Lithuanian nobility, rural reorganization was frequently carried out in favour of the peasantry. As a result, by the end of the century, Lithuania had become a distinctive region of free farmers unparalleled elsewhere in the Russian Empire. Nevertheless, rural overpopulation led to extensive emigration during the last two decades of the 19th century. The bulk of this emigration did not fuel urbanization in Lithuania but went, for the most part, to North America. Lithuanian cities remained small, underdeveloped administrative centres populated largely by Slavs and Jews.
The Russian Revolution of 1905 was felt in all three lands. Marxism had appeared in the Baltic provinces in the 1880s. Although a Social Democratic Party was founded earliest in Lithuania (1895), it never became as significant as its Latvian and Estonian counterparts, founded in 1904 and 1906, respectively. In 1905 Estonian and Latvian politicians joined revolutionaries in demanding national autonomy. A revolutionary wave swept the Estonian and Latvian countryside. Looting and burning of manor houses had to be subdued by armed force. About 1,000 people were shot, and thousands were exiled to Siberia or fled abroad. In the year 1905 dramatic events also occurred in Lithuania, though not as turbulent as those to the north. In the fall of that year, a congress of 2,000 delegates representing all tendencies in Lithuanian public life gathered in Vilnius and passed a resolution demanding the establishment of an autonomous Lithuanian state within ethnic boundaries.
The last decade of Russian rule in the Baltic lands was a relatively liberal period, allowing the consolidation of the national societies. The liberalization of the imperial Russian government allowed the Baltic peoples to elect representatives to the imperial parliament (Duma). Moreover, in Lithuania the prohibitions against use of the indigenous language in public life and its press in the Latin alphabet had been abrogated in 1904.
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What was snooker player Cliff Thorburn’s nickname? | Estonia
Estonia
Official name : Republic of Estonia
Area: 45,226 square kilometers (17,462 square miles)
Highest point on mainland: Suur Munamāgi (318 meters/1,043 feet)
Lowest point on land: Sea level
Hemispheres: Northern and Eastern
P.M.
= noon GMT
Longest distances: 350 kilometers (220 miles) from east to west; 240 kilometers (150 miles) from north to south
Land boundaries: 633 kilometers (392 miles) total boundary length; Latvia 339 kilometers (210 miles); Russia 294 kilometers (182 miles)
Coastline: 3,794 kilometers (2,352 miles)
Territorial sea limits: 22 kilometers (12 nautical miles)
1 LOCATION AND SIZE
Estonia is a country in northeastern Europe, located between Latvia and Russia and bordering the Gulf of Finland, the Baltic Sea, and the Gulf of Riga. With a total area of about 45,226 square kilometers (17,462 square miles), which includes about 1,520 islands in the Baltic Sea, the country is slightly smaller than the combined areas of the states of New Hampshire and Vermont. Estonia is divided into fifteen counties.
2 TERRITORIES AND DEPENDENCIES
Estonia has no outside territories or dependencies.
3 CLIMATE
Estonia's marine location keeps the climate moderate along the coast. Inland, temperatures are typically more extreme. Summers in Estonia are generally cool, with temperatures rarely exceeding 18°C (64°F). Winters are cold, with temperatures usually remaining below freezing from mid-December to late February. July and August are the wettest months. Precipitation is moderate, ranging from 48 to 69 centimeters (19 to 27 inches). The annual average precipitation is about 58 centimeters (23 inches). Rain and melting snow cause some flooding of rivers in the spring.
4 TOPOGRAPHIC REGIONS
The smallest of the three Baltic states (the other two are Latvia and Lithuania), Estonia is a low, flat country with a hilly region in the southeast. It has a long, shallow coastline on the Baltic Sea, with many islands off the coast. Over a third of the country is forest. A wide variety of native birds and animals live in the wooded countryside of Estonia. The golden eagle, white-tailed eagle, spotted eagle, eagle owl, and black stork are all protected species; the European flying squirrel is a common sight in the Estonian forest.
The country is dotted with more than one thousand natural and artificial lakes. Estonia is located on the Eurasian Tectonic Plate.
5 OCEANS AND SEAS
Seacoast and Undersea Features
The northwestern part of the country borders on the Baltic Sea, which is a part of the Atlantic Ocean. The rest of Estonia's coastline is on two major inlets of the Baltic: the Gulfs of Finland and Riga.
The Gulf of Finland reaches east about 400 kilometers (250 miles) between Finland on the north and Estonia and Russia on the south. Its width varies from 19 to 129 kilometers (12 to 80 miles), with the narrowest part at the eastern end.
The Gulf of Riga is found to the southwest of mainland Estonia, directly south of Estonia's major islands, with Latvia on the far shore. It is about 145 kilometers (90 miles) long from north to south, and ranges from 72 to 129 kilometers (45 to 80 miles) wide from east to west.
Sea Inlets and Straits
Narva Bay, at the northeastern edge of the country's coastline, links the Gulf of Finland with Lake Peipus to the south through the Narva River.
Pärnu Bay, on the southwest coast, is an inlet of the Gulf of Riga.
Islands and Archipelagos
There are thousands of islands along Estonia's coastline. The largest islands lie west of the mainland. Saaremaa is the largest island, at 2,714 square kilometers (1,048 square miles). It lies between the Baltic Sea and the Gulf of Riga. The Sõrve Peninsula extends off the southern end of the island, and is separated from Latvia by the Irben Strait. Raising livestock and tourism are the principal economic activities of this low-lying island.
Hiiumaa, the next-largest of Estonia's islands, measures 961 square kilometers (371 square miles) in area. It is located in the Baltic Sea, southwest of the entrance to the Gulf of Finland. The Soela Strait separates it from Saaremaa to the south. Its most distinctive feature is Cape Ristna, which projects off the western coast into the Baltic. Fishing and tourism are the island's chief industries. Many of its inhabitants are of Swedish descent.
The other islands are all much smaller. Vormsi and Muhu Islands lie between the larger islands and the Estonian mainland. Arbuka, Kihnu, and Ruhnu Islands are in the Gulf of Riga.
6 INLAND LAKES
The two largest lakes are Lake Peipus on the eastern border with Russia and Lake Võrts (Võrtsjarv) in south-central Estonia. Lake Peipus covers 3,520 square kilometers (1,360 square miles). A long, narrow channel connects it on the south with the smaller Lake Pskov, which lies mostly within Russian territory. Lake Peipus is drained on the north by the Narva River, which flows into the Gulf of Finland. Fishing is the chief industry. Lake Peipus is navigable for about eight months of the year. Lake Võrts's area is 270 square kilometers (105 square miles).
7 RIVERS AND WATERFALLS
The Pärnu is the longest river in Estonia at 144 kilometers (89 miles) long. It flows southwest, emptying into the Gulf of Riga at Pärnu Bay. Other important rivers include the Ema in the southeast and the Narva, which forms the country's northeastern border with Russia.
8 DESERTS
There are no desert regions in Estonia.
9 FLAT AND ROLLING TERRAIN
While Estonia is a flat country, much of its area is forested or marshy. Approximately 25 percent of the land (9,260 square kilometers/ 3,575 square miles) is considered arable, but with no permanent crops. Permanent pastures (1,810 square kilometers/699 square miles) comprise 11 percent of land use. About 110 square kilometers (68 square miles) of land is irrigated for crop production.
About 44 percent of Estonia's area consists of forests and woodlands. Meadows cover about 2,520 square kilometers (973 square miles). Tree species are chiefly pine, birch, aspen, and fir. Wildlife includes elk, deer, and wild boar. Beaver, red deer, and willow grouse have been protected by legislation because of their dwindling numbers.
Estonia is mostly a low-lying plain, but there are some modest hills in the central and southern regions, known as the Pandivere, Otepää, and Haanja Uplands. The country's highest point, Suur Munamägi (318 meters/ 1,043 feet), is in the extreme southeast corner of the country near the Russian border.
Along the north coast is an area of slightly elevated limestone known as the Glint. There, waterfalls as high as 56 meters (185 feet) tumble down the exposed limestone cliffs.
10 MOUNTAINS AND VOLCANOES
The hills and other uplands of Estonia are not high enough to be considered mountains, and there are no volcanoes in the country.
11 CANYONS AND CAVES
Humans created most of the larger caves in Estonia. The Piusa Glass Sand Caves, located near Tartu, are a series of eight caves that were dug into hills of Devonian sandstone, which is a sedimentary deposit formed in the Devonian Era about 360 to 408 million years ago. This sand was found to be highly suitable for making glass, but mining operations ceased some time ago. Now, the caves serve as a hibernation site for what is considered by naturalists to be the largest bat colony in the Baltic countries.
12 PLATEAUS AND MONOLITHS
There are no plateau regions or monoliths in Estonia.
13 MAN-MADE FEATURES
A hydroelectric power plant was built in 1956 near the city of Narva, on the Narva River. This dam created the artificial reservoir now known as Lake Narva.
DID YOU KNOW?
The region known as the Baltic States includes the independent nations of Estonia, Latvia, and Lithuania, all of which line the eastern coast of the Baltic Sea. Finland and Sweden, two other countries which also touch the Baltic Sea, are generally included in the region known as Scandinavia.
14 FURTHER READING
Books
Grabowski, John, F. The Baltics. San Diego: Lucent Books, 2001.
Hiden, John, and Patrick Salmon. The Baltic Nations and Europe: Estonia, Latvia, and Lithuania in the Twentieth Century. New York: Longman, 1991.
Raun, Toivo V. Estonia and the Estonians . 2nd ed. Stanford, CA: Hoover Institution Press, 1991.
Periodicals
Pettai, Vello A. "Estonia: Old Maps and New Roads." Journal of Democracy , Vol. 4, No. 1, January 1993, 117-125.
Vesiland, Priit J. "The Baltic Nations." National Geographic , November 1990, 2-37.
Web Sites
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What was Sir Malcolm Sargent’s nickname? | Sir Malcolm Sargent on Apple Music
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Biography
English conductor Malcolm Sargent was perhaps the best musical ambassador the British Isles could have hoped for in the 20th century. Equally at home with both orchestra and choir, Sargent's musical energy and unbridled enthusiasm for conveying the wonders of music took him around the globe many times over, and made him a legend in his own time.
Sargent was born into a family which had dwelled in the town of Stamford in South Lincolnshire for over five centuries. Though a coal merchant by profession, his father also served as church organist and choirmaster. It was decided at an early age that young Malcolm, too, would pursue a career in church music, and he began seriously studying music while a young student at Stamford School. In 1909, the 14-year-old boy was unexpectedly asked to fill in for an absent conductor at a local rehearsal of Gilbert & Sullivan's The Gondoliers. Despite a lack of formal training, Sargent's skillful handling of the players made quite a splash in the small town, and later that year he was invited to conduct a musical pageant depicting a royal visit to Stamford.
At 16 Sargent took the Associateship diploma of the Royal College of Organists, and was sent as an apprentice to the organist of Peterborough Cathedral. In 1914 he received his Bachelor of Music degree from Durham and became parish organist of Melton Mowbray, where Sargent quickly began to set up community musical activities (his interest in the musical life of the "common folk" would remain a driving force throughout Sargent's life). Sargent served in the 27th Durham Light Infantry during the First World War, and upon discharge took his doctorate of music (Durham again) — the youngest man in England up to that time to hold the degree — and became a pupil of Russian-born British pianist Benno Moiseiwitsch.
Uncertainty about his future musical course was eliminated in 1921 when Sir Henry Wood invited Sargent to conduct his own Impression on a Windy Day (Sargent's first and only real venture into the realm of composition) at a Promenade Concert in London. By 1923, greatly helped by Wood's fatherly encouragement, Sargent had joined the teaching staff of the Royal College of Music, and his career as a conductor seemed well on its way.
In 1924 he served as chief conductor of the Robert Mayer children's concerts, and for two seasons beginning in 1926 led the D'Oyly Carte Opera Company in London. It was during this same period that he began his prolific recording career with a collection of highlights and excepts from the Ralph Vaughan Williams opera Hugh the Drover in 1924. The advent of electrical recording the following year, with its attendant improved fidelity for orchestral performances, led to his first set of recordings of the Gilbert & Sullivan operettas during the late '20s, which were sufficiently popular and important to remain in print on LP in the 1970s and on CD in the decades after.
He served as assistant conductor for the Ballet Russe's London seasons in 1927 and 1928. Never forgetting his foundation in choral music, Sargent accepted leadership of the Royal Choral Society in 1929 (a post he held for the next 20 years), and the Huddersfield Choral Society in 1932. In that same year he helped Sir Thomas Beecham found the London Philharmonic Orchestra, with which he would be closely associated from then on. From 1939 to 1942 he was chief conductor of the Hallé Orchestra, and from 1943 to 1949 led the Liverpool Philharmonic. In 1950 Sargent replaced Adrian Boult as head of the BBC Symphony Orchestra (Sargent in turn handed over the reins to Rudolf Schwarz in 1957). From 1948 until the year before he died Sargent organized and conducted the Promenade Concerts in London.
Although less important to him than his work with choirs and orchestras, Sargent found time to conduct several operas throughout the years. He gave the premieres of three Vaughn Williams operas (Hugh the Drover, 1924; Sir John in Love, 1929; Riders to the Sea, 1937), as well as Gustav Holst's At the Boar's Head in 1925 (with the recently founded British National Opera Company). Sargent introduced Sir William Walton's Troilus and Cressida at Covent Garden in 1954.
Frequent touring introduced Sargent's uniquely energetic brand of music-making to a wide audience around the world (including the U.S.S.R., South Africa, and the Far East). In 1947 he was knighted for his conspicuous service to British music. He was passionately devoted to the music of his countrymen, and firmly believed that the great works of Elgar, Walton, Vaughan Williams, and Delius would eventually take their place alongside the great classics of Western art music. Invited by Toscanini to conduct several performances of the NBC Symphony, Sargent used the venue as an opportunity to expose American audiences to a wide range of British composers.
Ironically, as he was — with his friend and onetime mentor Beecham — the quintessential English conductor to many people abroad, at home he was a somewhat more controversial figure, in part because of his sheer ubiquitousness. With his impeccable grooming and elegant figure — always with a red carnation in his lapel — he seemed all the more visible. Sargent conducted more performances than virtually any musician of his era, too many in some ways to ever achieve greatness at much, in the estimation of some critics. To many British concertgoers, he was dismissed as "Flash Harry" — a nickname that was critical as well as affectionate — for his seeming superficiality, and he was regarded somewhat unfairly as a musical jack of all trades and a master of none. It was true that his efforts at such Germanic and European repertory staples as the Beethoven or Brahms symphonies, or pieces such Smetana's Ma Vlast — which was in print for many years in America as a budget double LP from Angel Records — were easily dismissed in favor of renditions by more inspired hands; and his version of even some English-spawned staples as Holst's The Planets were eclipsed by those of his colleague and rival Sir Adrian Boult (who, in fairness, had conducted the premiere of the piece and did at least three notable recordings of it across 40 years). On the other hand, he was among the very finest choral conductors in England — and not just of his own time — and on works in that idiom from Baroque to post-Romantic was fully the measure of a Beecham or a Boult. Among his many credits are a 1945 recording of Elgar's The Dream of Gerontius — the first full-length recording of a 20th century oratorio — that remains ranked right alongside more recent stereo and digital documents of the work well into the 21st century. And he was a superb accompanist on several notable recordings, with Schnabel on the Beethoven piano concertos, Paul Tortilier's legendary (some would say never equalled, not even by Tortilier in his two subsequent attempts) 1954 recording of the Elgar Cello Concerto, and Jacqueline DuPre's dazzling recording of the Delius Cello Concerto, from the start of her recording career.
He maintained a hectic schedule which would have broken many conductors of less will (or sheer energy), and yet somehow found time to maintain a wide range of extra-musical interests — the breadth and depth of his knowledge was revealed when he became a member of the BBC Brains Trust during the war. Despite his extraordinary professional success, Sargent never lost touch with his rural roots (he in fact founded a symphony orchestra in Leicester), and his down-to-earth attitudes to music came as a breath of fresh air to many listeners tired of the weary, pedantic approach of many serious musicians. A firm believer in fundamental musical intent as opposed to superficial accuracy, Sargent was not loathe to alter a musical score in instances when he felt an advancement in instrument technology made a better realization of the composer's intent possible, though he never recommended this course of action to those without the knowledge and intuition to make such changes effectively. All of this knowledge and the sensibilities behind them were couched in a quick-witted persona that, when turned loose, could be among the most eloquent and cuttingly funny personalities in music.
Between the 1920s and the 1960s, he recorded for all of the major labels in England, most notably for EMI, and left behind a string of musical documents across five decades that spread his name and reputation at the time and have comprised his legacy since. Although most of his recordings were done in the 78 rpm era, Sargent got in a significant amount of work in the studio across the last 15 years of his career on LP, in mono or stereo. As with his performances, many of these documents are very good — his account of Vaughan Williams' Fantasia on a Theme of Thomas Tallis or Serenade to Music — without being great; and many, even of the British works, have fallen aside in the face of true greatness, by the likes of Boult, Beecham, Sir John Barbirolli, et al., for the same label. But a few have stood out — his EMI rendition of The Planets was available on Capitol Records in America for many years, and was paired with the composer's own electrical recording in a double-LP set devised by Rod McKuen's Stanyan Records label in the early '70s, and thus became the one first heard by many Americans in the "post-psychedelic" era; similarly, in the late '50s, with the lapsing of the last of the copyrights involved, EMI allowed Sargent to return to his beloved Gilbert & Sullivan operettas and do new stereo versions with some of the best singers ever to grace that repertory — although he was criticized by some for his slow, deliberate tempos, the quality of the musicianship and the singing is beyond reproach. Those recordings have remained in print for decades and are still considered effective rivals to the concurrent body of complete G&S works done by the D'Oyly Carte company for Decca Records. And he left behind two versions of Handel's Messiah that were notable in the stereo era (in addition to a mono rendition from 1954 that, so accounts say, could knock one's socks off) — his 1959 EMI recording, with the Royal Liverpool Philharmonic and Huddersfield Choral Society, was justifiably a best-seller for decades, big-band Handel that was among the first stereo releases of the piece, fully exploiting the sound separation and enhanced by a big, lusty, vigorous approach, even if its tempos seem too stately by modern standards; and his 1965 version for Reader's Digest, available from Chesky Records on CD, with a Royal Philharmonic Orchestra version, with the Royal Choral Society, with tempos that are a bit slower but playing and singing that are so exquisite that one hardly minds the extended immersion, especially because it was recorded to what amounts to an audiophile standard.
By the mid-'60s, Sargent's activity had slowed in the face of declining health and also the arrival of a new generation of conductors, including Sir Charles Mackerras, Sir Colin Davis, Sir David Willcocks, and Sir Charles Groves, and the continued robust careers of Boult and Barbirolli. Sir Malcolm Sargent died from cancer in 1967 at the age of 72. He left behind provision for a charity, The Malcolm Cancer Fund, organized to support the care of children suffering from leukemia and research toward a cure for leukemia and other forms of cancer. ~ Blair Johnston & Bruce Eder, Rovi
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How many number one UK hit singles did The Who have? | Sir Malcolm Sargent on Apple Music
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Biography
English conductor Malcolm Sargent was perhaps the best musical ambassador the British Isles could have hoped for in the 20th century. Equally at home with both orchestra and choir, Sargent's musical energy and unbridled enthusiasm for conveying the wonders of music took him around the globe many times over, and made him a legend in his own time.
Sargent was born into a family which had dwelled in the town of Stamford in South Lincolnshire for over five centuries. Though a coal merchant by profession, his father also served as church organist and choirmaster. It was decided at an early age that young Malcolm, too, would pursue a career in church music, and he began seriously studying music while a young student at Stamford School. In 1909, the 14-year-old boy was unexpectedly asked to fill in for an absent conductor at a local rehearsal of Gilbert & Sullivan's The Gondoliers. Despite a lack of formal training, Sargent's skillful handling of the players made quite a splash in the small town, and later that year he was invited to conduct a musical pageant depicting a royal visit to Stamford.
At 16 Sargent took the Associateship diploma of the Royal College of Organists, and was sent as an apprentice to the organist of Peterborough Cathedral. In 1914 he received his Bachelor of Music degree from Durham and became parish organist of Melton Mowbray, where Sargent quickly began to set up community musical activities (his interest in the musical life of the "common folk" would remain a driving force throughout Sargent's life). Sargent served in the 27th Durham Light Infantry during the First World War, and upon discharge took his doctorate of music (Durham again) — the youngest man in England up to that time to hold the degree — and became a pupil of Russian-born British pianist Benno Moiseiwitsch.
Uncertainty about his future musical course was eliminated in 1921 when Sir Henry Wood invited Sargent to conduct his own Impression on a Windy Day (Sargent's first and only real venture into the realm of composition) at a Promenade Concert in London. By 1923, greatly helped by Wood's fatherly encouragement, Sargent had joined the teaching staff of the Royal College of Music, and his career as a conductor seemed well on its way.
In 1924 he served as chief conductor of the Robert Mayer children's concerts, and for two seasons beginning in 1926 led the D'Oyly Carte Opera Company in London. It was during this same period that he began his prolific recording career with a collection of highlights and excepts from the Ralph Vaughan Williams opera Hugh the Drover in 1924. The advent of electrical recording the following year, with its attendant improved fidelity for orchestral performances, led to his first set of recordings of the Gilbert & Sullivan operettas during the late '20s, which were sufficiently popular and important to remain in print on LP in the 1970s and on CD in the decades after.
He served as assistant conductor for the Ballet Russe's London seasons in 1927 and 1928. Never forgetting his foundation in choral music, Sargent accepted leadership of the Royal Choral Society in 1929 (a post he held for the next 20 years), and the Huddersfield Choral Society in 1932. In that same year he helped Sir Thomas Beecham found the London Philharmonic Orchestra, with which he would be closely associated from then on. From 1939 to 1942 he was chief conductor of the Hallé Orchestra, and from 1943 to 1949 led the Liverpool Philharmonic. In 1950 Sargent replaced Adrian Boult as head of the BBC Symphony Orchestra (Sargent in turn handed over the reins to Rudolf Schwarz in 1957). From 1948 until the year before he died Sargent organized and conducted the Promenade Concerts in London.
Although less important to him than his work with choirs and orchestras, Sargent found time to conduct several operas throughout the years. He gave the premieres of three Vaughn Williams operas (Hugh the Drover, 1924; Sir John in Love, 1929; Riders to the Sea, 1937), as well as Gustav Holst's At the Boar's Head in 1925 (with the recently founded British National Opera Company). Sargent introduced Sir William Walton's Troilus and Cressida at Covent Garden in 1954.
Frequent touring introduced Sargent's uniquely energetic brand of music-making to a wide audience around the world (including the U.S.S.R., South Africa, and the Far East). In 1947 he was knighted for his conspicuous service to British music. He was passionately devoted to the music of his countrymen, and firmly believed that the great works of Elgar, Walton, Vaughan Williams, and Delius would eventually take their place alongside the great classics of Western art music. Invited by Toscanini to conduct several performances of the NBC Symphony, Sargent used the venue as an opportunity to expose American audiences to a wide range of British composers.
Ironically, as he was — with his friend and onetime mentor Beecham — the quintessential English conductor to many people abroad, at home he was a somewhat more controversial figure, in part because of his sheer ubiquitousness. With his impeccable grooming and elegant figure — always with a red carnation in his lapel — he seemed all the more visible. Sargent conducted more performances than virtually any musician of his era, too many in some ways to ever achieve greatness at much, in the estimation of some critics. To many British concertgoers, he was dismissed as "Flash Harry" — a nickname that was critical as well as affectionate — for his seeming superficiality, and he was regarded somewhat unfairly as a musical jack of all trades and a master of none. It was true that his efforts at such Germanic and European repertory staples as the Beethoven or Brahms symphonies, or pieces such Smetana's Ma Vlast — which was in print for many years in America as a budget double LP from Angel Records — were easily dismissed in favor of renditions by more inspired hands; and his version of even some English-spawned staples as Holst's The Planets were eclipsed by those of his colleague and rival Sir Adrian Boult (who, in fairness, had conducted the premiere of the piece and did at least three notable recordings of it across 40 years). On the other hand, he was among the very finest choral conductors in England — and not just of his own time — and on works in that idiom from Baroque to post-Romantic was fully the measure of a Beecham or a Boult. Among his many credits are a 1945 recording of Elgar's The Dream of Gerontius — the first full-length recording of a 20th century oratorio — that remains ranked right alongside more recent stereo and digital documents of the work well into the 21st century. And he was a superb accompanist on several notable recordings, with Schnabel on the Beethoven piano concertos, Paul Tortilier's legendary (some would say never equalled, not even by Tortilier in his two subsequent attempts) 1954 recording of the Elgar Cello Concerto, and Jacqueline DuPre's dazzling recording of the Delius Cello Concerto, from the start of her recording career.
He maintained a hectic schedule which would have broken many conductors of less will (or sheer energy), and yet somehow found time to maintain a wide range of extra-musical interests — the breadth and depth of his knowledge was revealed when he became a member of the BBC Brains Trust during the war. Despite his extraordinary professional success, Sargent never lost touch with his rural roots (he in fact founded a symphony orchestra in Leicester), and his down-to-earth attitudes to music came as a breath of fresh air to many listeners tired of the weary, pedantic approach of many serious musicians. A firm believer in fundamental musical intent as opposed to superficial accuracy, Sargent was not loathe to alter a musical score in instances when he felt an advancement in instrument technology made a better realization of the composer's intent possible, though he never recommended this course of action to those without the knowledge and intuition to make such changes effectively. All of this knowledge and the sensibilities behind them were couched in a quick-witted persona that, when turned loose, could be among the most eloquent and cuttingly funny personalities in music.
Between the 1920s and the 1960s, he recorded for all of the major labels in England, most notably for EMI, and left behind a string of musical documents across five decades that spread his name and reputation at the time and have comprised his legacy since. Although most of his recordings were done in the 78 rpm era, Sargent got in a significant amount of work in the studio across the last 15 years of his career on LP, in mono or stereo. As with his performances, many of these documents are very good — his account of Vaughan Williams' Fantasia on a Theme of Thomas Tallis or Serenade to Music — without being great; and many, even of the British works, have fallen aside in the face of true greatness, by the likes of Boult, Beecham, Sir John Barbirolli, et al., for the same label. But a few have stood out — his EMI rendition of The Planets was available on Capitol Records in America for many years, and was paired with the composer's own electrical recording in a double-LP set devised by Rod McKuen's Stanyan Records label in the early '70s, and thus became the one first heard by many Americans in the "post-psychedelic" era; similarly, in the late '50s, with the lapsing of the last of the copyrights involved, EMI allowed Sargent to return to his beloved Gilbert & Sullivan operettas and do new stereo versions with some of the best singers ever to grace that repertory — although he was criticized by some for his slow, deliberate tempos, the quality of the musicianship and the singing is beyond reproach. Those recordings have remained in print for decades and are still considered effective rivals to the concurrent body of complete G&S works done by the D'Oyly Carte company for Decca Records. And he left behind two versions of Handel's Messiah that were notable in the stereo era (in addition to a mono rendition from 1954 that, so accounts say, could knock one's socks off) — his 1959 EMI recording, with the Royal Liverpool Philharmonic and Huddersfield Choral Society, was justifiably a best-seller for decades, big-band Handel that was among the first stereo releases of the piece, fully exploiting the sound separation and enhanced by a big, lusty, vigorous approach, even if its tempos seem too stately by modern standards; and his 1965 version for Reader's Digest, available from Chesky Records on CD, with a Royal Philharmonic Orchestra version, with the Royal Choral Society, with tempos that are a bit slower but playing and singing that are so exquisite that one hardly minds the extended immersion, especially because it was recorded to what amounts to an audiophile standard.
By the mid-'60s, Sargent's activity had slowed in the face of declining health and also the arrival of a new generation of conductors, including Sir Charles Mackerras, Sir Colin Davis, Sir David Willcocks, and Sir Charles Groves, and the continued robust careers of Boult and Barbirolli. Sir Malcolm Sargent died from cancer in 1967 at the age of 72. He left behind provision for a charity, The Malcolm Cancer Fund, organized to support the care of children suffering from leukemia and research toward a cure for leukemia and other forms of cancer. ~ Blair Johnston & Bruce Eder, Rovi
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Which prominent anti-war activist was born in Monmouthshire in 1872? | Contest Bertrand Russell on Wittygraphy
May
2016
Bertrand Arthur William Russell, 3rd Earl Russell, OM, FRS (18 May 1872 – 2 February 1970) was a British philosopher, logician, mathematician, historian, writer, social critic, political activist and Nobel laureate. At various points in his life he considered himself a liberal, a socialist, and a pacifist, but he also admitted that he had "never been any of these in any profound sense". He was born in Monmouthshire into one of the most prominent aristocratic families in the United Kingdom.
In the early 20th century, Russell led the British "revolt against idealism". He is considered one of the founders of analytic philosophy along with his predecessor Gottlob Frege, colleague G. E. Moore, and his protégé Ludwig Wittgenstein. He is widely held to be one of the 20th century's premier logicians. With A. N. Whitehead he wrote Principia Mathematica, an attempt to create a logical basis for mathematics. His philosophical essay "On Denoting" has been considered a "paradigm of philosophy". His work has had a considerable influence on logic, mathematics, set theory, linguistics, artificial intelligence, cognitive science, computer science (see type theory and type system), and philosophy, especially the philosophy of language, epistemology, and metaphysics.
Russell was a prominent anti-war activist; he championed anti-imperialism and went to prison for his pacifism during World War I. Later, he campaigned against Adolf Hitler, then criticised Stalinist totalitarianism, attacked the involvement of the United States in the Vietnam War, and was an outspoken proponent of nuclear disarmament. In 1950 Russell was awarded the Nobel Prize in Literature "in recognition of his varied and significant writings in which he champions humanitarian ideals and freedom of thought".
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| Bertrand Russell |
In the Royal Navy, what is the only rank higher than that of admiral? | Biography of Bertrand Russell
1872 – 1970
Who was Bertrand Russell?
Bertrand Arthur William Russell, 3rd Earl Russell, OM, FRS was a British nobleman, philosopher, logician, mathematician, historian, and social critic. At various points in his life he considered himself a liberal, a socialist, and a pacifist, but he also admitted that he had never been any of these in any profound sense. He was born in Monmouthshire, into one of the most prominent aristocratic families in Britain.
Russell led the British "revolt against idealism" in the early 20th century. He is considered one of the founders of analytic philosophy along with his predecessor Gottlob Frege and his protégé Ludwig Wittgenstein. He is widely held to be one of the 20th century's premier logicians. He co-authored, with A. N. Whitehead, Principia Mathematica, an attempt to ground mathematics on logic. His philosophical essay "On Denoting" has been considered a "paradigm of philosophy". His work has had a considerable influence on logic, mathematics, set theory, linguistics, artificial intelligence, computer science, and philosophy, especially philosophy of language, epistemology, and metaphysics.
Russell was a prominent anti-war activist; he championed anti-imperialism and went to prison for his pacifism during World War I. Later, he campaigned against Adolf Hitler, then criticised Stalinist totalitarianism, attacked the involvement of the United States of America in the Vietnam War, and was an outspoken proponent of nuclear disarmament. In 1950 Russell was awarded the Nobel Prize in Literature "in recognition of his varied and significant writings in which he champions humanitarian ideals and freedom of thought."
Famous Quotes:
A truer image of the world, I think, is obtained by picturing things as entering into the stream of time from an eternal world outside, than from a view which regards time as the devouring tyrant of all that is.
One of the signs of an approaching nervous breakdown is the belief that one's work is terribly important.
The good life is one inspired by life and guided by knowledge.
Indignation is a submission of our thoughts, but not of our desires.
Our instinctive emotions are those that we have inherited from a much more dangerous world, and contain, therefore, a larger portion of fear than they should.
Men fear thought as they fear nothing else on earth more than ruin more even than death. Thought is subversive and revolutionary, destructive and terrible, thought is merciless to privilege, established institutions, and comfortable habit. Thought looks into the pit of hell and is not afraid. Thought is great and swift and free, the light of the world, and the chief glory of man.
Religions, which condemn the pleasures of sense, drive men to seek the pleasures of power. Throughout history power has been the vice of the ascetic.
Advocates of capitalism are very apt to appeal to the sacred principles of liberty, which are embodied in one maxim: The fortunate must not be restrained in the exercise of tyranny over the unfortunate.
Thought is great and swift and free, the light of the world, the chief glory of man.
No matter how eloquently a dog may bark, he cannot tell you that his parents were poor, but honest.
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Who composed the 1870 ballet ‘Coppelia’? | NYCB - Coppélia
Coppélia
Choreography by: George Balanchine and Alexandra Danilova, after Petipa (1884)
Music by: Léo Delibes
Based on a story by E.T.A. Hoffmann, this delightful tale presents a budding romance between two villagers, Frantz and Swanilda, alongside the curious workings of their eccentric neighbor Dr. Coppélius, a mad inventor who has taken to creating life-like automatons. Infatuated at the sight of the inventor's new doll, Frantz sneaks into Dr. Coppélius' workshop, and mayhem ensues.
Coppélia, considered one of the greatest comic ballets of the 19th Century, has remained one of the best-loved classical works in the ballet repertory. Originally choreographed by Arthur St. Léon in 1870, restaged by Petipa in 1884, and revised by Cecchetti in 1894, it has been performed regularly since then. None of St. Léon’s original choreography remains in today’s productions, and although Acts I and II have retained his ideas and story, the nature of some of the roles has changed. This staging by Balanchine and Alexandra Danilova — who was considered a definitive Swanilda — also contains the most authentic of the character dances. In Act III, which is totally Balanchine’s, the story becomes secondary, as the village festivities are presented as a series of dances, culminating in an all-encompassing grand finale.
In Coppélia, Delibes, along with Nuitter (who devised the original book from E.T.A. Hoffmann’s Der Sandmann) and St. Léon, created a work which remains a model of ballet construction. Delibes was a dancer’s composer, with the gift of illustrating action, creating atmosphere, and inspiring movement in his music. He attempted to do in his music what the impressionists had achieved in painting — make color matter most. The result was the first symphonic ballet score that included melodic national dances, musical descriptions that introduced the main characters, and spectacular effects that held the interest of the audience. The music of Coppélia links two great historical periods of ballet — the French Romantic style and the Russian Classical style.
In 1974, when Balanchine decided to add Coppélia to NYCB’s repertory, he took the opportunity to gently update the ballet, adding some male solos, more pas de deux, and a new third act. He enlisted Danilova to restage the dances she knew so well for the first two acts, and to coach the principal roles, originally performed by Patricia McBride (Swanilda), Helgi Tomasson (Frantz), and Shaun O’Brien (Doctor Coppélius).
View a slideshow of images from Coppélia >
Learn more about Coppélia
| Léo Delibes |
What is the capital and largest city of the Seychelles? | Léo Delibes Biography | Milwaukee Ballet -
Léo Delibes Biography
Léo Delibes
Composer
Léo Delibes (1836-1891) was a French opera and ballet composer who was responsible for the historic movement of ballet music toward s that of symphonic proportions. In a typical French manor, Delibes’ music is characterized by its refined, light, and graceful style with an edge of exoticism. Delibes’ dedication to the creation of symphonic ballet music fostered a new genre of musical composition. His influence is apparent in the works of later ballet composers, including the beloved Tchaikovsky.
During his musical career, Delibes composed three ballet scores – La Source (1866), Coppélia (1870) and Sylvia (1876). Of these, Coppélia is distinguished as the work that significantly propelled forward the genre of ballet music. Delibes included a vast amount of expressivity in his music, a concept unheard of at the time. This expression created works that are regarded as descriptive tone poems, containing elements of early impressionism in addition to the refined use of the leitmotif. The sophisticated and advanced nature of his ballet compositions has allowed his works to remain adored by modern audiences.
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What do the initials represent in the name of the HSBC bank? | What does HSBC stand for?
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What does HSBC stand for?
What does HSBC mean? This page is about the various possible meanings of the acronym, abbreviation, shorthand or slang term: HSBC.
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HSBC
HSBC Holdings P.L.C. is a British multinational banking and financial services organisation headquartered in London, United Kingdom and is one of the world's largest banks. It was founded in London in 1991 by The Hongkong and Shanghai Banking Corporation to act as a new group holding company The origins of the bank lie in Hong Kong and Shanghai, where branches were first opened in 1865. The HSBC name is derived from the initials of The Hongkong and Shanghai Banking Corporation Limited. It has around 7,200 offices in 85 countries and territories across Africa, Asia, Europe, North America and South America, and around 89 million customers. As of 31 December 2012 it had total assets of $2.693 trillion, of which roughly half were in Europe, the Middle East and Africa, and a quarter each in Asia-Pacific and the Americas. As of 2012, it was the world's largest bank in terms of assets and sixth-largest public company, according to a composite measure by Forbes magazine. HSBC is organised within four business groups: Commercial Banking; Global Banking and Markets; Retail Banking and Wealth Management; and Global Private Banking. HSBC has a primary listing on the London Stock Exchange and is a constituent of the FTSE 100 Index. As of 6 July 2012 it had a market capitalisation of £102.7 billion, the second-largest company listed on the London Stock Exchange, after Royal Dutch Shell. It has secondary listings on the Hong Kong Stock Exchange, the New York Stock Exchange, Euronext Paris and the Bermuda Stock Exchange.
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From 2005 to 2007, Shane Warne captained which English county side? | HSBC - What does HSBC stand for? The Free Dictionary
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Hong Kong and Shanghai Banking Corporation
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Humane Society of Bay County (Bay County, Michigan)
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NYSE:BBY) announced today enhancements to its customer loyalty program, Reward Zone, including the launch of the Best Buy Reward Zone([R]) program MasterCard([R]) card, issued by HSBC.
ORDERS ISSUED UNDER BANK HOLDING COMPANY ACT
Another new twist to the program is that consumers can now follow the HSBC BankCab on Twitter via twitter.
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Which jockey won the English Derby four times between 1979 and 1994? | Espom Derby History
Espom Derby History
Latest Espom Derby History Stories
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Espom Derby History Epsom Derby video highlights - The top ten Derby winners
15 May 2012
The town of Epsom first became famous for its natural mineral water when a local farmer, Henry Wicker took his cattle up to a watering hole on the Downs in 1618.
The alleged healing properties of the water brought crowds from London who wanted to escape the squalor in return for the country air.
1661 saw the first recorded race meeting to be held on the Downs and the tradition continued until the summer of 1780 when one of today's greatest sporting spectacles was established.
Edward Smith Stanley, the 12th Earl of Derby, organised a race for himself and his friends to race their three-year-old fillies over one and a half miles. He named it the Oaks after his estate. The race became so successful that the following year a new race was added for colts and fillies.
The title of the race was decided after the Earl of Derby and Sir Charles Bunbury, a leading racing figure of the day and friend of the Earl's, flipped a coin. So begun the inaugural running of the 'Derby' won, incidentally, by Sir Charles Bunbury's horse Diomed.
The contest was held over a mile with the starting point in a straight line beyond the current five-furlong marker. Tattenham Corner was not introduced until 1784 when the course was extended to its current distance of a mile- and-a-half.
Since then, the race has produced some of the most remarkable stories in all of sport and has been the crowning glory for some of the greatest legends of the game, both human and equine.
Emily Davison
In 1913, for example, a young woman named Emily Davison attended the race. A keen suffragette, Emily dedicated her life to fighting the oppression of women – arguing for the right to vote and equality in law.
To gain publicity, Emily tried to grab the bridle of Anmer, King George V's horse, as it raced past her. Horrifically, she was trampled by the horse, suffering a severely fractured skull. She died without regaining consciousness. Although the suffragettes mourned her loss, they also applauded her bravery. The general public weren't so compassionate though and seemed more concerned with the fate of the horse and jockey, though neither turned out to be seriously hurt.
Emily's actions spurred many more women to act and, in 1918, parliament enfranchised women over the age of 30, eventually lowering the voting age to 21 in 1928, giving women complete political equality with men. Emily's sacrifice also had a big affect on the Derby itself – her legendary action had made the race more famous than ever.
Vincent O’Brien
Vincent O’Brien is arguably the greatest trainer of thoroughbreds there has ever been and his record is simply astonishing.
Initially he concentrated his efforts on jump racing. This led to a string of eye catching successes. These encompassed three consecutive Gold Cups (1948, 1949 and 1950), three consecutive Champion Hurdles (1949, 1950 and 1951) and three consecutive Grand Nationals (1953, 1954 and 1955). He is the only trainer ever to have sent out three consecutive winners of the Grand National, and he won a further Gold Cup in 1953.
In the late 1950's he switched his attentions to the flat and needless to say he met once again with considerable success. By the time he retired he had won sixteen English and twenty seven Irish classics, including six Derbys (Larkspur (1962), Sir Ivor (1968), Nijinsky (1970), Roberto (1972), The Minstrel (1977) and Golden Fleece (1982)).
Lester Piggott
Lester Piggott rode in the Epsom Derby on thirty-eight occasions and won the race nine times, including becoming the youngest ever to win the event in at the tender age of 18.
In his 47 years in the saddle he rode to victory 5,300 times in more than 30 countries. Aged 56, he claimed the 2,000 Guineas in 1992 on Rodrigo de Triano - his 30th British Classic win. He eventually retired in 1995 and some of his most noteable Derby's are detailed below:
ZUCCHERO (1951)
Piggott's first Derby in 1951, when he was just 15, was on a temperamental character who planted and refused to budge until the remainder of the field were almost out of sight. What did Piggott learn from this experience? "Not to get left at the start".
GAY TIME (1952)
After winning well at Salisbury just seven days before the big race, Piggott considered his mount 'a certainty', but Charlie Smirke was in no mood to be upstaged and gave his young rival a famously hard time on the track. Smirke's mount, Tulyar, held off Gay Time by three-quarters of a length and Piggott was eventually unseated after the line.
NEVER SAY DIE (1954)
The first of Piggott's nine successes in the race came aboard a 33-1 chance. The papers were in a frenzy about the youngest rider ever to win the race ever winner but, rather than stay out to celebrate, he was driven home by his parents where he to spend the evening mowing the lawn.
CREPELLO (1957)
A heavily backed favourite, Piggott's winning ride cemented his reputation with punters and the press as being the best around. As he returned to the winner's enclosure, celebrity hairdresser 'Teasy Weasy' Raymond burst through the crowds to thrust a gold watch into the hands of the jockey as a thank-you present, while the horse's owner, Victor Sassoon gave Piggott his car, a Lincoln Continental limousine.
SIR IVOR (1968)
Any regrets the rider might have had about his split with Noel Murless did not last long. Sir Ivor became the first of four winners Piggott would partner for Vincent O'Brien, eight years after his previous Derby win on St Paddy Piggott found Sir Ivor an easy ride – "it was as if he knew what he was supposed to do".
NIJINKSY (1970)
Probably Piggott's most popular and famous winning ride in the race, the outstanding Nijinksy went on to become the first horse since Bahram in 1935 to win the Triple Crown. An iconic victory in the Derby, which took his record to eight from eight, was achieved in effortless fashion from French colts Gyr and Stintino.
ROBERTO (1972)
Piggott had to be at his very strongest to force the winner home from Rheingold, who might have won but for continually bumping into his rival. Short of room for manoeuvre, it took a ride of astonishing power and determination to secure a short-head verdict in a photograph which took the judge what seemed like hours to resolve.
EMPERY (1976)
A seventh Derby win made Piggott the winning most successful rider in the history of the race, but punters could have been forgiven for being surprised by the 10-1 success over hot favourite Wollow. Piggott repeated the success on The Minstrel the following year.
TEENOSO (1983)
The last of Piggott's wins, gained in the most testing conditions many could ever remember at the track. Trainer Geoff Wragg, in his first season with a licence, was given a dream start to his career and the horse proved the win to be no fluke when winning the King George the following year.
KHAMASEEN (1994)
Having returned to the sport after serving a prison sentence for tax evasion, Piggott was a 58-year-old grandfather when he finished fifth behind Erhaab, closing a chapter in the history of the Derby as he rode in the race for the 38th and final time.
Nijinsky (1970)
Trained by the Irish genius Vincent O'Brien, he won all five of his races as a two-year-old and did not let his supporters down in the Derby, recording a stylish victory under the legendary Lester Piggott.
He landed the Irish Derby and King George VI and Queen Elizabeth Stakes, and went on to complete the Triple Crown (2000 Guineas, Derby and St Leger).
He ended his career with two defeats but they could not disguise the glory of his achievements earlier in the year.
Piggott paid him this tribute: "Nijinsky possessed more natural ability than any horse I ever rode".
Mill Reef (1971)
Mill Reef and the equally-brilliant Brigadier Gerard made 1971 a golden year for racing.
Both were outstanding champions in their own right and they remain two of the all-time greats. The "Brigadier" came out on top in the 2000 Guineas but he did not run at Epsom, leaving Mill Reef to make his own indelible mark in the history books.
The better of the pair over the Derby distance of a mile-and-a-half, Mill Reef later added the King George VI and Queen Elizabeth Stakes at Ascot and the Prix de l'Arc de Triomphe in Paris to his impressive portfolio.
Shergar (1981)
Shergar is perhaps even better known these days for his unsolved disappearance than he is for his breathtaking display at Epsom, where he scored by an unprecedented 10 lengths.
After going on to land the Irish Derby and King George VI and Queen Elizabeth Diamond Stakes, he was sensationally beaten in the St Leger and subsequently retired.
After spending just one season at the Aga Khan's stud in Ireland, he vanished during the night in February 1983 and was never seen again.
The kidnap made front-page news worldwide and before long, conspiracy theories began to circulate. Bogus ransom demands were received on more than one occasion and the kidnappers were said to have left photos of the horse in a hotel as proof that the champion stud was still alive. It was even suggested the IRA had taken the horse and shot him, but to this day, no proof exists as to what really happened.
Shergar's Derby win was named in the Observer's 100 Most Memorable Sporting Moments of the 20th Century.
Willie Carson
Five-time champion jockey Willie Carson won 17 British Classics and 11 Irish Classics in a glittering 34-year riding career.
Carson rode his first Classic winner on High Top in the 1972 2000 Guineas, the year he was crowned champion jockey for the first time and was also champion in 1973, 1978, 1980 and 1983.
Carson won the Derby for the first time on the brilliant colt Troy in the 200th running of the famous Epsom showpiece in 1979 and also won the turf's Blue Riband on Henbit (1980), Nashwan (1989) and Erhaab (1994) and rates Nashwan as the best horse he rode in his illustrious career.
He enjoyed his best season in 1990, riding 187 winners and retired from riding in 1996 at the age of 54. Carson was awarded an OBE in 1983 for services to racing.
Carson is now a very successful breeder and owns the 60-acre Minster Stud at Cirencester in Gloucestershire and was the first jockey to breed a British Classic winner, Minster Son, who he also rode, to win the 1988 St Leger in Lady Beaverbrook's silks.
Carson is fourth in the all-time list of champion flat jockeys in Britain behind Sir Gordon Richards, Lester Piggott and Pat Eddery.
The Queen
Queen Elizabeth comes to Derby Day every year, usually accompanied by Prince Philip.
As a racehourse owner, The Queen has had nine attempts to win the Epsom Derby - with a second place (Aureole, Coronation year, 1953) the best. Her last entry was thirty years ago, but this year she will be represented by race-favourite, Carlton House. Her previous attempts are detailed below:
AUREOLE (1953 - 2nd)
Aureole came closest to giving the Queen a Derby victory when runner-up to Pinza at Epsom Downs. Ridden by Harry Carr, the colt was sixth into the home straight and made headway in the final three furlongs but was unable to peg back Pinza.
LANDAU (1954 - 8th)
Landau finished a length second to Rowston Manor in the Lingfield Derby Trial but in the Derby itself, the colt led from three furlongs out until the quarter-mile mark, at which point he weakened tamely to finish eighth under Willie Snaith as Never Say Die went on to win.
ATLAS (1956 - 5th)
Sent off a 50/1 shot, Atlas made late headway at Epsom, coming home strongly under Harry Carr, to take fifth, a little over three lengths behind the victorious Lavandin.
DOUTELLE (1957 - 10th)
A winner of the Lingfield Derby Trial, Doutelle was at 100/6 chance for the Derby. But he was never in contention, trailing in tenth behind the winner Crepello under jockey Harry Carr.
MINER'S LAMP (1958 - 6th)
Miner's Lamp's won Epsom's Blue Riband Trial Stakes but was never able to challenge the front rank in the Derby and shared sixth place behind the winner, Hard Ridden.
ABOVE SUSPICION (1959 - 5th)
Sent off at 100/6 for the Derby, Above Suspicion raced towards the rear under Doug Smith before making strong progress in the home straight, running on to take fifth, three lengths behind his victorious stablemate, Parthia.
ENGLISH HARBOUR (1978 - 18th)
Ridden by Joe Mercer, English Harbour was never a factor in the Derby as he trailed home a distant 18th behind Shirley Heights, a horse he had finished fifth behind on his two-year-old debut in Newmarket's Limekiln Stakes.
MILFORD (1979 - 10th)
Sent off the 15/2 third favourite under Lester Piggott, the Royal colt weakened in the straight to finish about 15 lengths behind the triumphant Troy.
CHURCH PARADE (1981 - 5th)
Ridden by Willie Carson, Church Parade kept on at one pace under Willie Carson to take fifth, 18 lengths behind the imperious Shergar.
By the early nineteenth century there was one permanent stand for spectators, called the Prince's Stand. In 1828, the newly formed Epsom Grand Stand Association started to build a new stand which although not completed, was in use by the 1829 Derby.
Noteable events
1805 – One of the horses was brought down by a spectator.
1838 – Amato never raced before or after winning the Derby.
1844 – The original winner Running Rein was disqualified as he was actually an ineligible four-year-old horse named Maccabeus.
1881 – Iroquois became the first American-bred to win a leg of the British triple crown.
1884 – The race finished with a dead-heat between Harvester and St. Gatien.
1887 – Merry Hampton is the most recent horse to win the Derby with no previous victories.
1894 – The winner was owned by the Prime Minister at the time, the 5th Earl of Rosebery.
1901 – The first year in which a mechanical starting gate was used.
1909 – Minoru was the first Derby winner owned by a reigning monarch, King Edward VII, who had previously won twice as Prince of Wales.
1913 – The 6/4 favourite Craganour, owned by Charles B. Ismay, brother of J. Bruce Ismay of the Titanic, was controversially disqualified, and the race was awarded to the 100/1 outsider Aboyeur. Suffragette Emily Davison is struck by King George V's horse, Anmer, she dies four days later.
1916 – Fifinella, who also won the Oaks, is the most recent of six fillies to win the race. The previous five were Eleanor (1801), Blink Bonny (1857), Shotover (1882), Signorinetta (1908), Tagalie (1912).
1921 – The winner Humorist died two weeks after the race.
1927 – The first Derby to be broadcast by the BBC.
1932 – April the Fifth is the most recent winner trained at Epsom.
1946 – Airborne is the most recent of 4 grey horses to win the Derby.
1953 – Pinza was the first winner in the race for the jockey Sir Gordon Richards, after 27 unsuccessful attempts.
1989 – The runner-up Terimon is the longest-priced horse to finish placed in the Derby, at odds of 500/1.
1996 – Alex Greaves became the first (and so far only) lady jockey to ride in the race. She finished last on the filly Portuguese Lil.
1998 – The most recent filly to take part, the 1,000 Guineas winner Cape Verdi, started as 11/4 favourite but could only finish 9th.
2007 – Authorized provided jockey Frankie Dettori with his first winner in the Derby after 14 previous attempts.
2008 – Jim Bolger, the trainer of Derby winner New Approach, had left the horse entered for the race "by mistake", having not initially intended to run him.
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Who got to no.7 in the UK charts in 1977 with ‘Lovely Day’? | Eddery, Pat - Jockeypedia 2
Jockeypedia 2
Pat Eddery made his debut in England aboard Dido's Dowry at Aintree.
390 days - and 69 more losers - later, he climbed aboard Alvaro at Epsom.
He asked its trainer, Major Michael Pope, how he would like his horse ridden.
The young jockey never forgot his reply.
'Oh - just guide him. He'll win.'
And win he did.
The date was April 24, 1969.
This was the first and last time that Pat ever rode in an apprentices' event: his own trainer, Frenchie Nicholson - who, despite Pat's slow start, still retained terrific faith in him - was adamant that Pat should keep his claim for the season's valuable handicaps. Pat and Alvaro went on to run up a sequence of victories.
By the end of that season, he had ridden twenty-three winners (nine for Major Pope) and stood fourth in the apprentices' table.
Pat's first big winner and first Royal Ascot success came that June on Sky Rocket in the Wokingham. It was Pat who suggested to Major Pope that, as he had been drawn one, he should bounce Sky Rocket out and try to make all the running.
They won by three-quarters of a length at 20/1.
Pat then turned his attention to his lodgings. He had spent eighteen months in a room at Cheltenham but, through a friend, managed to find better lodgings in a council house in Prestbury. He was approaching his eighteenth birthday and, having just bought his first car, had the racing world at his feet.
So well did Pat get on with his Prestbury landlords, an old couple called George & Ann Wilson and so well did they treat him that when, after four years, Pat was in a position to buy his own, much larger, property next to Frenchie's stables, he asked them to move in with him, which they did. For fifteen years, Ann was his housekeeper: tragically George - on the very day the couple moved in - dropped dead in the kitchen from a heart attack.
Pat finished his apprenticeship with Nicholson in September, 1972, but continued to ride out for him: such was the bond between the two that Nicholson eventually became Pat's manager.
Doing well on the racecourse, Pat treated himself to a brand new Mercedes. Driving with the exuberance of youth, he quickly picked up two six-month bans for speeding. Then, trying to catch a plane to Germany, he was caught speeding again: this time the ban was for a year.
At this time, he also began having trouble on the racecourse: his win at any cost approach earned him quite a few suspensions and no little number of enemies in the changing room.
He rode fifty-seven winners in 1970, his third full season. Ian Balding's apprentice, Philip Waldron, rode fifty-nine.
The highlight had come on August 22 at Haydock when he became the first apprentice to ride five winners on a card.
That October, Pat lost his right to claim and began competing with the top jockeys on level terms.
In 1971, from a total of 655 rides, came seventy-one winners and, at last, the apprentice title.
In 1972, Pat took his first ride in the Derby. Aboard Pentland Firth, he tried, as agreed, to make all the running but was swept aside by Roberto and Rheingold in the last furlong but clung on to finish third.
His luck changed in that year's Ascot Gold Cup: though chinned on the line by Rock Roi, the stewards rapidly reversed the placings, giving Pat's mount, Erimo Hawk, the race.
At that time, the most converted job in flat racing was being stable jockey to Lambourn trainer Peter Walwyn. Duncan Keith then was in situ, but, because of weight problems, was forced to give up. Pat was approached and readily took the job.
He spent the next eight years with Walwyn which he said after were among the happiest of his career.
Walwyn proved to be a fantastically loyal trainer to his jockeys. When Pat was beaten on Buckskin in the Ascot Gold Cup, its owner, multi-millionaire Daniel Wildenstein - whose horse were cleaning up all the big races in the 70s - told Walwyn that he didn't want Pat to ride any more of his horses. Walwyn's immediately told Widerstein to take all of his horses away. Which he did.
Pat became champion jockey for the first time in only his second season (1974) at Seven Barrows (Walwyns' yard). He'd finished his first season there (1973) with 119 winners, coming third in the jockeys' table behind Carson and Piggott.
1974 was also the year Pat rode his first classic winner, Oaks' heroine Polygamy.
Pat also won the Dewhurst Stakes on a horse which had been bought at the Newmarket Yearling Sales for £11,000.
It's name was Grundy.
Throughout that winter, Grundy remained the clear favourite for the 1975 2,000 Guineas.
Then, in mid-March, came near disaster.
One morning at exercise, a horse called Corby lashed out, catching Grundy full in the face. Grundy bled profusely. Given time to recover, or so it was thought, Walwyn aimed the horse at the Greenham Stakes at Newbury. Grundy was beaten by Mark Anthony.
That year the stable lads were in a pay dispute and set out to wreck 2,000 Guineas day. Willie Carson was even pulled off his horse by militant lads.
Once again, Grundy was beaten, this time by Bolkonski, Henry Cecil's 33/1 shot.
It was a different story in the Derby: for the first time the racing public saw the real Grundy as he won by five lengths. It was Pat's first victory in the race.
Then came the epic battle with Bustino in the King George.
Pat got to Bustino's a furlong out and tried to pass. Bustino was having none of it, refusing to concede the lead. At the line there was just a neck in it, Grundy just prevailing.
Neither horse ever won another race. Grundy eventually went to stud where he proved to be a complete failure, much to the devastation of its buyers.
Pat began a winter routine of riding in Hong Kong: he'd fly out a day after the English flat season finished and would be riding at Happy Valley within a week.
At the end of 1977, still only 25 years old, Pat had been champion jockey four years in succession. Things were going well. Then, in 1978, Seven Barrows was hit, and hit hard, by the dreaded equine virus.
Consequently, many owners pulled their horses out of the yard: when eventually the virus lifted, it was a different ball game, and Walwyn's great days were never recaptured.
In 1980, Pat rode his first Prix de L'Arc de Triomphe winner, Detroit. This was also the year in which he left Peter Walwyn.
An offer from Vincent O'Brien was too could to miss, and Pat succeeded Piggott as stable jockey.
The following year, not only was he the champion jockey of Ireland, but also the jockey on board English Derby winner, Golden Fleece.
Then at the top of the tree, Pat proved unstoppable in the big races: he won the 1983 Arlington Million in America on Tolomeo, 1984 Irish Derby (El Gran Senor), the Prix de L'Arc de Triomphe in 1985 (Rainbow Quest), 1986 (Dancing Brave) and 1987 (Trempolino).
In 1990, he again won the English Derby (Quest For Fame) and the French Derby (Sanglamore). That year he also rode 209 winners, the first jockey since Sir Gordon Richards to reach a double century.
On July 22, 1991, he achieved the fastest ever 3,000 winners in British Turf history.
After 37 years of relentless achievement, Pat took his final mount, the odds-on Gamut, at Doncaster on Saturday, November 8, 2003.
Sadly, Gamut had not read the script, and was beaten.
Pat was born on March 18, 1952 on the outskirts of The Curragh racecourse, south of Dublin. Of twelve surviving children, Pat was the fifth child.
18 months after his apprenticeship with Seamus McGrath had begun, Pat had his first ride. On board True Time at The Curragh in mid-August 1967, Pat finished last.
Apart from the odd 'Good Morning' or 'Well Done', Pat and Lester Piggott never spoke to each other.
On Tuesday, November 10, 2015, poor Pat died.
His family revealed afterwards that, tragically, he had succumbed to alcoholism.
He was 63.
Pat's career, in a nutshell...
Apprenticeship:
Seamus McGrath 1966-67. Frenchie Nicholson 1967-72. Champion apprentice 1971.
Retainers:
1973-80 Peter Walwyn; 1981-6 Vincent O'Brien; 1987-94 Khalid Abdullah; 1995- Freelance.
* First ride: True Time (Seamus McGrath) last at the Curragh, August 19, 1967
* First ride in Britain: Dido's Dowry, 6th at Liverpool, March 30, 1968.
* First winner: Alvaro at Epsom, April 24, 1969.
* First big winner: Sky Rocket (1969 Wokingham at Royal Ascot).
* First Derby ride: Pentland Firth (third in 1972).
Champion jockey: 11 times. 1974-77, 1986, 1988-91, 1993, 1996 (also champion in Ireland in 1982).
100 winners in a season:
Every year from 1973 to 2001 except 1982. Rode 99 winners in 2002
* 200 winners in a season: 1990
* Best season: 209 wins in 1990.
* 1,000th winner in Britain: Saros, City and Suburban Handicap, Epsom, April 26, 1978.
* 2,000th win in Britian: Eastern Mystic, Yorkshire Cup, York, May 15, 1986.
* 3,000th winner in Britain: Morocco, Bath, July 22, 1991.
* 4,000th winner in Britain: Silver Patriarch, St Leger, Doncaster, September 13, 1997.
* Seven winners in one day:
Newmarket (three) and Newcastle (four) June 26, 1992.
* Six winners in one day:
June 30 1986; July 16 1990.
* British Classic winners -
1000 Guineas: Bosra Sham 1996.
* 2000 Guineas: Lomond 1983, El Gran Senor 1984, Zafonic 1993.
* Epsom Derby: Grundy 1975, Golden Fleece 1982, Quest For Fame 1990.
* Epsom Oaks: Polygamy 1974, Scintillate 1979, Lady Carla 1996.
* St Leger: Moon Madness 1986, Toulon 1991, Moonax 1994, Silver Patriarch 1997.
* King George VI And Queen Elizabeth Diamond Stakes winners: Grundy 1975, Dancing Brave 1986.
* Irish Classic winners -
2000 Guineas: Grundy 1975, Kings Lake 1981, Tirol 1990.
* Irish Derby: Grundy 1975, El Gran Senor 1984, Law Society 1985, Commander in Chief 1993.
* Irish Oaks: Colorspin 1986, Wemyss Bight 1993, Bolas 1994.
* Irish St Leger: Leading Counsel 1985, Moonax 1994, Silver Patriarch 1997.
* French Classic winners -
Poule d'Essai des Pouliches: Houseproud 1990.
* Prix du Jockey-Club: Caerleon 1983, Hours After 1988, Sanglamore 1990.
* Prix de Diane Hermes: Jolypha 1992.
* Prix de l'Arc de Triomphe winners: Detroit 1980, Rainbow Quest 1985, Dancing Brave 1986, Trempolino 1987.
* Breeders' Cup: Pebbles 1985 (BC Turf), Sheikh Albadou 1991 (BC Sprint)
* Japan Cup winner: Jupiter Island 1986
* Arlington Million: Tolomeo 1983
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What word connects a parrot with voting in an election? | What does poll mean? definition, meaning and pronunciation (Free English Language Dictionary)
The noun POLL has 5 senses:
1. an inquiry into public opinion conducted by interviewing a random sample of people
2. the top of the head
3. the part of the head between the ears
4. a tame parrot
5. the counting of votes (as in an election)
Familiarity information: POLL used as a noun is common.
The verb POLL has 4 senses:
1. get the opinions (of people) by asking specific questions
2. vote in an election at a polling station
3. get the votes of
4. convert into a pollard
Familiarity information: POLL used as a verb is uncommon.
Dictionary entry details
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What illness is an inflammation of the larynx and trachea, causing breathing difficulties? | Voting Ballot (3 Samples)
Church Voting Ballot Templates (3 Samples)
The Church Voting Ballot Templates (3 Samples) are available below to download, customize and print for your next church voting election(s)...
What is a Ballot? A ballot is a device used to cast votes in an election, and may be a piece of paper. Each voter uses one ballot and the ballots cannot be shared.
A lot of churches hold special meetings to elect members in special areas such as committees, secretarial, pastoral, etc. They also have an election of church officers at the close of each year. It is very important that the church members feel that it is a very fair and democratic election.
In many cases of electing members for to serve on the Nominating Committee, the church members at church will be given a ballot template and each member writes down the names of the persons of their choice. The secret ballot provides complete freedom to vote and this plan gives every church member an equal voice in the voting process.
After this (above), the ballots are tabulated and the seven members receiving the highest number of votes are elected to serve on the Nominating Committee. The size of the committee, of course, is predetermined by Church Board.
In some cases, the ballot also lists the various church offices, after tabulating the poll, the Nominating Committee has some guiding suggestions from the church members on these various offices. The committee, however, is not in no way obligated to follow the poll. Another positive on this plan is that the individuals nominated to an office is more likely to serve because know they were elected by the church members.
There are three sample ballots below are great tools that your church can use as a guideline to create church ballots of their own.
Ballot (Sample #1) includes:
The Nominating Committee for [Year] office the following nominees, whom we find well qualified to serve, and for whom we thank God. Please note that two important positions (Secretary and Pastoral Relations Committee Board member) remain with a nominee.
The election will be held at the annual meeting, [Date]
Officers (one year terms); vote for one candidate for each office (Chair, Vice Chair, Secretary (No Nominee), Treasurer)
At-Large Elders (one, two or three year terms); vote for 5 (names...)
Note: Continuing At-Large Elder is [Name] (Sunday School Supt., Asst. Sunday School Supt., Head Usher, Conference Liaison)
Pastoral Relations Committee (Board, Non-Board) - Auditors (vote for two)
According to the Church Bylaws, Article __, Section __: "Other candidates for office may be added by a petition signed by two or more active members of the church and filed with the Nominating Committee at least two days prior to the election."
Therefore please file any such petitions with [Name, phone number and email address], Chair of the Nominating Committee, by Friday, [Date]. The Committee also recommends that members who wish to add a candidate discuss their intention with the Committee before formally asking the nominee, since we may have already considered them.
Respectfully submitted, Your Nominating Committee (Names...)
Click on the link(s) to download the Church Sample Ballot Template(s) below:
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With what invention do you associate the name of Mr. Whitcomb Judson? | The History of the Zipper - Who Invented the Zipper?
The History of the Zipper
The History of the Zipper
YKK on Zipper. Courtesy MorgueFile
By Mary Bellis
Updated August 10, 2016.
It was a long way up for the humble zipper, the mechanical wonder that has kept our lives "together" in many ways. On its way up the zipper has passed through the hands of several dedicated inventors, though none convinced the general public to accept the zipper as part of everyday fashion. It was the magazine and fashion industry that made the novel zipper the popular item it is today.
The story begins when Elias Howe, who invented the sewing machine, received a patent in 1851 for an "Automatic, Continuous Clothing Closure." It didn't go much further beyond that though. Perhaps it was the success of the sewing machine, that caused Elias not to pursue marketing his clothing closure system. As a result, Howe missed his chance to become the recognized "Father of the Zip."
Forty-four years later, Whitcomb Judson, who also invented the "Pneumatic Street Railway," marketed a "Clasp Locker" device similar to system described in the 1851 Howe patent.
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Being first to market, Whitcomb got credit for being the "Inventor of the Zipper," However, his 1893 patent did not use the word zipper.
The Chicago inventor's "Clasp Locker" was a complicated hook-and-eye shoe fastener . Together with businessman Colonel Lewis Walker, Whitcomb launched the Universal Fastener Company to manufacture the new device. The clasp locker debuted at the 1893 Chicago World's Fair and was met with little commercial success.
It was a Swedish-born electrical engineer named Gideon Sundback whose work helped make the zipper the hit it is today. Originally hired to work for the Universal Fastener Company, his design skills and a marriage to the plant-manager's daughter Elvira Aronson led to a position as head designer at Universal. In his position, he improved the far from perfect "Judson C-curity Fastener." And when Sundback's wife died in 1911, the grieving husband busied himself at the design table and by December of 1913, came up with what would become the modern zipper.
Gideon Sundback's new and improved system increased the number of fastening elements from four per inch to ten or eleven, had two facing-rows of teeth that pulled into a single piece by the slider, and increased the opening for the teeth guided by the slider. His patent for the "Separable Fastener" was issued in 1917.
Sundback also created the manufacturing machine for the new zipper. The "S-L" or scrapless machine took a special Y-shaped wire and cut scoops from it, then punched the scoop dimple and nib and clamped each scoop on a cloth tape to produce a continuous zipper chain. Within the first year of operation, Sundback's zipper-making machine was producing a few hundred feet of fastener per day.
The popular "zipper" name came from the B. F. Goodrich Company, which decided to use Gideon's fastener on a new type of rubber boots or galoshes. Boots and tobacco pouches with a zippered closure were the two chief uses of the zipper during its early years. It took twenty more years to convince the fashion industry to seriously promote the novel closure on garments.
In the 1930's, a sales campaign began for children's clothing featuring zippers. The campaign advocated zippers as a way to promote self-reliance in young children as the devices made it possible for them to dress in self-help clothing.
A landmark moment happened in 1937 when the zipper beat the button in the "Battle of the Fly." French fashion designers raved over the use of zippers in men's trousers and Esquire magazine declared the zipper the "Newest Tailoring Idea for Men." Among the zippered fly's many virtues was that it would exclude "The Possibility of Unintentional and Embarrassing Disarray."
The next big boost for the zipper came when devices that open on both ends arrived, such as on jackets. Today the zipper is everywhere, in clothing, luggage, leather goods and countless other objects. Thousands of zipper miles are produced daily to meet the needs of consumers, thanks to the early efforts of the many famous zipper inventors.
| Zipper |
‘Shamela’ (1741) was a parody of ‘Pamela’ (1740). Who wrote the latter? | Stuff of Genius: Whitcomb Judson: Zipper | Stuff of Genius
Stuff of Genius
Stuff of Genius
Whitcomb Judson: Zipper
Nowadays zippers are everywhere -- they're faster than buttons, convenient and reliable. But where did they come from? Tune in and learn more about Whitcomb Judson's stuff of genius in this episode.
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In ‘Penny Lane’, who keeps a portrait of the Queen in his pocket? | Penny Lane Lyrics - Beatles
Penny Lane there is a barber showing photographs
Of every head he's had the pleasure to know.
And all the people that come and go
Stop and say "Hello".
On the corner is a banker with a motorcar,
And little children laugh at him behind his back.
And the banker never wears a mac
In the pouring rain, very strange.
Penny Lane is in my ears and in my eyes.
There beneath the blue suburban skies
I sit, and meanwhile back
In Penny Lane there is a fireman with an hourglass,
And in his pocket is a portrait of the Queen.
He likes to keep his fire engine clean,
It's a clean machine.
Penny Lane is in my ears and in my eyes.
A four of fish and finger pies
In summer. Meanwhile back
Behind the shelter in the middle of the roundabout
The pretty nurse is selling poppies from a tray.
And though she feels as if she's in a play,
She is anyway.
In Penny Lane the barber shaves another customer,
We see the banker sitting waiting for a trim,
And then the fireman rushes in
From the pouring rain - very strange.
Penny Lane is in my ears and in my eyes.
There beneath the blue suburban skies
I sit, and meanwhile back.
Penny Lane is in my ears and in my eyes.
There beneath the blue suburban skies
Penny Lane!
| Firefighter |
In ‘A Whiter Shade of Pale’, who “told his tale”? | The Beatles--"Penny Lane" Song Lyrics
Penny Lane there is a barber showing photographs
of every head he's had the pleasure to know
And all the people that come and go stop to say hello
On the corner is a banker with a motor car
the little children laugh at him behind his back
And the banker never wears a "mac" in the pouring rain
Very strange
Penny Lane is in my ears and in my eyes
Wet beneath the blue suburban skies
I sit and meanwhile back in
Penny Lane there is a fireman with an hourglass
And in his pocket is a portrait of the Queen
He likes to keep his fire engine clean
It's clean machine
Penny Lane is in my ears and in my eyes
Full of fish and finger pies
in summer meanwhile back
Behind the shelter in the middle of the roundabout
A pretty nurse is selling poppies from a tray
And though she feels as if she's in a play
She is anyway
Penny Lane, the barber shaves another customer
We see the banker sitting waiting for a trim
And then the fireman rushes in from the pouring rain
very strange
Penny Lane is in my ears and in my eyes
Wet beneath the blue suburban skies
I sit and meanwhile back
Penny Lane is in my ears and in my eyes
There beneath the blue suburban skies
Penny Lane
| i don't know |
In skiing, what colour diamond denotes an expert trail on signs and trail maps? | Trail Difficulty Ratings and Signs | International Mountain Bicycling Association
Trail Difficulty Ratings and Signs
Home › Resources › Maps and Signs
Trail Difficulty Ratings and Signs
For 99.9 percent of the world, this trail would be considered a double black diamond. On the North Shore toddlers ride this trail on a tricycle. John Gibson photo.
The IMBA Trail Difficulty Rating System is a basic method used to categorize the relative technical difficulty of recreation trails. The IMBA Trail Difficulty Rating System can:
Help trail users make informed decisions
Encourage visitors to use trails that match their skill level
Manage risk and minimize injuries
Improve the outdoor experience for a wide variety of visitors
Aid in the planning of trails and trail systems
This system was adapted from the International Trail Marking System used at ski areas throughout the world. Many trail networks use this type of system, most notably resort-based mountain biking trail networks. The system best applies to mountain bikers, but is also applicable to other visitors such as hikers and equestrians. These criteria should be combined with personal judgment and trail-user input to reach the final rating.
Trail Rating Guidelines
1. Rate Technical Challenge Only.
The system focuses on rating the technical challenge of trails, not the physical exertion. It is not practical to rate both types of difficulty with one system. Consider, for example, a smooth, wide trail that is 20 miles long. The technical challenge of this trail is easy, yet the distance would make the physical exertion difficult. The solution is to independently rate technical challenge, and indicate physical exertion by posting trail length, and possibly even elevation change.
2. Collect Trail Measurements.
Use the accompanying table and collect trail measurements for each criteria. There is no prescribed method for tallying a "score" for each trail. Evaluate the trail against the table and combine with judgment to reach the final rating. It is unlikely that any particular trail will measure at the same difficulty level for every criteria. For example, a certain trail may rate as a green circle in three criteria, but a blue square in two different criteria.
3. Include Difficulty and Trail Length on Signs and Maps.
Trail length is not a criterion of the system. Instead, trail length should be posted on signs in addition to the difficulty symbol. A sign displaying both length and difficulty provides lots of information, yet it is simple to create and easy to understand.
Likewise, elevation change is not a criterion. The amount of climbing on a trail is more an indicator of physical exertion than technical difficulty. Mountainous regions may consider including the amount of climbing on trail signs.
4. Evaluate Difficulty Relative to Local Trails.
Trails should be rated relative to other trails in the region. Don't evaluate each trail in isolation. Consider all the trails in a region and how they compare to one another. This will help you rank the relative difficulty of each trail and will help trail users select an appropriate route. Trails will rate differently from region to region. A black diamond trail in one region may rate as a blue square in another region, but the ratings should be consistent locally.
5. Use Good Judgment.
Rating a trail is not 100 percent objective. Its best to combine tangible data with subjective judgment to reach the final rating. For example, a trail may have a wide range of tread surfaces - most of the trail is easy, but some sections are more difficult. How would you rate it? Use your personal experience to consider all elements and select a rating that best matches the style of trail.
6. Consider Other Trail Qualities.
Don't forget to consider trail qualities beyond the objective criteria. A wide variety of features could contribute to a trail's difficulty. For example, exposure - the feeling of empty space next to and below the trail tread - provides an added psychological challenge beyond the steepness or roughness of the trail. A 3-inch rock seems like a boulder when a 50-foot drop looms on your side! Other qualities to think about are corridor clearance and turn radius.
7. Use Common Sense and Seek Input.
No rating system can be totally objective or valid for every situation. This system is a tool to be combined with common sense. Look at trails with a discerning eye, and seek input from trail users before selecting the rating. Remember, a diverse trail network with a variety of trail styles is a great way to ensure happy visitors. Provide both easy and difficult trails to spread visitors and meet a range of needs. By indicating the length and difficulty of trails with a clear signage system, visitors will be able to locate their preferred type of trail easily.
Criteria to Consider
| Black |
Who played the male lead in the Bond film ‘Never Say Never Again’? | In Skiing, what is a Black Diamond? (with pictures)
In Skiing, what is a Black Diamond?
Last Modified Date: 10 January 2017
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These 10 facts about space will blow your mind
A ski slope with a black diamond rating is said to be one of the more difficult slopes relative to others around it. When considering ski run categories, this symbol has traditionally been used for the most difficult, though in recent years a double black diamond designation has been implemented. No matter if it is a single or double, however, it will still be one of the more difficult trails at a particular resort .
It should be noted there is no national or international system for rating trails. It is up to each ski resort or ski area to determine their own classification system and the trails will be marked relative to other trails on the property. This can sometimes be confusing, and it is possible that a trail of similar length, width, and gradient will be marked differently at two different locations.
The black diamond is one of several ski run levels. Others include the green circle, generally regarded as the easiest trails for beginners, and the blue square, which is an intermediate trail. In Europe, the system is somewhat different. While the trails are marked by the same color, the shapes may or may not be used. Green is still the easiest, followed by blue and black as the difficulty increases.
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As far as ski runs go, the most challenging should only be attempted by skiers who have a fair amount of experience and are comfortable traversing trails rated at lower levels of difficulty. Due to the fact there is no standardized rating system, it is always good for skiers to start out on a lower rated trail when skiing in an unfamiliar area. This will give him or her an idea of how the ratings may work for that particular location.
A ski slope rated as a black diamond will often be one of the steepest on the hill. It may also be narrower than most of the other trails, requiring more frequent hairpin turns in order to control speed and positioning. Hazards may include cliffs, trees and rocks. The trail may or may not be groomed, depending on the resort's practices.
A double black diamond course is sometimes even substantially more difficult than a single, and these courses may have extremely steep slopes and often are not groomed. It is up to the skier to traverse the mountain in a responsible way and those attempting a difficult who are not ready for it are subjecting themselves to risk of serious injury.
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Which boy band took its name from a character in the film Back To The Future? | How "Back to the Future" Helped Make Me a Feminist | New Republic
How "Back to the Future" Helped Make Me a Feminist
30 years after the film's release, a new look at its depiction of race and sexual assault
By Jamil Smith
July 6, 2015
I didn’t realize until I was a little bit older that what we all saw thirty years ago this week in Back to the Future was a sexual assault, but I recognized the hero moment immediately. When George McFly opens the car door to find bully Biff Tannen with his hand up Lorraine Baines’s dress, he is shaken, but doesn’t move. Despite Biff’s attempts to scare him into leaving, George stays. “Are you deaf, McFly? Close the door and beat it,” he says. George stands firm. “No, Biff. You leave her alone.”
George doesn’t save the day with his weak punch that Biff immediately blocks, nor the more powerful one he later uses to knock out his tormentor. He takes a moment to savor the victory over Biff, but George’s real evolution comes when he stops the assault. I recall getting the message immediately, understanding that I’d watched George stop an attempted rape. I didn’t know the term “bystander intervention,” but I knew what it looked like to see someone do the right thing.
As a kid just out of the fourth grade, I learned from that Back to the Future scene that it was the responsibility of boys and men to stop sexual assaults and rape. But given how that the scene is set up in the film, I wish we could go back in time and make it vanish.
Back to the Future’s 30th anniversary gives us a chance to see why it’s worth reflecting on how deeply popular culture can root itself inside of us, particularly with regard to our attitudes about race and sex. We can continue to indulge in the delights of our childhood, but they’re also worth taking seriously. While I appreciate the generically positive representation of the film’s black characters, I cannot say the same for how it depicted women and the violence visited upon them. Today, I can’t feel good as a feminist about how we saw George’s vindication come about.
Few movies geared towards children and young adults in the 1980s came without a heavy-handed message. The apotheosis of this preachy genre was ABC’s Afterschool Special, which began in the previous decade and hit their stride in the Reagan era. And even if they embodied the ’80s in their obviousness and tacky dialogue, they were damned effective. Thirty years on, I still can’t shake the image of a drunken Val Kilmer running over Mare Winningham in “One Too Many.” These stories may have hit with a sledgehammer, but they worked.
Back to the Future, even in the assault scene, does this kind of messaging more subtly: The only mantra, spoken by several characters, is “If you put your mind to it, you can accomplish anything.” The review written by the late Roger Ebert points out that the film shares a lot with It’s a Wonderful Life—a man’s family life is changed by magical means. But Michael J. Fox’s aspiring rock star, unlike James Stewart’s family man, is merely a catalyst for the other characters’ personal development. Marty McFly’s big moments don’t involve him changing much: He achieves his dream of playing at the school dance, albeit in 1955, when he supposedly inspires rock-and-roll innovator Chuck Berry (and in the process, serves as a metaphor for the white perversion of black music). Marty goes back to the future, and saves the life of his true father figure, Doc Brown. But part of the movie’s conceit is Marty’s constancy in a constantly changing universe, the fact that he doesn’t really change at all.
Marty arrived in a pivotal year, as it turned out. Even though Back to the Future is set in a small northern California town, Marty travels 30 years back in time to 1955, the same year that Emmett Till was lynched in Mississippi. As a PG-rated ’80s sci-fi comedy with a nearly all-white cast the racial realities of Jim Crow aren’t addressed too explicitly, but it is notable that director Robert Zemeckis made sure that the most self-assured people in the film are the few black people who show up in Hill Valley. In a story that primarily centers on fostering one’s own self-confidence, it meant something to me as a boy to see the only folks who looked like me not backing down from anyone or anything.
While the film surely underplays the slights these black men would have likely suffered, those characters aren’t depicted as the archetypal Magical Negroes , either. The band that plays at the Enchantment of the Sea dance, Marvin Berry and the Starlighters, coolly intimidates the white toughs who call them “spook” and “reefer addicts.” That means more to me 30 years later, when too many Hollywood stories still treat black folks and their lives like racial wallpaper or indulge in stereotype. (The film doesn’t get it all right, indulging in the brown enemy of the day: The Libyan terrorists who seek revenge on Doc Brown, spouting Arabic-sounding gibberish.)
But in Back To The Future, the black busboy and future mayor Goldie Wilson is just an avatar for progress; George, in finally standing up for himself and for Lorraine, is the only character allowed to actually progress. But his evolution comes at the expense of pain suffered by the principal female character, whose only positive changes in the new 1985 are reflected exclusively in her weight loss and lack of drunkenness. It sticks out as a mistake and an opportunity missed.
While the final outcome is great for George, what about Lorraine—who, thanks to her son’s trip back in time, is now a sexual assault survivor? The last-ditch scheme to get these two to fall in love, to which George signs on, involves Marty sexually assaulting his mother, Lorraine, so his father can be the hero. (“You come up, you punch me in the stomach, I’m out for the count, and you and Lorraine live happily ever after,” Marty tells George, planning his hero moment.) But of course, he can’t go through with it—and is summarily replaced by Biff, who leaves Marty with his thugs and goes through with the molestation himself.
My memories of Back To The Future mostly come from the videotape I received in my grandparents’ dining room in the autumn of ’85 for my tenth birthday. It was unlabeled, and it was clean; no scratches on the tape, and no silver “HBO” slowly drifting through space during a Saturday Night Movie intro. I knew Grandma and Granddad didn’t get HBO or any other pay movie station—no commercials!—and neither did I. Bootleg movies of this quality weren’t available in plenty as they are in today’s barbershops and on various websites. It took effort to get. To a 10-year-old kid who loved movies and didn’t have premium cable, this showed love.
I learned to use a skateboard, poorly, because of Marty McFly. I later took up guitar, briefly, inspired by Marty’s Johnny B. Goode scene. The film’s messages weren’t as clear to me then, and I mostly loved it for the cool, Spielbergian way it presented the very nerdy idea of time travel. I loved how it played with the notion of alienation, most obviously when Marty arrives in the ’50s as a Devo-suited invader in the spaceship DeLorean and manages to assimilate into the retro teen reality. I also enjoyed the hilariously awkward way the film explored getting to know your mom and dad as real people before your birth and to see them fall in love. But in the revised future, Biff—Lorraine’s assailant—is portrayed as a mere functionary in the love story, and is shown waxing the family car in the driveway and later, coming inside the house to deliver a box of George’s novels. Lorraine is not so much a character as a device, denied all agency.
Those movies in the ’80s with a message made things easy. While I once regarded George’s breakthrough in Back to the Future solely as a great thing, a pop-cultural moment that helped point me towards feminism as a young boy, I see now that it came cheaply. Doing the right thing is so easy when all you have to do is be the hero.
| McFly |
Selenology is the study of what? | 'Back to the Future' turns 25 years old | Tampa Bay Times
'Back to the Future' turns 25 years old
Steve Spears
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Twenty-five years ago this day, a movie that had relatively low expectations from Hollywood hit the big screen and changed the lives of its stars, its director, the band that provided the music and even ... okay, I'm overselling it. Back to the Future turns 25 years old today.
I don't even think I saw it right away, even though the buzz was growing each day. I was in Gainesville, Fla., a then-small college town that had maybe two movie houses near the university. And as a freshman in the summer semester, a movie about time-travel wasn't really on my radar. I remember seeing it anyway on a Saturday night weeks after it opened, and still having to stand in line forever for tickets.
Sadly, I can't seem to find a Back to the Future marathon on TV today. Yet, I imagine most of the '80s Nation owns these flicks on DVD by now. You can listen to our very antiquated Stuck in the '80s podcast on the movie. Or just enjoy a top 10 list just to mark the occasion.
10 PIECES OF TRIVIA ABOUT 'BACK TO THE FUTURE'
1. Though Michael J. Fox was the actor the producers wanted most, he was unavailable while he was shooting Family Ties. Eric Stoltz therefore was the first Marty McFly.
2. Others considered for the role of Marty: Pop singer Corey Hart, Ralph Macchio and C. Thomas Howell.
3. When producers decided Stoltz wasn't working out, they worked out a production schedule with Family Ties and reshot all the scenes with Fox ... at a cost of $3 million.
4. Of course that's not actually Fox doing the singing in the movie. A singer named Mark Campbell did that.
5. Fox already knew how to skateboard before BTTF, but he still had a stunt double do the tricky scenes. On the other hand, Stoltz couldn't skateboard at all. Good thing he had Tony Hawk as a stunt double.
6. It's really no surprise, but Fox and co-star Lea Thompson, who plays his mother, were the same age. Crispin Glover, who plays his dad, is 3 years older.
7 .Disney declined to make the film because the plot -- a mother falling in love with her son -- was too much for them. Other studios passed because it wasn't risque enough. Go figure.
8. Christopher Lloyd's character name of Emmett comes from the word "time," spelled backwards and pronounced as syllables (em-it).
9. Lloyd originally turned down the role as Doc Brown. He took it only after his wife talked him into it. Several of his lines were improvised as well.
10. Then-President Ronald Reagan was so amused by Doc Brown's disbelief that an actor like him could become president, he had the projectionist stop the movie and replay the scene.
[Last modified: Wednesday, November 27, 2013 4:01pm]
| i don't know |
Which non-alcoholic drink often consists of 50% orange juice and 50% lemonade? | h2g2 - Non-alcoholic Drinks - Edited Entry
33 Conversations
Sometimes we just don't want to drink alcohol . In fact, some of us don't bother with the stuff in the first place. And of course, children don't really have much choice in the matter. So, here you'll find ideas for a nice alcohol-free drink that isn't just water .
Coffee for those not Counting the Calories
This is a favourite coffee drink when it's cool outside and you need a charge to get you moving. It is definitely not for people who are counting their calories, unless you just want to see how high you can go. There are no exact measures, just pour it into a giant cup until it's full. Alternatively, you could mix a double batch and take it to work in a thermos flask.
Ingredients
Method
Mix all the above in a big glass.
If it's still not sweet enough for your taste, add a dollop of whipped cream on top, sprinkled with cinnamon and nutmeg.
Thames Water
When given the opportunity, do you smoke to fantastic excess? Then you'll need a drink that cuts through all the bad odours in your mouth. This particular drink is named after London's river because of its colour.
Making it couldn't be simpler. Fill a pint glass halfway with chilled grapefruit juice and top it off with a cold cola drink. This tastes absolutely awful if it is served tepid.
Milk-free, Sugar-free Smoothie
This is basically a blend of any fruit and fruit juices that take your fancy - bananas , orange juice and strawberries are the most popular. If you are worried about the lack of calcium, add calcium powder to the mix. It doesn't alter the taste in any discernible way.
The drink is also very easy to make, just keep frozen fruit on hand. A great drink usually requires 2 bananas, a large glass of apple or orange juice and up to 8oz of any fruit that you happen to have lying around.
Innovate
Below is one Researcher's experience of just how easy it is to be creative when trying to produce that perfect fruit smoothie.
One day, a friend and I wanted chocolate shakes , but didn't have the chocolate or vanilla ice cream. Finding a box of Friendly's Watermelon Sherbet, we dumped a load of that in a blender, and raided the fridge and cabinet for anything we could find. Soon we had a mix of the sherbet, canned pineapple , canned mandarin oranges, apple juice, and juice from a jar of maraschino cherries . We blended it up, and it tasted great. Most fruits and fruit juices mix well like this, so most combinations will work. However, pineapple and orange juice tend to be overpowering, so don't use too much.
Raspberry and Lavender Tea
Bring a large pot of water to the boil and add pre-cut and sifted raspberry leaf and lavender (heavy on the raspberry leaf). These can be found in many health food stores. Bring to a rapid boil, keep boiling until your desired strength is reached. Filter out the herbs and sweeten with honey (not sugar). The great thing with this is that it can be served hot or cold and can be stored in bottle for one or two weeks.
Well, that's just Peachy
30ml peach drink mix (the chemical crystals laden with sugar)
30ml frozen orange juice concentrate
Method
Toss all the above in a jar with a tight lid and shake it till the orange ice is dissolved.
Drink immediately.
You can stick this in a blender but a recycled pickle jar works fine.
Shirley Temple
This drink is named after the archetypal child star of the 1930s. Sweet but not saccharine, this is a true gem - a bit like the eponymous lady herself.
Pour some lemonade into a glass, add enough grenadine or cherry juice type liquid to turn it red. Once your liquid is satisfactorily red, add many, many maraschino cherries.
Quick Drinks
Below is a list of drinks that you can make quickly, thus avoiding the ubiquitous cans of fizzy pop that often contain copious amounts of sugar.
Orange juice with sparkling mineral water is quick and easy. Mix the liquids to a 50-50 ratio, or to your own personal taste. A nice long cold drink on a hot day.
Orange juice and grapefruit juice, mixed. Again, experiment to find your ideal proportions.
A 'St Clements' is a non-alcoholic cocktail of orange juice and bitter lemon, mixed 50-50.
Lucozade (a UK energy drink) and still mineral water (not tap-water unless you don't have anything else). This is great for those who are unwell or who are off to the gym.
Any kind of squash made with sparkling water and lots of ice.
For cold days, what's wrong with tea or coffee? They're quick and easy to make. Alternatively, good old hot chocolate , either the kind made with milk for a real comfort fix, or the kind made with hot water for speed.
For Health
Here's a little recipe that is a great comforter if you have the signs of a cold. It is great for cold nights and a fantastic energy booster too.
Into a mug pour some Ribena, or other thick blackcurrant cordial. Top up with boiling water and stir in a bit of honey . Take a slice of lemon and pierce cloves into it, then float this in the drink.
It's nicer than it sounds. Honest.
Indian Soft Drinks
Lassi
The quantities for this drink are entirely up to you but basically you blend together natural yoghurt, sugar and ice cubes. You can also make savoury lassi by substituting the sugar for a little salt.
You can add flavours such as fruit or rose water too.
Nimbu Pani (Lemon Water)
At its most basic, this is freshly squeezed lemon, sugar and cold water.
In India they keep a small bottle of lemon juice and sugar mix in the fridge and add this to cold water, like a cordial. Storing the juice and sugar together seems to fortify the taste.
Coke Floats
Basically a coke float is coke ( Coca-Cola works best) and vanilla ice cream. There's a café on the Scilly Isles which produces fantastic Coke Floats in cocktail glasses.
The best recipe seems to be to mix half of the coke with half of the ice cream in a food mixer, then pour it over the other half of the coke, and put the rest of the ice cream on top.
It's best to bear in mind that fizzy drinks and ice cream are a potent combination and froth up very effectively so experiment before making them in your best shirt.
VC
This is basically just cola with a splash of Vimto cordial (Vimto is a mixed fruit cordial). A refreshing alternative to some of the soft drinks available.
Belvoir Ginger Cordial
Belvoir (pronounced 'beaver') Ginger Cordial is available from most of the major supermarkets in the UK and the States. Just put a small amount in orange juice: it spices it up and makes it really tasty. It also works well in hot orange squash (if you're feeling cold) and Vimto.
Macau Fruit Cocktails
This little concoction is inspired by the fruit cocktails that you can find in Macau 2 . The basic tenet is to get lots of different fruits and chop them into little bits then add the juice of a different fruit. So, for an orange fruit cocktail (serves one) chop up one quarter honeydew melon, a slice of water melon, bits of papaya , a mango and then pour the juice of four oranges over the top.
Mmmm!
1 This is a traditional winter drink made of egg and milk, topped with nutmeg. It has alcoholic and non-alcoholic variants. 2 Macau is the former Portuguese territory near Hong Kong. It was handed back to the Chinese at the turn of the millennium.
| St Clements |
Which TV family lives at 742 Evergreen Terrace? | h2g2 - Non-alcoholic Drinks - Edited Entry
33 Conversations
Sometimes we just don't want to drink alcohol . In fact, some of us don't bother with the stuff in the first place. And of course, children don't really have much choice in the matter. So, here you'll find ideas for a nice alcohol-free drink that isn't just water .
Coffee for those not Counting the Calories
This is a favourite coffee drink when it's cool outside and you need a charge to get you moving. It is definitely not for people who are counting their calories, unless you just want to see how high you can go. There are no exact measures, just pour it into a giant cup until it's full. Alternatively, you could mix a double batch and take it to work in a thermos flask.
Ingredients
Method
Mix all the above in a big glass.
If it's still not sweet enough for your taste, add a dollop of whipped cream on top, sprinkled with cinnamon and nutmeg.
Thames Water
When given the opportunity, do you smoke to fantastic excess? Then you'll need a drink that cuts through all the bad odours in your mouth. This particular drink is named after London's river because of its colour.
Making it couldn't be simpler. Fill a pint glass halfway with chilled grapefruit juice and top it off with a cold cola drink. This tastes absolutely awful if it is served tepid.
Milk-free, Sugar-free Smoothie
This is basically a blend of any fruit and fruit juices that take your fancy - bananas , orange juice and strawberries are the most popular. If you are worried about the lack of calcium, add calcium powder to the mix. It doesn't alter the taste in any discernible way.
The drink is also very easy to make, just keep frozen fruit on hand. A great drink usually requires 2 bananas, a large glass of apple or orange juice and up to 8oz of any fruit that you happen to have lying around.
Innovate
Below is one Researcher's experience of just how easy it is to be creative when trying to produce that perfect fruit smoothie.
One day, a friend and I wanted chocolate shakes , but didn't have the chocolate or vanilla ice cream. Finding a box of Friendly's Watermelon Sherbet, we dumped a load of that in a blender, and raided the fridge and cabinet for anything we could find. Soon we had a mix of the sherbet, canned pineapple , canned mandarin oranges, apple juice, and juice from a jar of maraschino cherries . We blended it up, and it tasted great. Most fruits and fruit juices mix well like this, so most combinations will work. However, pineapple and orange juice tend to be overpowering, so don't use too much.
Raspberry and Lavender Tea
Bring a large pot of water to the boil and add pre-cut and sifted raspberry leaf and lavender (heavy on the raspberry leaf). These can be found in many health food stores. Bring to a rapid boil, keep boiling until your desired strength is reached. Filter out the herbs and sweeten with honey (not sugar). The great thing with this is that it can be served hot or cold and can be stored in bottle for one or two weeks.
Well, that's just Peachy
30ml peach drink mix (the chemical crystals laden with sugar)
30ml frozen orange juice concentrate
Method
Toss all the above in a jar with a tight lid and shake it till the orange ice is dissolved.
Drink immediately.
You can stick this in a blender but a recycled pickle jar works fine.
Shirley Temple
This drink is named after the archetypal child star of the 1930s. Sweet but not saccharine, this is a true gem - a bit like the eponymous lady herself.
Pour some lemonade into a glass, add enough grenadine or cherry juice type liquid to turn it red. Once your liquid is satisfactorily red, add many, many maraschino cherries.
Quick Drinks
Below is a list of drinks that you can make quickly, thus avoiding the ubiquitous cans of fizzy pop that often contain copious amounts of sugar.
Orange juice with sparkling mineral water is quick and easy. Mix the liquids to a 50-50 ratio, or to your own personal taste. A nice long cold drink on a hot day.
Orange juice and grapefruit juice, mixed. Again, experiment to find your ideal proportions.
A 'St Clements' is a non-alcoholic cocktail of orange juice and bitter lemon, mixed 50-50.
Lucozade (a UK energy drink) and still mineral water (not tap-water unless you don't have anything else). This is great for those who are unwell or who are off to the gym.
Any kind of squash made with sparkling water and lots of ice.
For cold days, what's wrong with tea or coffee? They're quick and easy to make. Alternatively, good old hot chocolate , either the kind made with milk for a real comfort fix, or the kind made with hot water for speed.
For Health
Here's a little recipe that is a great comforter if you have the signs of a cold. It is great for cold nights and a fantastic energy booster too.
Into a mug pour some Ribena, or other thick blackcurrant cordial. Top up with boiling water and stir in a bit of honey . Take a slice of lemon and pierce cloves into it, then float this in the drink.
It's nicer than it sounds. Honest.
Indian Soft Drinks
Lassi
The quantities for this drink are entirely up to you but basically you blend together natural yoghurt, sugar and ice cubes. You can also make savoury lassi by substituting the sugar for a little salt.
You can add flavours such as fruit or rose water too.
Nimbu Pani (Lemon Water)
At its most basic, this is freshly squeezed lemon, sugar and cold water.
In India they keep a small bottle of lemon juice and sugar mix in the fridge and add this to cold water, like a cordial. Storing the juice and sugar together seems to fortify the taste.
Coke Floats
Basically a coke float is coke ( Coca-Cola works best) and vanilla ice cream. There's a café on the Scilly Isles which produces fantastic Coke Floats in cocktail glasses.
The best recipe seems to be to mix half of the coke with half of the ice cream in a food mixer, then pour it over the other half of the coke, and put the rest of the ice cream on top.
It's best to bear in mind that fizzy drinks and ice cream are a potent combination and froth up very effectively so experiment before making them in your best shirt.
VC
This is basically just cola with a splash of Vimto cordial (Vimto is a mixed fruit cordial). A refreshing alternative to some of the soft drinks available.
Belvoir Ginger Cordial
Belvoir (pronounced 'beaver') Ginger Cordial is available from most of the major supermarkets in the UK and the States. Just put a small amount in orange juice: it spices it up and makes it really tasty. It also works well in hot orange squash (if you're feeling cold) and Vimto.
Macau Fruit Cocktails
This little concoction is inspired by the fruit cocktails that you can find in Macau 2 . The basic tenet is to get lots of different fruits and chop them into little bits then add the juice of a different fruit. So, for an orange fruit cocktail (serves one) chop up one quarter honeydew melon, a slice of water melon, bits of papaya , a mango and then pour the juice of four oranges over the top.
Mmmm!
1 This is a traditional winter drink made of egg and milk, topped with nutmeg. It has alcoholic and non-alcoholic variants. 2 Macau is the former Portuguese territory near Hong Kong. It was handed back to the Chinese at the turn of the millennium.
| i don't know |
Which ITN newsreader also wrote three TV plays before leaving to work in Australia? | Long Biography
Long BiographyGordon Honeycombe
Born on 27 September, 1936, in Karachi, British India, and christened RONALD GORDON HONEYCOMBE, he returned to Britain with his parents and sister after the war. His father, Gordon Samuel Honeycombe, was a sales manager with an American oil company, Standard Vac. His mother, Dorothy Louise Reid Fraser, known as Louie, was born in Bridge of Allan, Scotland, in 1898. His sister, Marion, married Jim Campbell in 1954. Gordon was educated at the Edinburgh Academy, where he took a very active part in the school's dramatic and concert productions. He obtained eight 'O' Levels when he was 15, and three 'A' Levels (English, History and Latin) when he was 16.
In his first year at the Academy, in the Prep, in 1947 (aged 10), he was the Swineherd in The Princess and the Swineherd. At the end of the year he was second to the Dux of the Prep.
The following year, while in Lower 2 in the Upper School, he was Squire Trelawney in Treasure Island. In 1949, aged 12, he was cast as Gianetta in The Gondoliers by Gilbert and Sullivan. But when his mother and sister both got mumps, he was quarantined and missed major rehearsals. He ended up as Fiametta, leader of the Contadine.
He first acted in Shakespeare in 1950, in a school production of King Lear. He played Goneril; he was 13 and six feet tall. He missed Patience in 1951 as his voice had broken. But in 1952, aged 15, he was Brutus in Julius Caesar. Then followed the Mikado in The Mikado (1953); Malvolio in Twelfth Night (1954); and Private Willis in Iolanthe (1955). He was then 18, and left the Academy in July that year.
Throughout his schooling he was also active in school concerts, playing the piano, conducting and singing. He conducted his House choir and composed items for music competitions. In his last year he organized and conducted the School Concert as well as the more informal Free and Easy, a revue. Among several poems he wrote to entertain his classmates were Ode to the Seventh Modern, and Jake, a modern epic. He was also good at painting, and in Lower 2 got 11 out of 10 from his class master for a painting of Archimedes.
In 1955, in September, he joined the Royal Artillery, and spent most of his National Service in Hong Kong, where for over a year he was also a part-time radio announcer with BBC Radio Hong Kong. His first radio job, and his first in broadcasting, was, however, as a primitive DJ on a troopship, the Asturias. He played record requests on the voyage out and back.
While he was in Hong Kong he entered a talent competition on Radio Hong Kong called Beginners Please and won second prize, singing "The Surrey with the Fringe on Top". He subsequently wrote a new signature tune for the program ( in 1957). He also took part in an amateur production of The Merchant of Venice, playing Bassanio opposite his Colonel's wife, as Portia, and began writing his first book, about school life, called Green Boy.
His father died in Edinburgh in 1957, and his mother in 1965, two months after he joined ITN. In hospital, before she died, she was able to see him read the national TV News.
From 1957 to 1961 Gordon read English Language and Literature at University College, Oxford, and in due course obtained his BA (a good Second) and then an MA. He spent his 1958 summer vacation as a radio announcer with the Scottish Home Service in Glasgow. In December that year TB was diagnosed in a College Mass X-ray and he was hospitalized for six months.While at Oxford he acted in a number of plays for his College, for OUDS and ETC. For his College he played Othello, and the Attendant Spirit in Comus. In University productions, he was Second Gentleman in Measure for Measure; the Bishop of Carlisle and John of Gaunt in Richard 2; Paul Southman in Saint's Day; the Figure in The Waiting of Lester Abbs; the Baron in The Madwoman of Chaillot; and General MacBoom in Pantagleize.
In 1960 he was Peter in his own dramatization of the medieval mystery plays called The Miracles, which he co-directed. With a cast of 80, over 60 from his College, it was first presented by the College in Pusey Chapel, and then on the Fringe of the Edinburgh Festival. In 1961, he was Gabriel in his dramatization of Paradise Lost for the ETC. He directed this play and co-directed The Miracles at the Edinburgh Festival. In August 1961 he took part in Songs for an Autumn Rifle be David Caute. He continued to work on Green Boy and a stage play, The Twelfth Day of Christmas.
In November 1961 he became a professional actor with a company called Tomorrow's Audience, touring schools and other institutions with a dramatized anthology, The Prisoners. The company's last production, at the Marlowe Theatre, Canterbury, was the premiere of The Bed Sitting-room, then a one-act play. Gordon played the name part. The Prisoners was also performed on one Sunday at the Royal Court Theatre, early in 1962.
In May 1962 he joined the Royal Shakespeare Company at Stratford-upon-Avon, and transferred with them to the Aldwych Theatre in London at the end of the year, where he remained until December 1963, by which time he was earning �15 a week. He began on �11.
He acted in Macbeth (Servant, Soldier and Eighth King); Measure for Measure (Servant and Soldier); Cymbeline (First Lord); The Comedy of Errors (the Capitano); King Lear (Soldier and Edmund's Captain); A Midsummer Night's Dream (a Lord); The Beggar's Opera (Harry Paddington); The Physicists (Police Doctor); and The Representative (Swiss Guard).
The leading actors in those two years included Paul Scofield, Alec McCowen, Eric Porter, Marius Goring, Tom Fleming, Bill Travers, Patrick Allen, Ian Richardson, Vanessa Redgrave, Diana Rigg, Judi Dench, Virginia McKenna, Irene Worth and Juliet Mills. Nerys Hughes and Margaret Drabble were also in the Company. He left the RSC in December 1963, and spent a week in Jersey, his first visit there.
His play, The Miracles � published by Methuen in 1964 as The Redemption (the first of his writings to be published) � was presented by the RSC on three Sundays in 1963, two in Southwark Cathedral. In 1964 he took part in BBC TV's That Was The Week That Was and Not So Much A Programme as an extra, and in a TV play about Admiral Benbow directed by Ned Sherrin. Most of the time he was on the dole, receiving �3-12-6 a week.
In May 1965, Gordon Honeycombe joined ITN as a script-writer and newsreader, and over the next 12� years he became nationally known as a newscaster. He left ITN in November 1977. He mainly read the Early and Weekend news. He was twice chosen as the most popular newscaster in national polls run by the Daily Mirror and the Sun.
His first play for TV, The Golden Vision, written with Neville Smith, was produced and directed by Tony Garnett and Ken Loach in April 1968 and repeated the following year. In August 1968 he played the lead in a short film called The Commuter and in September was the ITV Commentator for the 50th Anniversary Service of the RAF held in Westminster Abbey.
His first novel, Neither The Sea Nor the Sand was published by Hutchinson in May 1969, and subsequently in America. It was issued in paperback by Pan and was made into a film in 1972 by Tigon Film Productions, starring Susan Hampshire, Michael Petrovich and Frank Finlay. The book was reissued in paperback by Arrow in August 1978 and in the same year the film was shown on ITV.
He continued to write, produce and act, and his play The Redemption was produced by him with a cast of 110 in Consett, County Durham, in September 1970. During October 1970 he appeared at the Royal Court Theatre in NF Simpson's Playback 625, with Eleanor Bron and John Clive.
In 1972, his second novel, Dragon Under The Hill, was published in the UK by Hutchinson and later in America by Simon and Schuster, where it became the alternative Book Club Choice. It was published as a paperback in both countries and reissued by Arrow in the UK in June 1978.
In 1973 he wrote and presented two half-hour TV documentaries for Westward Television called A Family Tree and Brass Rubbing � both were networked and repeated.
This was followed in 1974 by his second TV play, Time and Again, which was produced by Westward Television on location in the Scilly Isles, with Anouska Hempel, Bryan Marshall and Simon MacCorkindale, and was transmitted on ITV in November 1975. It was awarded the Silver Medal at the Film and TV Festival, New York 1975, and was repeated on ITV in 1977.
His third book, Adam's Tale, a true account of the Drug Squad at New Scotland Yard and some of its activities was published in 1974. It was hailed as "The most remarkable book dealing with the British police ever published".
His fourth book, Red Watch , a true account of a fire in Maida Vale in December 1974, in which seven people died, was published in May 1976 and was a best-seller in both hardback and paperback editions, the latter being published in November 1977. Red Watch was updated and reissued in paperback by Arrow in 1985.
He recorded a selection of children's Nonsense poems for Thames Television's Stuff and Nonsense series, transmitted between December '75 and March '76.
He appeared at the Theatre Royal, Stratford East, London in several charity and variety shows, and performed for a fortnight at the Players Theatre, London, where he sang a duet with Sheila Bernette.
He also wrote the book and lyrics of The Princess And The Goblins, which he adapted form the classic children's tale by George MacDonald. This was staged at the Quaker School at Great Ayton in November 1976. The music was by Robert Mackintosh.
His dramatization of Paradise Lost was produced and repeated three times on BBC Radio 4. It was also presented as a staged reading at York Theatre Royal and twice at The Old Vic, with Timothy West replacing Sir John Gielgud as Milton. Hannah Gordon was Eve. It was seen again in London in August 1975 at the Queen Elizabeth Hall and presented by the Prospect Theatre Company in the Assembly Hall at the Edinburgh Festival in September 1977, with Alec McCowen as Satan.
Another dramatization of Malory's Morte D'Arthur and called Lancelot and Guinevere was broadcast on Radio 4 in January 1976 and later repeated. On 10 September 1980 Lancelot and Guinevere was given its premiere stage production at the Old Vic Theatre by the Old Vic Theatre Company, with Timothy West, Bryan Marshall and Maureen O'Brien as Malory, Lancelot and Guinevere respectively.
IN June 1977 he wrote, arranged and appeared in a Royal Gala Performance at the Chichester Festival Theatre, celebrating the Queen's Silver Jubilee. It was called God Save The Queen! It had an all-star cast, including Ingrid Bergman, Wendy Hiller, Flora Robson, Diana Rigg, Penelope Keith, Sian Phillips, Keith Michell, Alfred Marks and Cicely Courtneidge. The performance was attended by Princess Alexandra.
On 16 October 1977, another Royal Gala Performance, again specially devised and written by Gordon Honeycombe, was presented at the Theatre Royal, York, to celebrate Prince Charles' visit to York, as Patron of the York Archaeological Trust. The production was called A King Shall Have A Kingdom and a shortened version was broadcast later by BBC Radio 4. Among the cast were: Bernard Cribbins, Judi Dench, Roy Dotrice, Hannah Gordon, Thora Hird, Magnus Magnusson, Richard Pasco, Dame Flora Robson, Paul Rogers, June Whitfield, Frank Windsor and also Gordon Honeycombe and Angela Rippon, who appeared together in an item.
He announced his resignation from ITN on 29 September 1977. His last newscast was to have been on Christmas Day. His main reason for leaving was to concentrate more fully on his writing career and other work for stage, films, television and radio. But on 16 November 1977, following an article he wrote in the Daily Mail about the national firemen's strike in support of the firemen's cause, he was suspended by the Editor of ITN, and he decided to leave ITN then and there in order to be able to speak more freely on the firemen's behalf.
In January 1978 he went to Cyprus for six weeks to research and start work on his fifth book The Edge of Heaven.
Beginning in April 1978 he presented a series of adult films, called The Late Late Show, for Southern Television. Also in April he became the presenter of a new monthly series of programmes about the arts, called Something Special , for Scottish Television. This ran for nine months.
In October 1978 he was seen in an episode of The Foundation (ATV) playing the part of a TV interviewer.
He played the role of a newscaster in The Medusa Touch starring Richard Burton and Lee Remick, directed for the cinema by Jack Gold and released in June 1978. Another film in which he read the news was Ransom starring Sean Connery and Ian McShane.
For four performances in June 1978 in St John's Church, Putney, he took the part of the Voice of God in Benjamin Britten's Noye's Fludde, performed by the Putney Children's Music Group.
On Sunday, 12 November 1978, he was commentator for the 60-minute 'live' ITV Outside Broadcast coverage of the Remembrance Day Service at the Cenotaph in Whitehall � the first time ITV had covered this event for eleven years.
In 1979 he became President of the Bournemouth Operatic Society and introduced their Showtime evenings at the Winter Gardens, Bournemouth, in April and at the Pavilion Theatre, Bournemouth in July 1979. The following year he devised, wrote and appeared as Narrator in an entertainment about the life and music of Ivor Novello, called Waltz of my Heart. It was given three performances by the Bournemouth Operatic Society at the Winter Gardens, Bournemouth, in May 1980.
Starting in March 1979 at 6.55pm on BBC 2, Gordon Honeycombe presented five half-hour programmes called Family History. The series was based on his twenty-year search into his own family history. It was immensely popular and was repeated on BBC 1 on March and April 1980 at 11.30pm, and again in 1982 and 1986.
He was the narrator in Yorkshire Television's major thirteen-part documentary series, Arthur C. Clarke's Mysterious World, transmitted by the ITN network at 8.30pm on Tuesdays form September, 1980.
In June 1980 he went to Japan for ten days , to Nagasaki, to research for an article about a Japanese doctor's experiences on 9 August 1945 when the second A-bomb exploded over Nagasaki. The article appeared in The Observer on Sunday 3 August and was called The Diary of a Survivor. The diaries of Dr Akizuki, edited by Gordon Honeycombe, with a foreword and postscript, were published by Quartet in August 1981. The book was called Nagasaki 1945, and appeared in America in May 1982.
Also in August 1981, Royal Wedding was published by Michael Joseph/Rainbird. Rainbird commissioned Gordon to write the book, an account of the engagement and wedding of Prince Charles and Lady Diana Spencer. The book, a Book Club choice, was published a fortnight after the wedding and became the No. 1 best-seller (220,000) in the UK in 1981.
The Edge of Heaven, a love story set in Cyprus and based on fact, was published by Hutchinson in October 1981. The paperback version was published by Arrow a year later. It became the most borrowed of all Gordon's books in public libraries, according to PLR records.
At Hatchyards' Authors of the Year party on 17 March 1982, Gordon Honeycombe was one of the six best-selling authors presented to the Queen and the Duke of Edinburgh. The others were Catherine Cookson, James Herriot, Salman Rushdie. Phillip Ziegler and Margaret Drabble. During that month he edited the Boer War journal of Private Harry Neal of the Royal Fusiliers, who died in 1901.
In June 1982, The Murders of the Black Museum (1871-1970) was published by Hutchinson. The book details 50 case histories of murder (illustrated) for which there are exhibits in Scotland Yard's Black Museum. The publishing party for the book's launch was held in Madame Tussaud's Chamber of Horrors on 21 June, the night Prince William of Wales was born. The book was published in paperback by Arrow in 1984.
On September 1, 1982, a companion volume to Royal Wedding was published by Michael Joseph/Rainbird. Called The Year of the Princess (and published in America by Little, Brown), it was the most complete and factual account of the first royal year of the Princess of Wales. Most of the 150 color illustrations were taken by the royal photographer, Tim Graham.
The last five books by Gordon Honeycombe � The Year of the Princess, The Murders of the Balck Museum, The Edge of Heaven, Royal Wedding, and Nagasaki 1945 � apart from being very diverse- were all published within a period of fourteen months.
His illustrated history of Selfridges � the story of the store from 1909 to 1984 � was published by Rainbird/Selfridges in March 1984 to celebrate the store's 75th Birthday.
On January 1984, Gordon Honeycombe, joined TV-am as its main news presenter, reading an average of seven bulletins on five mornings each week between 6.00 and 9.30am. This meant he was reading 35 news bulletins per week, more than anyone else in Britian.
In September 1984, 160 members of the Honeycombe clan assembled in England from all over the world to attend the Honeycombe Heritage Weekend, planned and organized by Gordon over the previous year. All the Honeycombes in the world (about 350) are descended from one man, Matthew Honeycombe, who lived in a Cornish village, St Cleer, 350 years ago.
On 2 October he was seen, as a newscaster, in a TV play, The Glory Boys by Gerald Seymour. The following week he narrated the Thames TV documentary, A Shred of Evidence, about the forensic work of Scotland Yard, and appeared as a TV interviewer in Paula Milne's play on Channel 4, CQ, starring Michael Elphick, on 11 October. His radio programme about the Museums of Scotland Yard went out on Radio 4 on 10 November.
For nine months he presented a video magazine for MTV, Marketing Television. He had already done a similar series for Texaco.
In March 1985, he took part in a Royal Gala Night of 100 Stars staged for Unicef before the Duchess of Kent. He sang and danced "When Mabel Walks in the Room" with Sheila Bernette, Mark Burns, Patrick Ryecart, Derek Waring, James Warwick and Moray Watson.
Family History was repeated in April/May on BBC1, concluding with a new half-hour documentary, The Invasion of the Honeycombes, made by BBC South West, about the gathering of the Honeycombes in Cornwall in September.
On Monday, 20 May, he attended the 21st Birthday Party of Viscount Althorp in Spencer House, the night before he went off on a week-long Mediterranean cruise on the Sea Princess.
On his return, on 30 May, he gave a party at TV-am to celebrate his 20 years in television.
In June, he chaired a debate in the Imperial War Museum in London about the dropping of the A-bombs on Japan in 1945, and unveiled a plaque marking the centenary of Lawn County Primary School in Northfleet, Kent, where his great-aunt, Eleanor Honeycombe, had been the first head-mistress.
He was in Cyprus in August, on holiday for a week � his tenth visit.
In September, he was back in Kent, at Thames-side Fire Station's Open Day, when a new water-tender was named Samuel Honeycombe after Gordon's great-grandfather, who had been the first Captain of the Northfleet Fire Brigade.
His third TV play, The Thirteenth Day of Christmas was transmitted by Granada TV on 14 December, in their series, Time for Murder. It starred Patrick Allen and Elizabeth Spriggs, both of whom had also been with the RSC in Stratford 1962.
In January 1986 he began work on a book about London's Metropolitan Police (called The Met), but abandoned the project six months later.
On 27 June, he hosted a charity concert, given in Tetbury Parish Church by the Suzuki Players before the Princess of Wales, and was presented to her after the performance. On 15 July, he was presented to the Prince of Wales at a reception given by the London Cornish Association in the Vintners Hall, London.
His dramaisation, Lancelot and Guinevere, was given a staged reading by members of the Royal Shakespeare Company at the Buxton Festival on 20 July. It was also staged for one day at the Mold Theatre in 1989.
His book, the TV-am Official Celebration of the Royal Wedding was published by Weidenfeld and Nicolson two days after the wedding and became an instant best-seller, remaining in the Top Ten (General) in the Sunday Times until 7 September.
In August, he appeared in Central TV's play Long Live the King, starring John Stride and John Duttine, as a TV presenter, and was a TV interviewer in the Frederick Forsyth film The Fourth Protocol.
He played a newscaster in Home Cooking, a play in Central TV's series, Unnatural Causes, on 8 November, and was a TV interviewer in Episode 10 of Granada's series, First Among Equals, transmitted on 2 December.
In November 1986, readers of Woman's Own voted him their most favorite male newscaster on ITV.
ON 3 December, he appeared in LWT's Christmas Night of 100 Stars at the Palladium as Abanazar (singing "Baubles, Bangles and Beads") in a scene from Aladdin with Anita Harris. The show was transmitted on 26 December. On 21 December he appeared on the stage of the Royal Opera House, Convent Garden � at the Friend's Christmas Party. He and Anne Diamond sang "Shall I Be An Angel, Daddy?" before the Prince and Princess of Wales.
The TV-am Book of the Royal Wedding, published in July 1986, was number 14 in The Bookseller's list of Bestsellers of 1986.
In January 1987 Gordon Honeycombe spent 3 weeks in Queensland, Australia, and in February his contract with TV-am was renewed for 2 years. Then aged 50, he had become the most durable of all the readers of national TV news, having started with ITN in May 1965, before all the current newsreaders.
Also in 1987 he provided material for three charity books: Double Takes by Anthony Grant ( photo fantasies of the famous); Theatre Digs, published by the Lord's Taverners; and When We Were Young published by David and Charles for the NSPCC.
He also took part in the BBC 2 book programme Cover to Cover transmitted in March; in an episode of The Bretts(Central TV) as a radio announcer; in a sketch for Alas Smith and Jones(which alas was never shown),and in an episode of Pulaski (BBC TV) in October.
On 26 October 1988 he appeared as a TV newreader in Episode 3 of Blind Justice (BBC2). On 1 December he took part in a charity Royal Gala at the Mayflower Theatre in Southhampton and sang "On The Banks of the Wabash". The Gala was transmitted on ITV on New Year's Day.
In St Albans City Hall, on 10 December, he chose and read various prose and poetry pieces for A Concert of Christmas Music presented by the St Albans Choral Society.
He was in Sydney and Melbourne over Christmas and New Year, and returned to Australia for three weeks in February 1989, to Perth.
Gordon Honeycombe left TV-am on 17 February 1989 after five years with the company. He was given a farewell party at TV-am on 30 March, the day before his contract actually ended.
On 8 April he took part , with Magnus Magnusson and Patricia Shakesby, in a reading of prose and verse in York University for the RSPB Centenary Members' Weekend. Magnusson was President of the Society and had also been at the Edinburgh Academy.
At the charity Terry-Thomas Gala at the Drury Lane Theatre on 9 April, staged to raise money for sufferers of Parkinson's Disease, Gordon sang a song with Frank Bough based on "The Two Gendarmes".
On 11 April 1989, Gordon Honeycombe was given an award as Newscaster of the Year at the annual ceremony in the Grosvenor Hotel, London staged by the Television and Radio Industries Club. Prince Michael of Kent did the presentations; the hostess was Angela Rippon.
In May and June he appeared as a celebrity guest on Tell the Truth (TVS) and Crosswits (Tyne Tees TV). On Sunday, 25 June he presented Melodies for You on Radio 2, playing music of his own choice for two hours. He read a news item for the last episode of the Channel 4 series Traffik , and in July was filmed as a TV announcer in a NFTS half-hour film, The Candy Show.
From 15 to 26 August, he starred in a new play Suspects by Giles Cole, given its world premiere at the Grand Theatre, Swansea. He played Detective Inspector Tindall. Also in the cast were Emma Chambers and Diana Kent .
On Sunday, 24 September, Gordon directed his dramatization of Paradise Lost at the Orange Tree Theatre, Richmond. It was for one performance to raise money for the new theater, and the cast included Kate O'Mara, Timothy West, Alec McCowen, Robert Hardy, Christopher Timothy, Robert Eddison and Nicky Henson.
Five days later he flew to Perth in Western Australia to audition a cast and begin rehearsing his play The Redemption, which would be performed at the Festival of Perth in March 1990. The play had a cast of over 160, all amateur, with guest appearances by Cabinet Ministers, the Opposition Leader, the Chief Justice and the Lord Mayor. The Redemption was staged at the Reabold Hill Quarry Amphitheatre in Perth from March 1-10 and was savaged by some critics.
Gordon returned to London for five days in November 1989 to play a TV commentator in Michael Winner's film Bullseye, starring Roger Moore and Michael Caine.
He contributed to the BFI chronicle, One Day in the Life of Television, published by Grafton Books on 1 November 1989. His contribution was the longest in the book.
On Monday 13 November 1989, the RSPB entertainment For Love of Birds, devised by Magnus Magnusson, was presented before the Queen, Patron of the RSPB, and the Duke of Edinburgh in St James's Palace, As at York in April, the 45 minute show was performed by Magnusson, Gordon and Patricia Shakesby, who were presented to the Queen and Duke.
The next day Gordon flew back to Perth to continue rehearsing The Redemption. He returned to London on 7 December and began rehearsals for Aladdin. He played the Emperor of China. Cilla Black was Aladdin. Gareth Hunt, Bob Carolgees and David Morton were also in the show. The pantomime opened at Wimbledon Theatre on Friday 22 December. It broke box-office records, and ran until 28 January.
On his return to London, Gordon began putting together a book about the social and family history of the Australian Honeycombes, the first of whom emigrated in 1850.
In August and September he acted in a touring production of Run for Your Wife! With Les Dawson and Peter Goodwright. Gordon was Detective Sergeant Porterhouse. The tour began on 23 July at Cardiff.
In December, he appeared in another production of Aladdin, with Su Pollard, Matthew Kelly and Hope and Keen. He again played the Emperor of China. Aladdin opened at the Pavilion Theatre, Bournemouth on 13 December.
His musical The Princess and The Goblins was staged at the Novello Theatre in Sunninghill between 23 March and 18 May.
On 10 June, at the Royal Salute in Hyde Park for the Duke of Edinburgh's 70th birthday, he was presented (for the third time) to the Queen. He was 55 in September 1991.
In this year he began reviewing books for the Sunday Express and was one of the judges for the Sunday Express, Book of the Year Award. The winner, Michael Frayn's A Landing on the Sun, was announced at the Inn on the Park on 18 November 1991. He continued reviewing books in 1992, for the Daily Express and also for the Daily Telegraph.
His twelfth book, Siren Song, was published by Hutchinson on 7 May 1992. At a party held in Random House on 12 May were, among others, Andrew Gardner, Peter Sissons, Moira Stewart, Stephen Fry, Eunice Gayson, Andrew Ray and Clare Colvin.
On 27 May, Gordon sailed to New York from Southampton on the QE2, giving a lecture and signing copies of his books. In New York he met publishers and discussed future projects, and then spent five days with the Honeycombes in Florida.
On 22 June, at University College, Oxford, he and the poet Andrew Motion read some of the poetry of Shelley, as part of a celebration of the 200th anniversary party of the poet's birth as well as of his brief attendance at the College.
On 3 July, Gordon was among many celebrities who attended the 25th anniversary party of News At Ten at ITN's new HQ at 200 Gray's Inn Road.
On 30 July, having attended literary lunches at Chichester, Harrogate and Edinburgh to promote Siren Song, he was guest of honor at the Foyle's lunch in the Grosvenor for Brian Johnston's book, Someone Who Was.
For three weeks, in September, he was a lecturer on a CTC cruise, traveling on a Russian ship from Tilbury to the North Cape and back. And in October be began working with Richard Goldsmith, who composed a completely new score for The Princess and the Goblins.
He next narrated a TV documentary for Channel 4, called Sick as a Parrot, which was shown on Channel 4 on Sunday, 29 November 1992.
In December, he flew to Australia, and was there for four months, until April 1993. Based at his flat in Perth, he visited Queensland, Melbourne and New Zealand. He also spent three weeks on the QE2, giving three lectures and voyaging from Sydney to Hong Kong.
He returned to London for the publication of his 13th book, More Murders of the Black Museum, on 22 April 1993. Over a three week period he did 36 radio interviews, four TV interviews and several newspaper interviews. The book was widely reviewed. Arrow brought it out in paperback in 1994.
Among other events that April attended by Gordon were the reception given on 16 April in the Black Museum, to mark the retirement of the curator, Bill Waddell, and the Sunday Express Celebrity Sports Luncheon at the Dorchester on 22 April. In May, he attended the Founders' Dinner of the Gunner Heritage Campaign held at the RA Officers' Mess, Woolwich.
The BBC TV drama documentary, Bad Company, for which Gordon had recorded a news item the previous year, was shown on 19 May. And a TV commercial for Ronseal, which he had also recorded in 1992, continued to be shown on ITV.
On June 2 he appeared in a Coronation Day celebration at the Caf� Royal, held to raise money for the charity, SOS. Willie Rushton, Barry Cryer, and Humphrey Lyttleton were among the other entertainers, and the event was attended by Prince Edward.
During 1992 and 1993 Gordon also reviewed books for the Sunday Express and the Daily Telegraph.
Comics by Lynda La Plante, in which he read a news item, was shown on TV on 6 June 1993, and on 1 July five programmes of Whatever Happened To � ?, which he presented, were recorded at Pebble Mill over a 12 hour period, including ten interviews, and transmitted on BBC1 from 5 July.
A staged reading of The Princess and the Goblins was performed in August at the Wyvern Theatre, Swindon. Music by Richard Goldsmith.
On 8 September 1993 Gordon learned that his application to become a permanent resident in Australia had been accepted. He already had a flat there, in Mount St, Perth, Western Australia, which he had bought in January 1990.
On 9 September Red Watch was reissued by Firestorm. On 19 September Gordon introduced a charity piano concert in the Colston Hall, Bristol, starring Russ Conway and Peter Katin. On 21 September he was guest of honor at the RN Engineering College Freshers' Night at Manadon, Plymouth.
Gordon flew to Australia on 3 November 1993, to Perth, arriving there on 5 November as a permanent resident. Over the next eight months he settled into his eighth floor flat overlooking the City and the Swan River and sold his London flat at 1 Montagu Square, WI, moving all his possessions to Perth. He began work on the family history of the Australian Honeycombes and did some radio and TV commercials, mainly for Channel 7.
In July 1994 he flew back to London for the world premiere at the Almeida Theatre, Islington of the one-act opera of Siren Song, composer Jonathan Dove. In the cast were Niall Morris and Omar Ebrahim. It was hailed as 'a near perfect operetta'.
Back in Perth he wrote for The West Australian, read lessons in Saint George's Cathedral and became a member of a monthly lunching group called The Ambrosians. He was Pilkington the butler in a Channel 7 promotion during February March 1995.
His dramatization of Paradise Lost, produced by him, was staged in St George's Cathedral on 21 May 1995. Michael Craig was Milton, and James Smillie Satan. Others in the cast included Adrian Mulraney, Susan Lyons, Charles Tingwell and Bill Kerr.
Among other functions, on 25 May Gordon attended the Lord's Taverners dinner at the Hyatt Hotel for the Australian Cricketer of the Year.
The Complete Murders of the Black Museum was published by Leopard Books in 1995 and in August 1996, his book about the Australian Honeycombes, called Australia for Me, was published privately, and presented to John Honeycombe on 20 August in Ayr, Queensland, when John was 60. Gordon was 60 on 27 September 1996.
On 26 January 1997, Australia Day, Gordon became an Australian citizen at a ceremony on the Esplanade, Perth. He attended the Mayor's Dinner in Perth Town Hall on 25 July 1997, as well as the Memorial Service for Diana, Princess of Wales in St Georges' Cathedral on 6 September.
He played King Hildebrand in the Gilbert and Sullivan Society's production of Princess Ida at the Playhouse, 24-27 September, and on 31 March 1998 could be heard as an Indonesian general in The Sea-Change, a play on ABC Radio. In April he reviewed Thomas Shapcott's novel Theatre of Darkness for The West Australian. Throughout this period he continued to do voice-overs for radio and TV commercial and give the occasional post-prandial lecture on Teach Yourself Australian. He has appeared in two TV series made in Perth � Minty and The Adventures of the Bush Patrol. And was seen as a Tramp in a video for rock band Jebediah.
He also appeared in a short student film In the Belly of the Beast in November 1998, and as Gremio in a Shakespeare in the Park production of The Taming of the Shrew in December 98- February 99. Then in March 1999 he was Pooh-Bah in the Gilbert and Sullivan Society's production of The Mikado in the Playhouse, Perth. In April he narrated, with Tina Altieri, The Seven Last Words By Haydn in St George's Cathedral.
In May 1999 he attended the 750th anniversary celebrations of the endowment of University College, Oxford, as well as the 175th Anniversary Dinner at the Edinburgh Academy, his old school, on 1 October.
He was in England again for the 100th birthday in Bournemouth of his aunt, Mrs Dorothy Barry on 6 October 2000. He also attended the Univ Players Diamond Jubilee Gathering at University College on 30 September.
In December 2000 He took part in the filming of Let's Get Skase, directed by Matthew George, starring Alex Dimitriades, Craig McLachlan and Bill Kerr. Gordon played Murray Bishop, Vice-Chairman of Qintex. The film was released in Australia in October 2001 but didn't do very well.
Meanwhile, in July 2000, Gordon sold his Mount St flat and moved into a new apartment in the City of Perth. He also acquired a new agent.
His 65th birthday was commemorated in The Times on 27 September 2001, along with those of Barbara Dickson, Nicholas Haslam, Denis Lawson, Meatloaf and Gwyneth Paltrow. His aunt was 101 in October. His sister, Marion, who is six years older than Gordon, lives with her husband, Jim Campbell, in Peebles, Scotland.
In 2002 he completed his 14th book, a novel set in Perth and called Beach. In September - October he was in the UK, seeing family and friends. His Aunt, Dorothy Barry, was 102 on 6 of October and had a birthday tea in the Priory Hotel, Wareham. She died in Bournemouth on 7 March 2003, when Gordon was on a 3 week holiday in New Zealand, mainly in the South Island. Later that year he travelled around Australia, seeing Honeycombes and friends, and in November 2003 he bought a laptop and a printer and now spends hours on the laptop every week.
In April of 2004 he had a short holiday in Mauritius.
His interests, as indicated in the current editions of the British Who's Who and Who's Who in Australia, continue to be crosswords, jigsaw puzzles, genealogy and bridge.
In August 2004, Gordon was in Dubai for a few days � dune-bashing, camel-riding and belly-dancing, as well as seeing the sights. He was in the UK in September, based in London, celebrating his 68th birthday with friends in the Ivy Restaurant. For a week he was in Cyprus, visiting locations in connection with a proposed production, by a Polish film company, of The Edge of Heaven.
Back in London, he and John Honeycombe acquired a Coat of Arms for the Honeycombes at the College of Arms, and on his return to Australia, initiated the setting up of a website called the Honeycombe Family History Archive, containing over 3,000 photos, 22 family trees, certificates, texts and books, etc (all the material he had gathered about the Honeycombes over 40 years). This was completed in March 2005. But the site will not be available on the Net until April 2006.
Gordon was in the UK from 10 to 30 September. He played bridge in Bournemouth with Tony, Gerry and Geoff, met up with his sister, Marion, in Edinburgh, visited his parents� grave in Morningside Cemetery, and his aunt�s (Dorothy Barry�s) grave in Logie Cemetery, Bridge of Allan, and attended a college dinner.
On Thursday, 22 September, he was interviewed on Good Morning Britain, as well as on the ITV Lunchtime News. He then read the ITN 6.30 News with Mary Nightingale, more than 40 years after reading his first News bulletin for ITN, when he was paid �25 a week. He left ITN in November 1977.
Julia Summerville, Selina Scott, Martyn Lewis and Anna Ford also returned to ITN that week to read the News � it had been Gordon�s idea that ITN�s Golden Oldies should return to help celebrate the 50th Anniversary of ITV.
He was in Cornwall with an old college friend, Sid Bradley, over the weekend of 23-26 September, staying in a chalet at Honicombe Manor Holiday Village, Calstock, where he planted a tree, a cedar of Lebanon, to replace a sequoia cut down the previous year. The sequoia had been planted in 1984. On 27 September he celebrated his 69th birthday at the Ivy with an old school-friend, Francis Walker.
On his return to Perth he initiated the computerizing of all the material in his 35 Scrapbooks, and on 3 November his fourth novel and 14th book, BEACH, was published in Perth.
200 copies of BEACH were privately printed by Gordon, but although it sold well in Perth, no publisher took it up. He flew to New Zealand on 10 April via Melbourne, where he met up with Ross Honeycombe and his family and the Healesville Honeycombes. In Auckland he stayed with Alan Macleod and his family and met up with the Honeycombes and the Marinovich family, also Darrin and Craig. In Tauranga he stayed with Nigel Blakeborough and Jo, who married a few months later. Back in Perth he attended the wedding celebrations of Vasyl Holobotovsky and his young wife, Svitlana, on 28 April 2006. Meanwhile, he lunched with the Ambrosians every month, went to the Ballet, and did occasional Voice-overs.
Phil Kelly and Gordon, after much editing and cutting, involving five drafts, completed the screenplay of THE EDGE OF HEAVEN. Phil then began work on the screenplay of BEACH. The computerisation of Gordon's Scrapbooks, covering his life from 1936 to 2006, was completed by Yuri Kaydanov in October. It contained over 3,000 items, photos, newspaper cuttings, programmes, articles, etc.
On 17 August 2006, Gordon was in Townsville and Ayr, Queensland, for the celebrations for John Honeycombe's 70th birthday, which was on 20 August. He returned to Perth on 26 August and celebrated his own 70th birthday, on 27 September, on five different occasions with five different groups of friends.
In September he began writing a History of the Origins of the Early Honeycombes for the Honeycombe Archive and initiated the copying on DVD of all the taped interviews concerning the Honeycombes he had made over the past 40 years.
The Scrapbooks section of the website, containing over 4,000 items, was completed by Yuri Kaydanov by the end of October 2006.� Further additions and corrections were made over the next six months.� On 4 November Gordon flew to Thailand, to Phuket, for a week, where he met up with Vic and Stevie Pocock, now living in Chiang Mai.� From 18 November he spent a week in Kalbarri, WA.�� Ronnie Sinclair, ex-EA, was in Perth at the end of November.
In January 2007 Gordon finished writing the early history of the Honeycombes for the Honeycombe Archive website.�� A new friend, Sibian Jodrell, committed suicide on 10 January, his 29th birthday.�� On 26 January Gordon attended the Australia Day ceremony at the Council House and was at the christening of Victoria Elizabeth Holobotovsky on 11 February.�� The final drafts of the screenplay of BEACH, written by Gordon and Phil Kelly, were completed in March and revised in April and October.�� At the end of March, Ayden Armitage, a friend of Carl Honeycombe in NZ (who set off on his travels around the world in April) came to stay while working in the mines and elsewhere, and on 13 May Gordon began work on a short history of the Honeycombes who emigrated to New Zealand in 1873.�� This was for the Honeycombe Archive and was completed in August 2007.�� In September he got in touch with Ben Darwin and advised him about TV presentation during the Rugby World Cup in France and the UK.�� On 27 September Gordon was 71.
Meanwhile, the one-act opera of SIREN SONG, based on his book, was published (libretto and music) by Editions Peters in September and John Blake Publishing emailed about reissuing both his books about THE MURDERS OF THE BLACK MUSEUM.�� In October 2007, Gordon auditioned for (and got) the role of Gordon in a film, THE SCULPTOR, directed by Chris Kenworthy, to be made in WA in March 2008.�� Then Screen West organised and presented a very successful Read-through of the screenplay of BEACH before an invited audience at the Subiaco Arts Centre on 28 November 2007.�
Also in November Gordon backed the winner in the Melbourne Cup, Efficient, and booked a seat on a 14-day Air Cruise, on a private Qantas all Business Class jet, flying to Sarawak, Vietnam, Thailand, Laos and Cambodia, departing Sydney on 29 January 2008.
On 28 March 2008, Gordon began work on THE SCULPTOR, a film made by Skyview Films in and around Perth, WA, and directed by Chris Kenworthy.��� He played the part of Gordon, leader of a black magic cult, and did five days� work over a period of three weeks, until 16 April.�� The film starred Paul Goddard, Melanie Vallejo, Georgina Andrews and Matt Penny. The film has yet to be released. �
In May 2008, Gordon was in New Zealand, staying with Alan and Duriena Macleod in Auckland, and with Nigel and Jo Blakeborough in Tauranga. He also met up again with Darrin Maynard and Craig Boyle, who had stayed with him in London in 1984. There was a gathering of the NZ Honeycombes at the Marinovich home at Kumeu, and Gordon visited Charlie and Ray Honeycombe in Rotorua. Just before Xmas 2008 he joined all 18 of the Queensland Honeycombes for another gathering, at Caloundra on the Sunshine Coast. �
Meanwhile, the text, proofs, jacket and photos of the reissue of MURDERS OF THE BLACK MUSEUM all had to be checked before the book's eventual publication, by John Blake, on 27 April 2009 in the UK and in August in Australia. �
On 13 February 2009, Tommy Tymuszkin from Poland, who was improving his English at the Milner School in Perth, moved for six months into Gordon's apartment. Then, on 20 February, Gordon flew to Kalgoorlie to stay for a weekend with Carl Honeycombe and his girl-friend, Flick. On 26 February Gordon's heart began fibrillating again (for the third time - the last time being four years ago). This entailed a daily intake of betablockers and Marevan pills until a cardioversion was possible. Meanwhile, on 16 April, Nigel and Jo came to Perth and stayed with Gordon for five days. They spent a day on Rottnest Island and went on a day-long wineries boat-trip up the Swan River. �
On 1 May, a cardioversion was successfully performed on Gordon in the Mount Hospital. It took three minutes and he was allowed out three hours later. �
THE SCULPTOR was shown at the Dungog Film Festival in NSW on 30 May. �
On 2 July Gordon's sister, Marion Campbell, died in Peebles. She was 78. �
On Friday, 10 July Gordon flew to London in an Emirates A380. He stayed with Deb and Sandy Macfarlane in Frimley. In London he saw two showbiz agents, as well as his publisher, John Blake. With Russ Coffey he visited Alan McCormick, the Curator of the Crime Museum, New Scotland Yard. He met up with Francis Walker, Doina Percival, Paul and Steve, stayed with Sid Bradley in York and drove with Michi Stoeckli down to Cornwall, where they stayed at Honicombe. On 30 July, he attended the marriage of his niece, Felicity, to Dennis Heard-White, in Eastbourne. She was given away by her father, Jim Campbell, Gordon's brother-in-law. �
Gordon returned to Perth on 4 August 2009 and Tommy left for Brisbane on 26 August.
In September, Gordon renewed the plants on his balcony, all with new pots. Climbing jasmine and bougainvillea, and a lemon tree, were added to some succulents, as well as some lilies and flowering shrubs. A park bench provided the seating.
September was the wettest in Perth for some time. But voice-overs picked up.
A BCC on his shoulder had to be excised at the end of October and then on the 30 October Gordon began fibrillating again. At the same time a lump was discovered next to a kidney. This, however, after a CT Scan, turned out to be a benign cyst. Visits were made to his cardiologist and a urologist. But no cardioversion was required this time and he was declared clear of any internal problems.
No rain fell in the City of Perth from 21 November until the end of February, and the City experienced its hottest and driest summer ever, over December and into January and February 2010. ��
On 22 March a series of ferocious thunderstorms swept over the City: driving rain flooded streets and hail damaged over 58,000 cars and several suburbs.
On 8 May Ross Honeycombe flew into Perth and stayed with Gordon for four days. His parents, Alan and Beth, were also in Perth, passing through on a round-trip of Australia, as were Rob and Kerryn Honeycombe and their two little girls from Brisbane. They all had breakfast at the Hilton Hotel on 9 May. On 4 June, Carl and his fiancée, Flick, at present living and working in Kalgoorlie, stayed for a few days.
On 3 July Gordon flew to Townsville for the 70th birthday celebrations of Beth Honeycombe on Magnetic Island, in the Peppers Resort at Nelly Bay Family friends and the families of David, Peter and Rob, the three sons of Beth and John, were also there � 10 grandchildren in all, Gordon returned on 9 July to a cold and rainy Perth, where much building of office and residential towers, new facades and amenities was still going on. He then began writing his Memoirs, covering the first 30 years only, from 1936 to 1966.
His 74th birthday on 27 September 2010 was celebrated with Carl and Flick, and Jocelyn, with whom he attended a Gala Reception for the WA Ballet Company at the Parmelia Hilton on 21 November. Tess Stroud�s 80th birthday was celebrated on 14 December at Sharon�s home in Mosman Park, when it was announced that Tess had married Jim Robinson.
In January 2011, Nick Honeycombe, Carl�s father, stayed with Gordon in Perth on his way to and from a holiday in Kalgoorlie. Alistair Sawers dropped in on 18 January, and Richard Chidley, whom Gordon had last seen in 1974, stayed for a few days. They went on a Wine Cruise and flew to Rottnest Island for the day.
By the end of July 2011 Gordon had completed the writing of an autobiography, What Went Before, 1936 to1966. By this time he had lost a quarter of his UK income, the exchange rate, pounds to dollars, having gone from .37 in 1993 to .67.
He celebrated his 75th birthday with a Tea Party on Saturday, 24 September, in the revolving C Restaurant on the 33rd floor of St Martin�s Tower in Perth, from 2.0 to 4.30 pm. Present were the Lord Mayor, Lisa Scaffidi; the Deputy Lord Mayor, Janet Davidson & her husband, Mike; Tess Stroud & Jim Robinson; Lee & Bruce Evensen; Jocelyn Basterfield; Adrian & Suzanne Momber; David Locke & Leandra Fallis; Nick & Lilia Male; Steve & Jenny Trafford; Adrian Mulraney & Avril; Ross Honeycombe; Carl Honeycombe & Flick; Rose & Shayne Honeycombe; Steve Drane; Yuri Kaydanov; and Chris Gray.
At the end of October the Queen was in Perth to open the Commonwealth Heads of Government Meeting (CHOGM).
On 10 January 2012 Gordon flew to Auckland and stayed with Duriena Macleod in Greenhithe � Alan was away working on a Bass Strait rig. On 14 January he attended the wedding of Carl Honeycombe and Felicity (Flick) Goode on a beach at Russell in the Bay of Islands. The following day he drove with Nigel Blakeborough to Cape Reinga, then down to Kataia. Then it was back to Auckland on the 16th, via Hokianga and Dargaville. On the 17th they drove to Tauranga. Gordon visited the film set of Hobbiton near Matamata. They spent the night of the 18th at Taupo. Then it was across to Hawkes Bay, where they stayed with David Griffiths and Prue and lunched at Elephant Hill. On the 20th Gordon did a bus tour to Cape Kidnappers to see a gannet colony. He also called on Charlie and Ray Honeycombe.
Back in Auckland on the 23rd, Gordon dined at Moontide, the home of Tony and Anna Marinovich. Also there were Barbara and Nick Honeycombe, Carl�s gran and father. On 24 January Gordon met up with the Boyle family in Remuera and had a few beers with Craig and Darrin at the Cock and Bull. He returned to Perth on the 25th, where it was 38 degrees. Two days later it was 42.
On 26 January, Australia Day, he attended the Citizenship Ceremony at the Council House with Ryan Ebert. Gerry Senior and Judith visited on the 28th and again on 9 February. They were touring WA with her son, Robert. Financial difficulties caused by the worsening exchange rate, pounds to dollars, meant that Gordon had to temporarily postpone, on 2 February, the Memorial Window project for the parish church of St Cleer and seek ways of boosting his income, much diminished by the exchange rate with the UK. One way was to get an Equity Loan or Reverse Mortgage. But he didn�t follow this up.
His scene in the Perth film, Short Film Maker, was filmed at Super IGA in Canning Vale on Friday, 10 February. He played Grandad. Dan Parry was Jimmy. A pick-up scene was filmed in March 2013. On 11 February, he and Ryan saw the Festival of Perth production of The White Divers of Broome at the Heath Ledger Theatre.
In June Gordon received a request from a publisher in Edinburgh, Mainstream, to write a review of an ex-fireman�s book, Call the Fire Brigade! Later in the year Mainstream turned down his Memoirs, entitled Far Away and Long Ago. In July he was contacted by Colin Parker, whom he hadn�t seen for 20 years, about doing lectures on a cruise ship, Saga Ruby, in March 2013, travelling free with a friend. The cruise was later curtailed and the Australian and NZ segment dropped..
The Memorial Window project was resumed and a Down Payment made. It was given Diocesan approval on 21 November and the Dedication Ceremony was fixed for 2 June 2013. Deb and Sandy Macfarlane stayed with him in Kingsgate from 21 to 29 November. Their visit included a wine cruise, and drives to Guilderton, Cervantes, and the Pinnacles, and to New Norcia and Northam. On 15 February Gordon travelled by train to Kalgoorlie to stay with Carl and Flick till the 18th. Over the weekend they visited Coolgardie, Kununalling, Ora Banda, Lake Ballard and Menzies and had dinner at the Palace Hotel, Kalgoorlie.
Ross Honeycombe stayed with Gordon in Perth over the weekend of 5 to 8 April. Alan Macleod was in Perth for 2 weeks of meetings, medicals, etc, before taking up his new job at Barrow Island. Gordon had a problem with his bone marrow, and blood, which necessitated a blood transfusion at the St John of God Hospital on 16 May. He saw his cardiologist on 21 May, and after an ECG was told he needn't come back for a year.
On 26 May he flew by Thai Airways to London via Bangkok and was in England from 27 May to 8 June, staying at the Hilton London Metropole in Edgware Road. He met up with Russ Coffey, Francis Walker, Rose and Shayne Honeycombe, Robert Mackinstosh, Syd Norris, Steve Beaver, Paul Mallender, Phil Tomkinson, Doina Percival, and Deb and Sandy Macfarlane. Robert gave Gordon a tape of the songs from The Princess and the Goblins, which they wrote 40 years ago, and Russ gave him a copy of Dennis Nilsen. Gordon visited Oxford, and on 1 June he travelled with Gerry and Judith Senior from Southampton to Cornwall, to Liskeard, where they stayed at the Liskeard Inn. On Sunday 2 June, there was a Morning Service at St Cleer, a buffet lunch in the Vicarage Garden, and at 2.0 pm the Honeycombe Memorial Window was dedicated by the Bishop of St Germans. On 3 June, after visiting Kit Hill, Honicombe Manor, Calstock Church and the Tamar Inn, Gordon and the Seniors drove to Exeter, where he caught a train back to London.
Gordon had another blood transfusion on 13 June and saw David Locke and Leandra on 15 June before they flew to Canada for their wedding on 6 July. On 20 June, Carl, Flick and Laylah stayed the night before driving down to Bunbury to inspect various lots. They bought one at Donnybrook. On 2 July Gordon saw his haematologist and GP and both indicated that his blood ailment, myelo dysplasia, could be stabilised by a series of protein self-injections and blood transfusions, but there was no cure.
On 3 July, he was at a Preview at the ACE cinemas in Subiaco of the 27 minute cartoon, God Squad, in which he had voiced the Holy Ghost the previous year. On 31 July he finished revising and emending the reissue of More Murders of the Black Museum, to be published by John Blake in June 2014.
Ryan Ebert and Gordon celebrated their birthdays with a beery session in the Moon and Sixpence on 26 September. Ryan was briefly revisiting Perth after settling in Melbourne. On 19 October, David Honeycombe captained a Qantas jet to Perth and he and Gordon had lunch together. On 26 October Gordon was a guest of Councillor Janet Davidson at a Council House dinner. On 20 November he returned to St John of God Hospital for a transfusion of three bags of blood. Thereafter the blood complaint seemed to stabilise - self injections continued once a week. On Christmas Day he joined Jocelyn and her family for lunch. On 28 December he and Ryan lunched at the Duckstein Restaurant in the SwanValley, prior to Ryan's move to Melbourne. Periodically Gordon revised and added to his as yet unpublished memoirs, Far Away and Long Ago, 1936-66 and updated the Honeycombe Archive.
On 16 January 2014 he flew to Melbourne and stayed with Ross Honeycombe at Lilydale, also with Alan and Beth Honeycombe in Healesville. It was 44? when he arrived. Two days later it was 23?, with a cold wind. He met Ross's four little girls, and on Saturday 18 January he spent the day with Ross and Alan at the Australian Tennis Open. They saw Andy Murray play at the HiSense Arena, and Novak and Boris Becker playing in a practice court. There were some outings, and on 20 January all the Victorian Honeycombes, including Warwick and Lucy Honeycombe (whom GH hadn't met for 40 years) had dinner at the Box Hill RSL. On 21 January he met up with Ryan at Young & Jackson's in Melbourne.
On 22 January Gordon flew to Auckland, NZ, and stayed for a week with Alan, Duriena and Logan Macleod. Among various outings, to the Nobilo Winery, the Pah Homestead and Waitakere Summit, there was a barbecue at the Macleods' Greenhithe home, attended by the Marinovich family and Barbara Honeycombe, which was followed by a similar gathering at the Riverhead pub on 27 January. Nick Honeycombe, Carl's father, was also there. On 28 January Gordon met up with Darrin Maynard at the home of Craig and Michelle Boyle and their two sons. He reminisced later with Craig and Darrin over several beers at the York Street Mechanics. They had first met in London 30 years ago.
Gordon returned to London on an Air New Zealand flight on 29 January. Alan Macleod, who was heading for his workplace on Barrow Island, was on the same flight. On 28 February Gordon saw Dr Ben Carnley, who said his haemoglobin level had risen, that no transfusion was necessary and that G needn't see him again for three months. On 15 March David and Leandra Locke returned to Perth, nine months after their marriage in Canada.
| gordon honeycomb |
Which famous river was discovered and first crossed by Spaniard Hernando de Soto? | Long Biography
Long BiographyGordon Honeycombe
Born on 27 September, 1936, in Karachi, British India, and christened RONALD GORDON HONEYCOMBE, he returned to Britain with his parents and sister after the war. His father, Gordon Samuel Honeycombe, was a sales manager with an American oil company, Standard Vac. His mother, Dorothy Louise Reid Fraser, known as Louie, was born in Bridge of Allan, Scotland, in 1898. His sister, Marion, married Jim Campbell in 1954. Gordon was educated at the Edinburgh Academy, where he took a very active part in the school's dramatic and concert productions. He obtained eight 'O' Levels when he was 15, and three 'A' Levels (English, History and Latin) when he was 16.
In his first year at the Academy, in the Prep, in 1947 (aged 10), he was the Swineherd in The Princess and the Swineherd. At the end of the year he was second to the Dux of the Prep.
The following year, while in Lower 2 in the Upper School, he was Squire Trelawney in Treasure Island. In 1949, aged 12, he was cast as Gianetta in The Gondoliers by Gilbert and Sullivan. But when his mother and sister both got mumps, he was quarantined and missed major rehearsals. He ended up as Fiametta, leader of the Contadine.
He first acted in Shakespeare in 1950, in a school production of King Lear. He played Goneril; he was 13 and six feet tall. He missed Patience in 1951 as his voice had broken. But in 1952, aged 15, he was Brutus in Julius Caesar. Then followed the Mikado in The Mikado (1953); Malvolio in Twelfth Night (1954); and Private Willis in Iolanthe (1955). He was then 18, and left the Academy in July that year.
Throughout his schooling he was also active in school concerts, playing the piano, conducting and singing. He conducted his House choir and composed items for music competitions. In his last year he organized and conducted the School Concert as well as the more informal Free and Easy, a revue. Among several poems he wrote to entertain his classmates were Ode to the Seventh Modern, and Jake, a modern epic. He was also good at painting, and in Lower 2 got 11 out of 10 from his class master for a painting of Archimedes.
In 1955, in September, he joined the Royal Artillery, and spent most of his National Service in Hong Kong, where for over a year he was also a part-time radio announcer with BBC Radio Hong Kong. His first radio job, and his first in broadcasting, was, however, as a primitive DJ on a troopship, the Asturias. He played record requests on the voyage out and back.
While he was in Hong Kong he entered a talent competition on Radio Hong Kong called Beginners Please and won second prize, singing "The Surrey with the Fringe on Top". He subsequently wrote a new signature tune for the program ( in 1957). He also took part in an amateur production of The Merchant of Venice, playing Bassanio opposite his Colonel's wife, as Portia, and began writing his first book, about school life, called Green Boy.
His father died in Edinburgh in 1957, and his mother in 1965, two months after he joined ITN. In hospital, before she died, she was able to see him read the national TV News.
From 1957 to 1961 Gordon read English Language and Literature at University College, Oxford, and in due course obtained his BA (a good Second) and then an MA. He spent his 1958 summer vacation as a radio announcer with the Scottish Home Service in Glasgow. In December that year TB was diagnosed in a College Mass X-ray and he was hospitalized for six months.While at Oxford he acted in a number of plays for his College, for OUDS and ETC. For his College he played Othello, and the Attendant Spirit in Comus. In University productions, he was Second Gentleman in Measure for Measure; the Bishop of Carlisle and John of Gaunt in Richard 2; Paul Southman in Saint's Day; the Figure in The Waiting of Lester Abbs; the Baron in The Madwoman of Chaillot; and General MacBoom in Pantagleize.
In 1960 he was Peter in his own dramatization of the medieval mystery plays called The Miracles, which he co-directed. With a cast of 80, over 60 from his College, it was first presented by the College in Pusey Chapel, and then on the Fringe of the Edinburgh Festival. In 1961, he was Gabriel in his dramatization of Paradise Lost for the ETC. He directed this play and co-directed The Miracles at the Edinburgh Festival. In August 1961 he took part in Songs for an Autumn Rifle be David Caute. He continued to work on Green Boy and a stage play, The Twelfth Day of Christmas.
In November 1961 he became a professional actor with a company called Tomorrow's Audience, touring schools and other institutions with a dramatized anthology, The Prisoners. The company's last production, at the Marlowe Theatre, Canterbury, was the premiere of The Bed Sitting-room, then a one-act play. Gordon played the name part. The Prisoners was also performed on one Sunday at the Royal Court Theatre, early in 1962.
In May 1962 he joined the Royal Shakespeare Company at Stratford-upon-Avon, and transferred with them to the Aldwych Theatre in London at the end of the year, where he remained until December 1963, by which time he was earning �15 a week. He began on �11.
He acted in Macbeth (Servant, Soldier and Eighth King); Measure for Measure (Servant and Soldier); Cymbeline (First Lord); The Comedy of Errors (the Capitano); King Lear (Soldier and Edmund's Captain); A Midsummer Night's Dream (a Lord); The Beggar's Opera (Harry Paddington); The Physicists (Police Doctor); and The Representative (Swiss Guard).
The leading actors in those two years included Paul Scofield, Alec McCowen, Eric Porter, Marius Goring, Tom Fleming, Bill Travers, Patrick Allen, Ian Richardson, Vanessa Redgrave, Diana Rigg, Judi Dench, Virginia McKenna, Irene Worth and Juliet Mills. Nerys Hughes and Margaret Drabble were also in the Company. He left the RSC in December 1963, and spent a week in Jersey, his first visit there.
His play, The Miracles � published by Methuen in 1964 as The Redemption (the first of his writings to be published) � was presented by the RSC on three Sundays in 1963, two in Southwark Cathedral. In 1964 he took part in BBC TV's That Was The Week That Was and Not So Much A Programme as an extra, and in a TV play about Admiral Benbow directed by Ned Sherrin. Most of the time he was on the dole, receiving �3-12-6 a week.
In May 1965, Gordon Honeycombe joined ITN as a script-writer and newsreader, and over the next 12� years he became nationally known as a newscaster. He left ITN in November 1977. He mainly read the Early and Weekend news. He was twice chosen as the most popular newscaster in national polls run by the Daily Mirror and the Sun.
His first play for TV, The Golden Vision, written with Neville Smith, was produced and directed by Tony Garnett and Ken Loach in April 1968 and repeated the following year. In August 1968 he played the lead in a short film called The Commuter and in September was the ITV Commentator for the 50th Anniversary Service of the RAF held in Westminster Abbey.
His first novel, Neither The Sea Nor the Sand was published by Hutchinson in May 1969, and subsequently in America. It was issued in paperback by Pan and was made into a film in 1972 by Tigon Film Productions, starring Susan Hampshire, Michael Petrovich and Frank Finlay. The book was reissued in paperback by Arrow in August 1978 and in the same year the film was shown on ITV.
He continued to write, produce and act, and his play The Redemption was produced by him with a cast of 110 in Consett, County Durham, in September 1970. During October 1970 he appeared at the Royal Court Theatre in NF Simpson's Playback 625, with Eleanor Bron and John Clive.
In 1972, his second novel, Dragon Under The Hill, was published in the UK by Hutchinson and later in America by Simon and Schuster, where it became the alternative Book Club Choice. It was published as a paperback in both countries and reissued by Arrow in the UK in June 1978.
In 1973 he wrote and presented two half-hour TV documentaries for Westward Television called A Family Tree and Brass Rubbing � both were networked and repeated.
This was followed in 1974 by his second TV play, Time and Again, which was produced by Westward Television on location in the Scilly Isles, with Anouska Hempel, Bryan Marshall and Simon MacCorkindale, and was transmitted on ITV in November 1975. It was awarded the Silver Medal at the Film and TV Festival, New York 1975, and was repeated on ITV in 1977.
His third book, Adam's Tale, a true account of the Drug Squad at New Scotland Yard and some of its activities was published in 1974. It was hailed as "The most remarkable book dealing with the British police ever published".
His fourth book, Red Watch , a true account of a fire in Maida Vale in December 1974, in which seven people died, was published in May 1976 and was a best-seller in both hardback and paperback editions, the latter being published in November 1977. Red Watch was updated and reissued in paperback by Arrow in 1985.
He recorded a selection of children's Nonsense poems for Thames Television's Stuff and Nonsense series, transmitted between December '75 and March '76.
He appeared at the Theatre Royal, Stratford East, London in several charity and variety shows, and performed for a fortnight at the Players Theatre, London, where he sang a duet with Sheila Bernette.
He also wrote the book and lyrics of The Princess And The Goblins, which he adapted form the classic children's tale by George MacDonald. This was staged at the Quaker School at Great Ayton in November 1976. The music was by Robert Mackintosh.
His dramatization of Paradise Lost was produced and repeated three times on BBC Radio 4. It was also presented as a staged reading at York Theatre Royal and twice at The Old Vic, with Timothy West replacing Sir John Gielgud as Milton. Hannah Gordon was Eve. It was seen again in London in August 1975 at the Queen Elizabeth Hall and presented by the Prospect Theatre Company in the Assembly Hall at the Edinburgh Festival in September 1977, with Alec McCowen as Satan.
Another dramatization of Malory's Morte D'Arthur and called Lancelot and Guinevere was broadcast on Radio 4 in January 1976 and later repeated. On 10 September 1980 Lancelot and Guinevere was given its premiere stage production at the Old Vic Theatre by the Old Vic Theatre Company, with Timothy West, Bryan Marshall and Maureen O'Brien as Malory, Lancelot and Guinevere respectively.
IN June 1977 he wrote, arranged and appeared in a Royal Gala Performance at the Chichester Festival Theatre, celebrating the Queen's Silver Jubilee. It was called God Save The Queen! It had an all-star cast, including Ingrid Bergman, Wendy Hiller, Flora Robson, Diana Rigg, Penelope Keith, Sian Phillips, Keith Michell, Alfred Marks and Cicely Courtneidge. The performance was attended by Princess Alexandra.
On 16 October 1977, another Royal Gala Performance, again specially devised and written by Gordon Honeycombe, was presented at the Theatre Royal, York, to celebrate Prince Charles' visit to York, as Patron of the York Archaeological Trust. The production was called A King Shall Have A Kingdom and a shortened version was broadcast later by BBC Radio 4. Among the cast were: Bernard Cribbins, Judi Dench, Roy Dotrice, Hannah Gordon, Thora Hird, Magnus Magnusson, Richard Pasco, Dame Flora Robson, Paul Rogers, June Whitfield, Frank Windsor and also Gordon Honeycombe and Angela Rippon, who appeared together in an item.
He announced his resignation from ITN on 29 September 1977. His last newscast was to have been on Christmas Day. His main reason for leaving was to concentrate more fully on his writing career and other work for stage, films, television and radio. But on 16 November 1977, following an article he wrote in the Daily Mail about the national firemen's strike in support of the firemen's cause, he was suspended by the Editor of ITN, and he decided to leave ITN then and there in order to be able to speak more freely on the firemen's behalf.
In January 1978 he went to Cyprus for six weeks to research and start work on his fifth book The Edge of Heaven.
Beginning in April 1978 he presented a series of adult films, called The Late Late Show, for Southern Television. Also in April he became the presenter of a new monthly series of programmes about the arts, called Something Special , for Scottish Television. This ran for nine months.
In October 1978 he was seen in an episode of The Foundation (ATV) playing the part of a TV interviewer.
He played the role of a newscaster in The Medusa Touch starring Richard Burton and Lee Remick, directed for the cinema by Jack Gold and released in June 1978. Another film in which he read the news was Ransom starring Sean Connery and Ian McShane.
For four performances in June 1978 in St John's Church, Putney, he took the part of the Voice of God in Benjamin Britten's Noye's Fludde, performed by the Putney Children's Music Group.
On Sunday, 12 November 1978, he was commentator for the 60-minute 'live' ITV Outside Broadcast coverage of the Remembrance Day Service at the Cenotaph in Whitehall � the first time ITV had covered this event for eleven years.
In 1979 he became President of the Bournemouth Operatic Society and introduced their Showtime evenings at the Winter Gardens, Bournemouth, in April and at the Pavilion Theatre, Bournemouth in July 1979. The following year he devised, wrote and appeared as Narrator in an entertainment about the life and music of Ivor Novello, called Waltz of my Heart. It was given three performances by the Bournemouth Operatic Society at the Winter Gardens, Bournemouth, in May 1980.
Starting in March 1979 at 6.55pm on BBC 2, Gordon Honeycombe presented five half-hour programmes called Family History. The series was based on his twenty-year search into his own family history. It was immensely popular and was repeated on BBC 1 on March and April 1980 at 11.30pm, and again in 1982 and 1986.
He was the narrator in Yorkshire Television's major thirteen-part documentary series, Arthur C. Clarke's Mysterious World, transmitted by the ITN network at 8.30pm on Tuesdays form September, 1980.
In June 1980 he went to Japan for ten days , to Nagasaki, to research for an article about a Japanese doctor's experiences on 9 August 1945 when the second A-bomb exploded over Nagasaki. The article appeared in The Observer on Sunday 3 August and was called The Diary of a Survivor. The diaries of Dr Akizuki, edited by Gordon Honeycombe, with a foreword and postscript, were published by Quartet in August 1981. The book was called Nagasaki 1945, and appeared in America in May 1982.
Also in August 1981, Royal Wedding was published by Michael Joseph/Rainbird. Rainbird commissioned Gordon to write the book, an account of the engagement and wedding of Prince Charles and Lady Diana Spencer. The book, a Book Club choice, was published a fortnight after the wedding and became the No. 1 best-seller (220,000) in the UK in 1981.
The Edge of Heaven, a love story set in Cyprus and based on fact, was published by Hutchinson in October 1981. The paperback version was published by Arrow a year later. It became the most borrowed of all Gordon's books in public libraries, according to PLR records.
At Hatchyards' Authors of the Year party on 17 March 1982, Gordon Honeycombe was one of the six best-selling authors presented to the Queen and the Duke of Edinburgh. The others were Catherine Cookson, James Herriot, Salman Rushdie. Phillip Ziegler and Margaret Drabble. During that month he edited the Boer War journal of Private Harry Neal of the Royal Fusiliers, who died in 1901.
In June 1982, The Murders of the Black Museum (1871-1970) was published by Hutchinson. The book details 50 case histories of murder (illustrated) for which there are exhibits in Scotland Yard's Black Museum. The publishing party for the book's launch was held in Madame Tussaud's Chamber of Horrors on 21 June, the night Prince William of Wales was born. The book was published in paperback by Arrow in 1984.
On September 1, 1982, a companion volume to Royal Wedding was published by Michael Joseph/Rainbird. Called The Year of the Princess (and published in America by Little, Brown), it was the most complete and factual account of the first royal year of the Princess of Wales. Most of the 150 color illustrations were taken by the royal photographer, Tim Graham.
The last five books by Gordon Honeycombe � The Year of the Princess, The Murders of the Balck Museum, The Edge of Heaven, Royal Wedding, and Nagasaki 1945 � apart from being very diverse- were all published within a period of fourteen months.
His illustrated history of Selfridges � the story of the store from 1909 to 1984 � was published by Rainbird/Selfridges in March 1984 to celebrate the store's 75th Birthday.
On January 1984, Gordon Honeycombe, joined TV-am as its main news presenter, reading an average of seven bulletins on five mornings each week between 6.00 and 9.30am. This meant he was reading 35 news bulletins per week, more than anyone else in Britian.
In September 1984, 160 members of the Honeycombe clan assembled in England from all over the world to attend the Honeycombe Heritage Weekend, planned and organized by Gordon over the previous year. All the Honeycombes in the world (about 350) are descended from one man, Matthew Honeycombe, who lived in a Cornish village, St Cleer, 350 years ago.
On 2 October he was seen, as a newscaster, in a TV play, The Glory Boys by Gerald Seymour. The following week he narrated the Thames TV documentary, A Shred of Evidence, about the forensic work of Scotland Yard, and appeared as a TV interviewer in Paula Milne's play on Channel 4, CQ, starring Michael Elphick, on 11 October. His radio programme about the Museums of Scotland Yard went out on Radio 4 on 10 November.
For nine months he presented a video magazine for MTV, Marketing Television. He had already done a similar series for Texaco.
In March 1985, he took part in a Royal Gala Night of 100 Stars staged for Unicef before the Duchess of Kent. He sang and danced "When Mabel Walks in the Room" with Sheila Bernette, Mark Burns, Patrick Ryecart, Derek Waring, James Warwick and Moray Watson.
Family History was repeated in April/May on BBC1, concluding with a new half-hour documentary, The Invasion of the Honeycombes, made by BBC South West, about the gathering of the Honeycombes in Cornwall in September.
On Monday, 20 May, he attended the 21st Birthday Party of Viscount Althorp in Spencer House, the night before he went off on a week-long Mediterranean cruise on the Sea Princess.
On his return, on 30 May, he gave a party at TV-am to celebrate his 20 years in television.
In June, he chaired a debate in the Imperial War Museum in London about the dropping of the A-bombs on Japan in 1945, and unveiled a plaque marking the centenary of Lawn County Primary School in Northfleet, Kent, where his great-aunt, Eleanor Honeycombe, had been the first head-mistress.
He was in Cyprus in August, on holiday for a week � his tenth visit.
In September, he was back in Kent, at Thames-side Fire Station's Open Day, when a new water-tender was named Samuel Honeycombe after Gordon's great-grandfather, who had been the first Captain of the Northfleet Fire Brigade.
His third TV play, The Thirteenth Day of Christmas was transmitted by Granada TV on 14 December, in their series, Time for Murder. It starred Patrick Allen and Elizabeth Spriggs, both of whom had also been with the RSC in Stratford 1962.
In January 1986 he began work on a book about London's Metropolitan Police (called The Met), but abandoned the project six months later.
On 27 June, he hosted a charity concert, given in Tetbury Parish Church by the Suzuki Players before the Princess of Wales, and was presented to her after the performance. On 15 July, he was presented to the Prince of Wales at a reception given by the London Cornish Association in the Vintners Hall, London.
His dramaisation, Lancelot and Guinevere, was given a staged reading by members of the Royal Shakespeare Company at the Buxton Festival on 20 July. It was also staged for one day at the Mold Theatre in 1989.
His book, the TV-am Official Celebration of the Royal Wedding was published by Weidenfeld and Nicolson two days after the wedding and became an instant best-seller, remaining in the Top Ten (General) in the Sunday Times until 7 September.
In August, he appeared in Central TV's play Long Live the King, starring John Stride and John Duttine, as a TV presenter, and was a TV interviewer in the Frederick Forsyth film The Fourth Protocol.
He played a newscaster in Home Cooking, a play in Central TV's series, Unnatural Causes, on 8 November, and was a TV interviewer in Episode 10 of Granada's series, First Among Equals, transmitted on 2 December.
In November 1986, readers of Woman's Own voted him their most favorite male newscaster on ITV.
ON 3 December, he appeared in LWT's Christmas Night of 100 Stars at the Palladium as Abanazar (singing "Baubles, Bangles and Beads") in a scene from Aladdin with Anita Harris. The show was transmitted on 26 December. On 21 December he appeared on the stage of the Royal Opera House, Convent Garden � at the Friend's Christmas Party. He and Anne Diamond sang "Shall I Be An Angel, Daddy?" before the Prince and Princess of Wales.
The TV-am Book of the Royal Wedding, published in July 1986, was number 14 in The Bookseller's list of Bestsellers of 1986.
In January 1987 Gordon Honeycombe spent 3 weeks in Queensland, Australia, and in February his contract with TV-am was renewed for 2 years. Then aged 50, he had become the most durable of all the readers of national TV news, having started with ITN in May 1965, before all the current newsreaders.
Also in 1987 he provided material for three charity books: Double Takes by Anthony Grant ( photo fantasies of the famous); Theatre Digs, published by the Lord's Taverners; and When We Were Young published by David and Charles for the NSPCC.
He also took part in the BBC 2 book programme Cover to Cover transmitted in March; in an episode of The Bretts(Central TV) as a radio announcer; in a sketch for Alas Smith and Jones(which alas was never shown),and in an episode of Pulaski (BBC TV) in October.
On 26 October 1988 he appeared as a TV newreader in Episode 3 of Blind Justice (BBC2). On 1 December he took part in a charity Royal Gala at the Mayflower Theatre in Southhampton and sang "On The Banks of the Wabash". The Gala was transmitted on ITV on New Year's Day.
In St Albans City Hall, on 10 December, he chose and read various prose and poetry pieces for A Concert of Christmas Music presented by the St Albans Choral Society.
He was in Sydney and Melbourne over Christmas and New Year, and returned to Australia for three weeks in February 1989, to Perth.
Gordon Honeycombe left TV-am on 17 February 1989 after five years with the company. He was given a farewell party at TV-am on 30 March, the day before his contract actually ended.
On 8 April he took part , with Magnus Magnusson and Patricia Shakesby, in a reading of prose and verse in York University for the RSPB Centenary Members' Weekend. Magnusson was President of the Society and had also been at the Edinburgh Academy.
At the charity Terry-Thomas Gala at the Drury Lane Theatre on 9 April, staged to raise money for sufferers of Parkinson's Disease, Gordon sang a song with Frank Bough based on "The Two Gendarmes".
On 11 April 1989, Gordon Honeycombe was given an award as Newscaster of the Year at the annual ceremony in the Grosvenor Hotel, London staged by the Television and Radio Industries Club. Prince Michael of Kent did the presentations; the hostess was Angela Rippon.
In May and June he appeared as a celebrity guest on Tell the Truth (TVS) and Crosswits (Tyne Tees TV). On Sunday, 25 June he presented Melodies for You on Radio 2, playing music of his own choice for two hours. He read a news item for the last episode of the Channel 4 series Traffik , and in July was filmed as a TV announcer in a NFTS half-hour film, The Candy Show.
From 15 to 26 August, he starred in a new play Suspects by Giles Cole, given its world premiere at the Grand Theatre, Swansea. He played Detective Inspector Tindall. Also in the cast were Emma Chambers and Diana Kent .
On Sunday, 24 September, Gordon directed his dramatization of Paradise Lost at the Orange Tree Theatre, Richmond. It was for one performance to raise money for the new theater, and the cast included Kate O'Mara, Timothy West, Alec McCowen, Robert Hardy, Christopher Timothy, Robert Eddison and Nicky Henson.
Five days later he flew to Perth in Western Australia to audition a cast and begin rehearsing his play The Redemption, which would be performed at the Festival of Perth in March 1990. The play had a cast of over 160, all amateur, with guest appearances by Cabinet Ministers, the Opposition Leader, the Chief Justice and the Lord Mayor. The Redemption was staged at the Reabold Hill Quarry Amphitheatre in Perth from March 1-10 and was savaged by some critics.
Gordon returned to London for five days in November 1989 to play a TV commentator in Michael Winner's film Bullseye, starring Roger Moore and Michael Caine.
He contributed to the BFI chronicle, One Day in the Life of Television, published by Grafton Books on 1 November 1989. His contribution was the longest in the book.
On Monday 13 November 1989, the RSPB entertainment For Love of Birds, devised by Magnus Magnusson, was presented before the Queen, Patron of the RSPB, and the Duke of Edinburgh in St James's Palace, As at York in April, the 45 minute show was performed by Magnusson, Gordon and Patricia Shakesby, who were presented to the Queen and Duke.
The next day Gordon flew back to Perth to continue rehearsing The Redemption. He returned to London on 7 December and began rehearsals for Aladdin. He played the Emperor of China. Cilla Black was Aladdin. Gareth Hunt, Bob Carolgees and David Morton were also in the show. The pantomime opened at Wimbledon Theatre on Friday 22 December. It broke box-office records, and ran until 28 January.
On his return to London, Gordon began putting together a book about the social and family history of the Australian Honeycombes, the first of whom emigrated in 1850.
In August and September he acted in a touring production of Run for Your Wife! With Les Dawson and Peter Goodwright. Gordon was Detective Sergeant Porterhouse. The tour began on 23 July at Cardiff.
In December, he appeared in another production of Aladdin, with Su Pollard, Matthew Kelly and Hope and Keen. He again played the Emperor of China. Aladdin opened at the Pavilion Theatre, Bournemouth on 13 December.
His musical The Princess and The Goblins was staged at the Novello Theatre in Sunninghill between 23 March and 18 May.
On 10 June, at the Royal Salute in Hyde Park for the Duke of Edinburgh's 70th birthday, he was presented (for the third time) to the Queen. He was 55 in September 1991.
In this year he began reviewing books for the Sunday Express and was one of the judges for the Sunday Express, Book of the Year Award. The winner, Michael Frayn's A Landing on the Sun, was announced at the Inn on the Park on 18 November 1991. He continued reviewing books in 1992, for the Daily Express and also for the Daily Telegraph.
His twelfth book, Siren Song, was published by Hutchinson on 7 May 1992. At a party held in Random House on 12 May were, among others, Andrew Gardner, Peter Sissons, Moira Stewart, Stephen Fry, Eunice Gayson, Andrew Ray and Clare Colvin.
On 27 May, Gordon sailed to New York from Southampton on the QE2, giving a lecture and signing copies of his books. In New York he met publishers and discussed future projects, and then spent five days with the Honeycombes in Florida.
On 22 June, at University College, Oxford, he and the poet Andrew Motion read some of the poetry of Shelley, as part of a celebration of the 200th anniversary party of the poet's birth as well as of his brief attendance at the College.
On 3 July, Gordon was among many celebrities who attended the 25th anniversary party of News At Ten at ITN's new HQ at 200 Gray's Inn Road.
On 30 July, having attended literary lunches at Chichester, Harrogate and Edinburgh to promote Siren Song, he was guest of honor at the Foyle's lunch in the Grosvenor for Brian Johnston's book, Someone Who Was.
For three weeks, in September, he was a lecturer on a CTC cruise, traveling on a Russian ship from Tilbury to the North Cape and back. And in October be began working with Richard Goldsmith, who composed a completely new score for The Princess and the Goblins.
He next narrated a TV documentary for Channel 4, called Sick as a Parrot, which was shown on Channel 4 on Sunday, 29 November 1992.
In December, he flew to Australia, and was there for four months, until April 1993. Based at his flat in Perth, he visited Queensland, Melbourne and New Zealand. He also spent three weeks on the QE2, giving three lectures and voyaging from Sydney to Hong Kong.
He returned to London for the publication of his 13th book, More Murders of the Black Museum, on 22 April 1993. Over a three week period he did 36 radio interviews, four TV interviews and several newspaper interviews. The book was widely reviewed. Arrow brought it out in paperback in 1994.
Among other events that April attended by Gordon were the reception given on 16 April in the Black Museum, to mark the retirement of the curator, Bill Waddell, and the Sunday Express Celebrity Sports Luncheon at the Dorchester on 22 April. In May, he attended the Founders' Dinner of the Gunner Heritage Campaign held at the RA Officers' Mess, Woolwich.
The BBC TV drama documentary, Bad Company, for which Gordon had recorded a news item the previous year, was shown on 19 May. And a TV commercial for Ronseal, which he had also recorded in 1992, continued to be shown on ITV.
On June 2 he appeared in a Coronation Day celebration at the Caf� Royal, held to raise money for the charity, SOS. Willie Rushton, Barry Cryer, and Humphrey Lyttleton were among the other entertainers, and the event was attended by Prince Edward.
During 1992 and 1993 Gordon also reviewed books for the Sunday Express and the Daily Telegraph.
Comics by Lynda La Plante, in which he read a news item, was shown on TV on 6 June 1993, and on 1 July five programmes of Whatever Happened To � ?, which he presented, were recorded at Pebble Mill over a 12 hour period, including ten interviews, and transmitted on BBC1 from 5 July.
A staged reading of The Princess and the Goblins was performed in August at the Wyvern Theatre, Swindon. Music by Richard Goldsmith.
On 8 September 1993 Gordon learned that his application to become a permanent resident in Australia had been accepted. He already had a flat there, in Mount St, Perth, Western Australia, which he had bought in January 1990.
On 9 September Red Watch was reissued by Firestorm. On 19 September Gordon introduced a charity piano concert in the Colston Hall, Bristol, starring Russ Conway and Peter Katin. On 21 September he was guest of honor at the RN Engineering College Freshers' Night at Manadon, Plymouth.
Gordon flew to Australia on 3 November 1993, to Perth, arriving there on 5 November as a permanent resident. Over the next eight months he settled into his eighth floor flat overlooking the City and the Swan River and sold his London flat at 1 Montagu Square, WI, moving all his possessions to Perth. He began work on the family history of the Australian Honeycombes and did some radio and TV commercials, mainly for Channel 7.
In July 1994 he flew back to London for the world premiere at the Almeida Theatre, Islington of the one-act opera of Siren Song, composer Jonathan Dove. In the cast were Niall Morris and Omar Ebrahim. It was hailed as 'a near perfect operetta'.
Back in Perth he wrote for The West Australian, read lessons in Saint George's Cathedral and became a member of a monthly lunching group called The Ambrosians. He was Pilkington the butler in a Channel 7 promotion during February March 1995.
His dramatization of Paradise Lost, produced by him, was staged in St George's Cathedral on 21 May 1995. Michael Craig was Milton, and James Smillie Satan. Others in the cast included Adrian Mulraney, Susan Lyons, Charles Tingwell and Bill Kerr.
Among other functions, on 25 May Gordon attended the Lord's Taverners dinner at the Hyatt Hotel for the Australian Cricketer of the Year.
The Complete Murders of the Black Museum was published by Leopard Books in 1995 and in August 1996, his book about the Australian Honeycombes, called Australia for Me, was published privately, and presented to John Honeycombe on 20 August in Ayr, Queensland, when John was 60. Gordon was 60 on 27 September 1996.
On 26 January 1997, Australia Day, Gordon became an Australian citizen at a ceremony on the Esplanade, Perth. He attended the Mayor's Dinner in Perth Town Hall on 25 July 1997, as well as the Memorial Service for Diana, Princess of Wales in St Georges' Cathedral on 6 September.
He played King Hildebrand in the Gilbert and Sullivan Society's production of Princess Ida at the Playhouse, 24-27 September, and on 31 March 1998 could be heard as an Indonesian general in The Sea-Change, a play on ABC Radio. In April he reviewed Thomas Shapcott's novel Theatre of Darkness for The West Australian. Throughout this period he continued to do voice-overs for radio and TV commercial and give the occasional post-prandial lecture on Teach Yourself Australian. He has appeared in two TV series made in Perth � Minty and The Adventures of the Bush Patrol. And was seen as a Tramp in a video for rock band Jebediah.
He also appeared in a short student film In the Belly of the Beast in November 1998, and as Gremio in a Shakespeare in the Park production of The Taming of the Shrew in December 98- February 99. Then in March 1999 he was Pooh-Bah in the Gilbert and Sullivan Society's production of The Mikado in the Playhouse, Perth. In April he narrated, with Tina Altieri, The Seven Last Words By Haydn in St George's Cathedral.
In May 1999 he attended the 750th anniversary celebrations of the endowment of University College, Oxford, as well as the 175th Anniversary Dinner at the Edinburgh Academy, his old school, on 1 October.
He was in England again for the 100th birthday in Bournemouth of his aunt, Mrs Dorothy Barry on 6 October 2000. He also attended the Univ Players Diamond Jubilee Gathering at University College on 30 September.
In December 2000 He took part in the filming of Let's Get Skase, directed by Matthew George, starring Alex Dimitriades, Craig McLachlan and Bill Kerr. Gordon played Murray Bishop, Vice-Chairman of Qintex. The film was released in Australia in October 2001 but didn't do very well.
Meanwhile, in July 2000, Gordon sold his Mount St flat and moved into a new apartment in the City of Perth. He also acquired a new agent.
His 65th birthday was commemorated in The Times on 27 September 2001, along with those of Barbara Dickson, Nicholas Haslam, Denis Lawson, Meatloaf and Gwyneth Paltrow. His aunt was 101 in October. His sister, Marion, who is six years older than Gordon, lives with her husband, Jim Campbell, in Peebles, Scotland.
In 2002 he completed his 14th book, a novel set in Perth and called Beach. In September - October he was in the UK, seeing family and friends. His Aunt, Dorothy Barry, was 102 on 6 of October and had a birthday tea in the Priory Hotel, Wareham. She died in Bournemouth on 7 March 2003, when Gordon was on a 3 week holiday in New Zealand, mainly in the South Island. Later that year he travelled around Australia, seeing Honeycombes and friends, and in November 2003 he bought a laptop and a printer and now spends hours on the laptop every week.
In April of 2004 he had a short holiday in Mauritius.
His interests, as indicated in the current editions of the British Who's Who and Who's Who in Australia, continue to be crosswords, jigsaw puzzles, genealogy and bridge.
In August 2004, Gordon was in Dubai for a few days � dune-bashing, camel-riding and belly-dancing, as well as seeing the sights. He was in the UK in September, based in London, celebrating his 68th birthday with friends in the Ivy Restaurant. For a week he was in Cyprus, visiting locations in connection with a proposed production, by a Polish film company, of The Edge of Heaven.
Back in London, he and John Honeycombe acquired a Coat of Arms for the Honeycombes at the College of Arms, and on his return to Australia, initiated the setting up of a website called the Honeycombe Family History Archive, containing over 3,000 photos, 22 family trees, certificates, texts and books, etc (all the material he had gathered about the Honeycombes over 40 years). This was completed in March 2005. But the site will not be available on the Net until April 2006.
Gordon was in the UK from 10 to 30 September. He played bridge in Bournemouth with Tony, Gerry and Geoff, met up with his sister, Marion, in Edinburgh, visited his parents� grave in Morningside Cemetery, and his aunt�s (Dorothy Barry�s) grave in Logie Cemetery, Bridge of Allan, and attended a college dinner.
On Thursday, 22 September, he was interviewed on Good Morning Britain, as well as on the ITV Lunchtime News. He then read the ITN 6.30 News with Mary Nightingale, more than 40 years after reading his first News bulletin for ITN, when he was paid �25 a week. He left ITN in November 1977.
Julia Summerville, Selina Scott, Martyn Lewis and Anna Ford also returned to ITN that week to read the News � it had been Gordon�s idea that ITN�s Golden Oldies should return to help celebrate the 50th Anniversary of ITV.
He was in Cornwall with an old college friend, Sid Bradley, over the weekend of 23-26 September, staying in a chalet at Honicombe Manor Holiday Village, Calstock, where he planted a tree, a cedar of Lebanon, to replace a sequoia cut down the previous year. The sequoia had been planted in 1984. On 27 September he celebrated his 69th birthday at the Ivy with an old school-friend, Francis Walker.
On his return to Perth he initiated the computerizing of all the material in his 35 Scrapbooks, and on 3 November his fourth novel and 14th book, BEACH, was published in Perth.
200 copies of BEACH were privately printed by Gordon, but although it sold well in Perth, no publisher took it up. He flew to New Zealand on 10 April via Melbourne, where he met up with Ross Honeycombe and his family and the Healesville Honeycombes. In Auckland he stayed with Alan Macleod and his family and met up with the Honeycombes and the Marinovich family, also Darrin and Craig. In Tauranga he stayed with Nigel Blakeborough and Jo, who married a few months later. Back in Perth he attended the wedding celebrations of Vasyl Holobotovsky and his young wife, Svitlana, on 28 April 2006. Meanwhile, he lunched with the Ambrosians every month, went to the Ballet, and did occasional Voice-overs.
Phil Kelly and Gordon, after much editing and cutting, involving five drafts, completed the screenplay of THE EDGE OF HEAVEN. Phil then began work on the screenplay of BEACH. The computerisation of Gordon's Scrapbooks, covering his life from 1936 to 2006, was completed by Yuri Kaydanov in October. It contained over 3,000 items, photos, newspaper cuttings, programmes, articles, etc.
On 17 August 2006, Gordon was in Townsville and Ayr, Queensland, for the celebrations for John Honeycombe's 70th birthday, which was on 20 August. He returned to Perth on 26 August and celebrated his own 70th birthday, on 27 September, on five different occasions with five different groups of friends.
In September he began writing a History of the Origins of the Early Honeycombes for the Honeycombe Archive and initiated the copying on DVD of all the taped interviews concerning the Honeycombes he had made over the past 40 years.
The Scrapbooks section of the website, containing over 4,000 items, was completed by Yuri Kaydanov by the end of October 2006.� Further additions and corrections were made over the next six months.� On 4 November Gordon flew to Thailand, to Phuket, for a week, where he met up with Vic and Stevie Pocock, now living in Chiang Mai.� From 18 November he spent a week in Kalbarri, WA.�� Ronnie Sinclair, ex-EA, was in Perth at the end of November.
In January 2007 Gordon finished writing the early history of the Honeycombes for the Honeycombe Archive website.�� A new friend, Sibian Jodrell, committed suicide on 10 January, his 29th birthday.�� On 26 January Gordon attended the Australia Day ceremony at the Council House and was at the christening of Victoria Elizabeth Holobotovsky on 11 February.�� The final drafts of the screenplay of BEACH, written by Gordon and Phil Kelly, were completed in March and revised in April and October.�� At the end of March, Ayden Armitage, a friend of Carl Honeycombe in NZ (who set off on his travels around the world in April) came to stay while working in the mines and elsewhere, and on 13 May Gordon began work on a short history of the Honeycombes who emigrated to New Zealand in 1873.�� This was for the Honeycombe Archive and was completed in August 2007.�� In September he got in touch with Ben Darwin and advised him about TV presentation during the Rugby World Cup in France and the UK.�� On 27 September Gordon was 71.
Meanwhile, the one-act opera of SIREN SONG, based on his book, was published (libretto and music) by Editions Peters in September and John Blake Publishing emailed about reissuing both his books about THE MURDERS OF THE BLACK MUSEUM.�� In October 2007, Gordon auditioned for (and got) the role of Gordon in a film, THE SCULPTOR, directed by Chris Kenworthy, to be made in WA in March 2008.�� Then Screen West organised and presented a very successful Read-through of the screenplay of BEACH before an invited audience at the Subiaco Arts Centre on 28 November 2007.�
Also in November Gordon backed the winner in the Melbourne Cup, Efficient, and booked a seat on a 14-day Air Cruise, on a private Qantas all Business Class jet, flying to Sarawak, Vietnam, Thailand, Laos and Cambodia, departing Sydney on 29 January 2008.
On 28 March 2008, Gordon began work on THE SCULPTOR, a film made by Skyview Films in and around Perth, WA, and directed by Chris Kenworthy.��� He played the part of Gordon, leader of a black magic cult, and did five days� work over a period of three weeks, until 16 April.�� The film starred Paul Goddard, Melanie Vallejo, Georgina Andrews and Matt Penny. The film has yet to be released. �
In May 2008, Gordon was in New Zealand, staying with Alan and Duriena Macleod in Auckland, and with Nigel and Jo Blakeborough in Tauranga. He also met up again with Darrin Maynard and Craig Boyle, who had stayed with him in London in 1984. There was a gathering of the NZ Honeycombes at the Marinovich home at Kumeu, and Gordon visited Charlie and Ray Honeycombe in Rotorua. Just before Xmas 2008 he joined all 18 of the Queensland Honeycombes for another gathering, at Caloundra on the Sunshine Coast. �
Meanwhile, the text, proofs, jacket and photos of the reissue of MURDERS OF THE BLACK MUSEUM all had to be checked before the book's eventual publication, by John Blake, on 27 April 2009 in the UK and in August in Australia. �
On 13 February 2009, Tommy Tymuszkin from Poland, who was improving his English at the Milner School in Perth, moved for six months into Gordon's apartment. Then, on 20 February, Gordon flew to Kalgoorlie to stay for a weekend with Carl Honeycombe and his girl-friend, Flick. On 26 February Gordon's heart began fibrillating again (for the third time - the last time being four years ago). This entailed a daily intake of betablockers and Marevan pills until a cardioversion was possible. Meanwhile, on 16 April, Nigel and Jo came to Perth and stayed with Gordon for five days. They spent a day on Rottnest Island and went on a day-long wineries boat-trip up the Swan River. �
On 1 May, a cardioversion was successfully performed on Gordon in the Mount Hospital. It took three minutes and he was allowed out three hours later. �
THE SCULPTOR was shown at the Dungog Film Festival in NSW on 30 May. �
On 2 July Gordon's sister, Marion Campbell, died in Peebles. She was 78. �
On Friday, 10 July Gordon flew to London in an Emirates A380. He stayed with Deb and Sandy Macfarlane in Frimley. In London he saw two showbiz agents, as well as his publisher, John Blake. With Russ Coffey he visited Alan McCormick, the Curator of the Crime Museum, New Scotland Yard. He met up with Francis Walker, Doina Percival, Paul and Steve, stayed with Sid Bradley in York and drove with Michi Stoeckli down to Cornwall, where they stayed at Honicombe. On 30 July, he attended the marriage of his niece, Felicity, to Dennis Heard-White, in Eastbourne. She was given away by her father, Jim Campbell, Gordon's brother-in-law. �
Gordon returned to Perth on 4 August 2009 and Tommy left for Brisbane on 26 August.
In September, Gordon renewed the plants on his balcony, all with new pots. Climbing jasmine and bougainvillea, and a lemon tree, were added to some succulents, as well as some lilies and flowering shrubs. A park bench provided the seating.
September was the wettest in Perth for some time. But voice-overs picked up.
A BCC on his shoulder had to be excised at the end of October and then on the 30 October Gordon began fibrillating again. At the same time a lump was discovered next to a kidney. This, however, after a CT Scan, turned out to be a benign cyst. Visits were made to his cardiologist and a urologist. But no cardioversion was required this time and he was declared clear of any internal problems.
No rain fell in the City of Perth from 21 November until the end of February, and the City experienced its hottest and driest summer ever, over December and into January and February 2010. ��
On 22 March a series of ferocious thunderstorms swept over the City: driving rain flooded streets and hail damaged over 58,000 cars and several suburbs.
On 8 May Ross Honeycombe flew into Perth and stayed with Gordon for four days. His parents, Alan and Beth, were also in Perth, passing through on a round-trip of Australia, as were Rob and Kerryn Honeycombe and their two little girls from Brisbane. They all had breakfast at the Hilton Hotel on 9 May. On 4 June, Carl and his fiancée, Flick, at present living and working in Kalgoorlie, stayed for a few days.
On 3 July Gordon flew to Townsville for the 70th birthday celebrations of Beth Honeycombe on Magnetic Island, in the Peppers Resort at Nelly Bay Family friends and the families of David, Peter and Rob, the three sons of Beth and John, were also there � 10 grandchildren in all, Gordon returned on 9 July to a cold and rainy Perth, where much building of office and residential towers, new facades and amenities was still going on. He then began writing his Memoirs, covering the first 30 years only, from 1936 to 1966.
His 74th birthday on 27 September 2010 was celebrated with Carl and Flick, and Jocelyn, with whom he attended a Gala Reception for the WA Ballet Company at the Parmelia Hilton on 21 November. Tess Stroud�s 80th birthday was celebrated on 14 December at Sharon�s home in Mosman Park, when it was announced that Tess had married Jim Robinson.
In January 2011, Nick Honeycombe, Carl�s father, stayed with Gordon in Perth on his way to and from a holiday in Kalgoorlie. Alistair Sawers dropped in on 18 January, and Richard Chidley, whom Gordon had last seen in 1974, stayed for a few days. They went on a Wine Cruise and flew to Rottnest Island for the day.
By the end of July 2011 Gordon had completed the writing of an autobiography, What Went Before, 1936 to1966. By this time he had lost a quarter of his UK income, the exchange rate, pounds to dollars, having gone from .37 in 1993 to .67.
He celebrated his 75th birthday with a Tea Party on Saturday, 24 September, in the revolving C Restaurant on the 33rd floor of St Martin�s Tower in Perth, from 2.0 to 4.30 pm. Present were the Lord Mayor, Lisa Scaffidi; the Deputy Lord Mayor, Janet Davidson & her husband, Mike; Tess Stroud & Jim Robinson; Lee & Bruce Evensen; Jocelyn Basterfield; Adrian & Suzanne Momber; David Locke & Leandra Fallis; Nick & Lilia Male; Steve & Jenny Trafford; Adrian Mulraney & Avril; Ross Honeycombe; Carl Honeycombe & Flick; Rose & Shayne Honeycombe; Steve Drane; Yuri Kaydanov; and Chris Gray.
At the end of October the Queen was in Perth to open the Commonwealth Heads of Government Meeting (CHOGM).
On 10 January 2012 Gordon flew to Auckland and stayed with Duriena Macleod in Greenhithe � Alan was away working on a Bass Strait rig. On 14 January he attended the wedding of Carl Honeycombe and Felicity (Flick) Goode on a beach at Russell in the Bay of Islands. The following day he drove with Nigel Blakeborough to Cape Reinga, then down to Kataia. Then it was back to Auckland on the 16th, via Hokianga and Dargaville. On the 17th they drove to Tauranga. Gordon visited the film set of Hobbiton near Matamata. They spent the night of the 18th at Taupo. Then it was across to Hawkes Bay, where they stayed with David Griffiths and Prue and lunched at Elephant Hill. On the 20th Gordon did a bus tour to Cape Kidnappers to see a gannet colony. He also called on Charlie and Ray Honeycombe.
Back in Auckland on the 23rd, Gordon dined at Moontide, the home of Tony and Anna Marinovich. Also there were Barbara and Nick Honeycombe, Carl�s gran and father. On 24 January Gordon met up with the Boyle family in Remuera and had a few beers with Craig and Darrin at the Cock and Bull. He returned to Perth on the 25th, where it was 38 degrees. Two days later it was 42.
On 26 January, Australia Day, he attended the Citizenship Ceremony at the Council House with Ryan Ebert. Gerry Senior and Judith visited on the 28th and again on 9 February. They were touring WA with her son, Robert. Financial difficulties caused by the worsening exchange rate, pounds to dollars, meant that Gordon had to temporarily postpone, on 2 February, the Memorial Window project for the parish church of St Cleer and seek ways of boosting his income, much diminished by the exchange rate with the UK. One way was to get an Equity Loan or Reverse Mortgage. But he didn�t follow this up.
His scene in the Perth film, Short Film Maker, was filmed at Super IGA in Canning Vale on Friday, 10 February. He played Grandad. Dan Parry was Jimmy. A pick-up scene was filmed in March 2013. On 11 February, he and Ryan saw the Festival of Perth production of The White Divers of Broome at the Heath Ledger Theatre.
In June Gordon received a request from a publisher in Edinburgh, Mainstream, to write a review of an ex-fireman�s book, Call the Fire Brigade! Later in the year Mainstream turned down his Memoirs, entitled Far Away and Long Ago. In July he was contacted by Colin Parker, whom he hadn�t seen for 20 years, about doing lectures on a cruise ship, Saga Ruby, in March 2013, travelling free with a friend. The cruise was later curtailed and the Australian and NZ segment dropped..
The Memorial Window project was resumed and a Down Payment made. It was given Diocesan approval on 21 November and the Dedication Ceremony was fixed for 2 June 2013. Deb and Sandy Macfarlane stayed with him in Kingsgate from 21 to 29 November. Their visit included a wine cruise, and drives to Guilderton, Cervantes, and the Pinnacles, and to New Norcia and Northam. On 15 February Gordon travelled by train to Kalgoorlie to stay with Carl and Flick till the 18th. Over the weekend they visited Coolgardie, Kununalling, Ora Banda, Lake Ballard and Menzies and had dinner at the Palace Hotel, Kalgoorlie.
Ross Honeycombe stayed with Gordon in Perth over the weekend of 5 to 8 April. Alan Macleod was in Perth for 2 weeks of meetings, medicals, etc, before taking up his new job at Barrow Island. Gordon had a problem with his bone marrow, and blood, which necessitated a blood transfusion at the St John of God Hospital on 16 May. He saw his cardiologist on 21 May, and after an ECG was told he needn't come back for a year.
On 26 May he flew by Thai Airways to London via Bangkok and was in England from 27 May to 8 June, staying at the Hilton London Metropole in Edgware Road. He met up with Russ Coffey, Francis Walker, Rose and Shayne Honeycombe, Robert Mackinstosh, Syd Norris, Steve Beaver, Paul Mallender, Phil Tomkinson, Doina Percival, and Deb and Sandy Macfarlane. Robert gave Gordon a tape of the songs from The Princess and the Goblins, which they wrote 40 years ago, and Russ gave him a copy of Dennis Nilsen. Gordon visited Oxford, and on 1 June he travelled with Gerry and Judith Senior from Southampton to Cornwall, to Liskeard, where they stayed at the Liskeard Inn. On Sunday 2 June, there was a Morning Service at St Cleer, a buffet lunch in the Vicarage Garden, and at 2.0 pm the Honeycombe Memorial Window was dedicated by the Bishop of St Germans. On 3 June, after visiting Kit Hill, Honicombe Manor, Calstock Church and the Tamar Inn, Gordon and the Seniors drove to Exeter, where he caught a train back to London.
Gordon had another blood transfusion on 13 June and saw David Locke and Leandra on 15 June before they flew to Canada for their wedding on 6 July. On 20 June, Carl, Flick and Laylah stayed the night before driving down to Bunbury to inspect various lots. They bought one at Donnybrook. On 2 July Gordon saw his haematologist and GP and both indicated that his blood ailment, myelo dysplasia, could be stabilised by a series of protein self-injections and blood transfusions, but there was no cure.
On 3 July, he was at a Preview at the ACE cinemas in Subiaco of the 27 minute cartoon, God Squad, in which he had voiced the Holy Ghost the previous year. On 31 July he finished revising and emending the reissue of More Murders of the Black Museum, to be published by John Blake in June 2014.
Ryan Ebert and Gordon celebrated their birthdays with a beery session in the Moon and Sixpence on 26 September. Ryan was briefly revisiting Perth after settling in Melbourne. On 19 October, David Honeycombe captained a Qantas jet to Perth and he and Gordon had lunch together. On 26 October Gordon was a guest of Councillor Janet Davidson at a Council House dinner. On 20 November he returned to St John of God Hospital for a transfusion of three bags of blood. Thereafter the blood complaint seemed to stabilise - self injections continued once a week. On Christmas Day he joined Jocelyn and her family for lunch. On 28 December he and Ryan lunched at the Duckstein Restaurant in the SwanValley, prior to Ryan's move to Melbourne. Periodically Gordon revised and added to his as yet unpublished memoirs, Far Away and Long Ago, 1936-66 and updated the Honeycombe Archive.
On 16 January 2014 he flew to Melbourne and stayed with Ross Honeycombe at Lilydale, also with Alan and Beth Honeycombe in Healesville. It was 44? when he arrived. Two days later it was 23?, with a cold wind. He met Ross's four little girls, and on Saturday 18 January he spent the day with Ross and Alan at the Australian Tennis Open. They saw Andy Murray play at the HiSense Arena, and Novak and Boris Becker playing in a practice court. There were some outings, and on 20 January all the Victorian Honeycombes, including Warwick and Lucy Honeycombe (whom GH hadn't met for 40 years) had dinner at the Box Hill RSL. On 21 January he met up with Ryan at Young & Jackson's in Melbourne.
On 22 January Gordon flew to Auckland, NZ, and stayed for a week with Alan, Duriena and Logan Macleod. Among various outings, to the Nobilo Winery, the Pah Homestead and Waitakere Summit, there was a barbecue at the Macleods' Greenhithe home, attended by the Marinovich family and Barbara Honeycombe, which was followed by a similar gathering at the Riverhead pub on 27 January. Nick Honeycombe, Carl's father, was also there. On 28 January Gordon met up with Darrin Maynard at the home of Craig and Michelle Boyle and their two sons. He reminisced later with Craig and Darrin over several beers at the York Street Mechanics. They had first met in London 30 years ago.
Gordon returned to London on an Air New Zealand flight on 29 January. Alan Macleod, who was heading for his workplace on Barrow Island, was on the same flight. On 28 February Gordon saw Dr Ben Carnley, who said his haemoglobin level had risen, that no transfusion was necessary and that G needn't see him again for three months. On 15 March David and Leandra Locke returned to Perth, nine months after their marriage in Canada.
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Robert Burke and William Wills were 19th century explorers of which country? | The Dig Tree: The Story of Burke and Wills, book by Sarah Murgatroyd — Text Publishing
‘The narrative is fast-paced, and historical facts are presented as vivid and engrossing detail.’
Bookseller & Publisher
‘one of the most compelling histories of exploration yet to appear in Australia, and certainly the finest book dealing with the alternatively comic and desperately tragic journey of Robert O’Hara Burke and William John Wills in 1860 and 1861…an Australian classic’
Bulletin
‘It has been told many times before, but Murgatroyd brings new themes to the story of the Burke and Wills expedition to the Gulf of Carpentaria in 1860 and makes a good read of the tragedy and scandal surrounding the heroic legend that persists to this day.’
Australian
‘All Australian history should be this good…Readers will be totally enmeshed by Murgatroyd’s story, so engaging and vivid is the writing…her evocation of the landscape and the perils faced by the explorers is luminous.’
Age
‘The Dig Tree is a beautifully told story which manages to get beneath the skins of an addictive bunch of egotistical, generous, mutinous, pig-headed and brave characters.’
Sunday Telegraph
‘Murgatroyd demonstrates a profound understanding of topography and climate in this gripping tale, and writes with compassion about the explorers’ foibles.’
Sunday Times
‘unflinching in portraying a campaign that, despite being elaborately equipped, was so shockingly unprepared and misguided that its account borders on black comedy.’
Publishers Weekly
‘Conveys an experts grasp of her material. The Dig Tree is unlikely to be superseded…instinctive and convincing.‘
Times Literary Supplement
‘For a great read, for a history lesson you didn’t know you needed and for a fascinating probe of what can come of greed, idiocy, valor, good luck and bad timing in the middle of a large, empty and unfriendly continent, step this way…’
Los Angeles Times
‘A shimmering reconstruction of the 1860 Victorian Exploring Expedition, which sought to traverse Australia south to north and needed no clairvoyance to predict its end in disaster.’
Kirkus Reviews
| Australia |
Which fruity title from their album Islands was a 1983 top ten hit for Kajagoogoo? | From Australian outback to Saudi tables - CSMonitor.com
From Australian outback to Saudi tables
A new program has been set up to cull the growing camel population and raise revenues at the same time.
By Shawn Donnan, Special to The Christian Science Monitor
June 28, 2002
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ALICE SPRINGS, AUSTRALIA — In a sunny corner of an enclosure, behind a set of low office buildings on the outskirts of this central Australian desert town, 35 wild camels are gathered and they're nervous.
After years of roaming free, someone had the audacity to pen them in. On top of it, a group of human visitors are ogling from the gate. But there's another reason for these camels to be wary: They're destined for a dinner plate in the Middle East.
Once relied on by settlers for carting supplies across the treacherous outback, Australia's camels are increasingly viewed as pests, one-humped environmental disasters wreaking havoc on a fragile landscape.
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Up to 500,000 camels roam the country's central desert plains a small population considering Australia has almost 30 million cattle and 100 million sheep. But the camel numbers are big enough that conservationists are calling for action. In the rugged Northern Territory, for example, they've bred to the point that parks and wildlife officials are considering mass shootings to control the population.
Photos of the Day Photos of the day 02/08
As a result, a fledgling export industry is emerging, sending live camels to places like Saudi Arabia, the United Arab Emirates, Brunei, and Malaysia Muslim countries where Australia's disease-free wild camels are a culinary delicacy. The goal is to bring camels down to size and make a buck along the way, precluding the need for wasteful shootings.
Australia's camels were first imported from what is now Pakistan and Afghanistan in the 1850s as cargo carriers for explorers Robert Burke and William Wills. Phased out in the early 20th century when cars and trucks replaced camels as transportation in the outback they constitute the last truly wild herd of dromedary (one-humped) camels in the world.
'Because of that, Australian camels are prized," says Peter Seidel, chief executive of the Central Australian Camel Industry Association, the industry group that both organizes and oversees the export of camels.
For years, Australia's camels have been exported in small numbers as breeding stock for Arab camel-racing stables and for use in tourist venues in places like the US. Camel boots and beauty creams made from the oils in camels' humps hit the market long ago.
But only since last year have Australian camels been exported in large numbers for human consumption. This year, some 5,000 camels will be shipped off with a future target of 20,000 to 30,000 camels per year.
With current prices around $230 to $370 a head, however, camel exporting is never going to be a big business. Still, it's a sign of how Australians are increasingly choosing to target a larger feral-animal problem that has plagued their land ever since white colonization in 1788.
"[Feral animals] are probably the second greatest threat to our wildlife," says Charlie Sherwin, biodiversity campaign coordinator for the Australian Conservation Foundation.
The only thing more worrisome, he says, is massive land clearing in parts of the country.
One nation, many pests
The continent's highest profile battle with wildlife has long been against rabbits. First imported as pets in the mid-19th century, rabbits bred to plague proportions before the introduction of diseases to control their population. So reviled are rabbits here that Australians even have their own alternative to the Easter Bunny: the Easter Bilby, a native animal driven close to extinction by imported predators.
The list of feral menaces also includes buffaloes, foxes, horses, goats, and the cane toad, a poisonous amphibian brought to northern Queensland by sugar cane farmers in the 1930s to fight off insects. There are feral cats and dogs. And across Australia's tropical north there are as many as 30 million wild pigs whose ancestors reportedly escaped from Captain James Cook, tearing through rain forests and savannahs.
Almost all have been harvested commercially. Before fur became unfashionable, hunters spread out across the Australian countryside at night, snaring foxes for their pelts. Across Australia's "Top End," wild pigs are shipped to Germany for sale as wild boar. Even the cane toad ends up as kitschy coin purses sold to tourists.
Experts say Australia is unlikely ever to get rid of the pests altogether. The best that conservationists can hope for now, many say, is controlling their populations.
"Eradication means killing the last animal. That will never happen," says Tony English, a University of Sydney expert on feral animals. "The country's just too big, and there's too many of them."
Besides commercialization and shooting feral pests, wildlife officials have experimented with poisons and introduced diseases like myxomatosis, which helped bring the rabbit population under control. There have been programs to sterilize animals and even discussion of how genetic engineering might help.
Capitalism may be best tool
Many still argue, though, that the best way to control feral animal populations is to let the forces of commerce go to work. "If you make an animal worth something, then there's an incentive for people to go out and hunt them out," says Mr. English.
But some environmentalists see another side as well. "The risk is that there's an incentive to maintain the population rather than eradicate it," says Sherwin, of the Australian Conservation Foundation.
Still, these days, it's hard to find a note of pessimism among central Australia's cameleers. Although some do offer one caveat: Catching camels is hard work.
"It's a lot harder than rounding up cattle," says Ian Conway, the owner of Kings Creek Station and, after 30 years of chasing, catching, and sending small groups of camels overseas, one of the camel industry's pioneers.
"Camels are clever animals," he says. "Even after 30 years, they still defy us."
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Where did Fats Domino find his thrill in 1956? | Fats Domino - Blueberry Hill (1956) - YouTube
Fats Domino - Blueberry Hill (1956)
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Published on Feb 12, 2015
I found my thrill
The wind in the willow played
Love's sweet melody
But all of those vows you made
Were never to be
You're part of me still
For you were my thrill
On Blueberry Hill
The wind in the willow played
Love's sweet melody
But all of those vows you made
Were never to be
You're part of me still
For you were my thrill
On Blueberry Hill
| Blueberry Hill |
Which fish is often mistakenly called the ‘pike-perch’? | Fats Domino on Blueberry Hill | Spinditty
Fats Domino on Blueberry Hill
Fats Domino on Blueberry Hill
Updated on May 16, 2016
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This is the rocker who sang one of my all time favorite songs “Blueberry Hill” and I found a thrill in every note. His full name is Antoine Dominique “Fats” Domino, Jr. or in rock and roll simply Fats Domino. He’s an American R&B and rock and roll pianist, singer and songwriter. Before 1955 he had released five gold records and has 35 Top 40 Hits in the U.S. Fats Domino comes from New Orleans, Louisiana and has a mixture of African-American heritage and French Creole background. Music was prominent in his family his father was a well-known violinist and his uncle was a jazz guitarist.
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Fats Domino rose to stardom with his first song “The Fat Man” in 1950 which had sold a million copies by 1953. He had lots of prominent musicians in his band and the sound was incredible. In 1955 he came out with a Top Ten hit “Ain’t That a Shame”. He scored big with his first album Rock and Rollin’ with Fats Domino which was released in 1956. That same year he recorded my favorite and a favorite of many “Blueberry Hill” which rose to number 2 in the Top 40 and number 1 on the R&B charts and stayed there for eleven weeks and went on to sell over 5 million copies. Other hits followed “When My Dreamboat Comes Home”, “I’m Walkin’”, “Valley of Tears”, “It’s You I Love”, “Whole Lotta Loving”, “I Want to Walk You Home”, and “Be My Guest”. Most of his songs just got you up and dancing along. Fats Domino appeared in two movies in 1956 Shake Rattle, and Roll and The Girl Can’t Help It. His hit “The Big Beat” was featured on Dick Clark’s American Bandstand.
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The hits continued to roll out with “Walkin’ to New Orleans” in 1960. Soon he had lots of competition when the British Invasion changed the face of rock and roll. In 1979 he made a cameo appearance in the movie “Any Which Way You Can” and this resulted in the country hit “Whiskey Heaven’. In the 80s Fats Domino made the decision to stop touring and remain in his beloved New Orleans. He was inducted into the Rock and Roll Hall of Fame.
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He still performs annually at the New Orleans Jazz and Heritage Festival. He was awarded the Grammy Lifetime Achievement Award in 1987. He took one last tour to Europe in 1995 and in 1998 President Clinton presented him with the National Medal of Arts. Rolling Stone magazine listed him at number 25 on their list of the 100 Greatest Artists of All Time. In 2007 Fats Domino was inducted into the Louisiana Music Hall of Fame.
One last thing about Fats Domino and his fabulous “Blueberry Hill” everyone who ever watched the hit TV show "Happy Days" must have had a smile like I did every time Richie Cunningham played by Ron Howard came down the stairs at home ready for a date singing the beginning of this song, “I’ve found my thrill,,,,”
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Which fish, Tinca tinca, do anglers call the ‘doctor fish’? | Tench – Total Fishing
old-admin Features , Uncategorized
Tench (tinca tinca)
Weight: Any tench over 7lb is a specimen and a double figure fish is the fish of a lifetime, with only a few caught each season. It’s said that to work out the size of the biggest female in a water you can double the size of the biggest male.
British record: 15lb.
Lateral line: Scale count of between 90 and 120.
Age: Thought to reach around 14 years.
Location: Found in lakes, canals and lowland rivers. Thrives in gravel pits.
Preferred habitat: Dense weed, silt substrate. Gives away feeding activity with small bubbles. Likes to feed over gravel.
Feeding: Most active from May-September. Often best targeted just after dawn and at dusk. Goes into a form of hibernation soon after first frosts, burying itself in mud or silt if possible.
Hybridisation: The tench is part of the carp family but there are no reports of hybrids with other species in Britain.
Natural food: Zooplankton, benthic invertebrates such as molluscs.
Maturity: 3-5 years.
Spawning: Spawns May-August. Females lay up to 400,000 eggs coated in a sticky protective covering. Spawns in dense weed in shallow water, where there is low or no flow
Identification
Colouration
Brown or green colour with light or orangy/bronzy underside. Very small pearly scales covered with protective slime giving the impression it has no scales. Very smooth to the touch. Some say the slime has healing properties, but more likely it protects the fish.
Tail
A thick tail wrist and slightly concave, large, compact and paddle-shaped tail gives the tench the ability to make powerful and sustained lunges if hooked.
Eyes
Not that you could mistake them for anything else, but the tench is noted for its distinctive red eyes.
Ventral Fins
The front ventral fins are large, with rounded lobes.
Dorsal Fin
When standing proud, the dorsal fin is high and arch-shaped. It has three or four thick, hard rays plus a number of softer ones.
Pelvic Fins
The pelvic fins are a giveaway as to the sex of the tench. The male fish has much larger, spoon shaped fins with a thick outer ray and pronounced knuckle above the root. Females have longer, more pointed, almost triangular pelvic fins.
Anal Fins
The anal fins have strong rays and are also rounded.
Mouth
The tench has a rubbery, downslung mouth with a bigger upper lip that helps with sifting out food from silty or gravel bottoms. In each corner of the mouth there is a small barbel.
The Life Cycle
Breeding
Life for a tench usually starts in June as adult males and females thrash their way through water weeds, leaving thousands of eggs, each a little bigger than a pinhead, stuck to the weeds. A female of 3lb might lay 200,000 eggs, which hatch in a few days to produce tiny, eel-like fish each about the size of a human eye-lash.
Early Days
For these minute creatures, survival is really tough: they have quickly to find microscopic, living food (like water fleas, Daphnia) and avoid being food themselves for all sorts of other fish (even their own bigger brothers and sisters!). Usually, very few survive, one of the reasons why baby tench are a rarity in coarse fisheries. Those that do manage to stay alive keep themselves hidden amongst weed, feeding on ever-larger water bugs – they especially love snails, freshwater shrimps and water hog lice.
Survivers
When coarse fish farmers or fishery managers drain ponds with tench in them, they need to keep an eye out for the baby tench wriggling out of the weed and mud even days after the water has gone! Tench are one of those very tough fish species that can survive very low oxygen levels and can live kept just damp for a surprising amount of time. This tolerance to low oxygen levels might help explain why tench fishing can often be good early in the morning, when the oxygen levels in a lake tend to be at their lowest and fish shouldn’t really be feeding hard!.
Growing Pains
The growth rate of tench is slow. A one-year-old fish might be only two inches long, a two-year-old fish four inches and a three-year-old six inches long.
A two-pounder could be as old as eight years! Compare that to carp – which can be well over 20lb in eight years. This is part of the reason why tench are so expensive to buy – if you want to buy a 5lb tench for your lake, expect to pay £40 per fish!
Long Life
Such a fish could be a good investment – they are a very tough species and live a long time, maybe longer than 15 years. But tench generally don’t compete strongly with other bottom feeders like carp that feed more aggressively and take the lion’s share of available grub. That said, tench around the country are getting bigger, perhaps the result of protein-rich carp anglers’ baits.
Specimen Sizes
In 1976, a pair of big five pounders would have made the weeklies; but, by today’s standards, who cares? Now, a pair of ‘sevens’ might be worth a few lines. As Britain continues to get warmer, expect tench to carry on growing, because they love warm water, explaining why they are one of the classic summer stillwater target species for anglers. The current British record stands at an incredible 15lb, caught from a gravel pit in 2001. A fish of over 18lb was claimed in 1988 but this was not certified by the record fish committee.
It’s A Sex Thing
When you next catch a tench, try to spot if it’s a male or female. Look at the fins in the middle of the belly (the pelvic fins), which are large and spoon-shaped in the males and smaller and tidier in the females. Big males will also have a lump on each flank just above these fins. It’s said that you can double the size of the biggest male in a water to work out how big the largest female will be. Any 5lb plus male is a very good fish. All double figure tench, which are real rarities, are females.
Golden Years
You might also come across golden tench, increasingly widespread in recent years. These are the same species as the normal, green fish, but are simply coloured ‘freaks’, bred by fish farmers. A big ‘goldie’ is a truly spectacular fish in any fishery but they don’t survive well in the wild as babies, since they are spot-ball for fish-eating predators like herons, pike and cormorants.
Doctor Fish?
Legends call tench the doctor fish, because it was claimed that other fish rubbed themselves against the slimy tench to heal their wounds; people also used tench slime and bones to try to heal all manner of ills. Probably, however, the slime is the tench’s own defence, helping to keep out disease and keeping the fish ‘waterproof’. You never know though – next time you cover yourself in tench slime, you could be doing yourself a power of good!
| Tench |
After Dublin which is Ireland’s most populous city? | The Lure of Angling: The Lake #33 Which way to go now.
A diary of my fishing throughout the year.
Friday, 5 August 2016
The Lake #33 Which way to go now.
The lake has me flummoxed this year! When I purchased my ticket I had my attack plan clear in my head and my targets in the cross hair, but the situation has gone from bad to worse quickly, and right know I really find myself stumped on whether to even continue wasting my time on Coombe at all.
Not long into the season it looked great and my hope was that I could begin to home in on the tench as I had done in previous seasons. Admittedly it was a bit of the clear side, but that made for perfect conditions to scope out the weed beds and clear spots. Only problem is that the afore mentioned weed beds have grown exponentially. At first though, that seemed perfect for me to go out on a few short evening sessions fishing surface lures for pike which I knew would be hanging out in the weed. Success came quickly and in little over a few hours here and there I was putting together a few jacks, fishing floating sizmic toad lures with big worm hooks masked off so as I could cast them right into the weed without fear of snagging up.
I have to say fishing these floating lures is even more exciting than floater fishing for carp, as the hits generally come out of the blue and are so vicious that there is no doubt the pike are hell bent on consuming the lure. The attacks are so aggressive in fact that on one occasion a striking pike literally ripped the paddle feet clean off my lure.
Even having as much fun as I have been with the surface lures, I know that this method too has limited mileage on the lake; the weed is actually becoming so dense that I feel sure the pike will soon not be able to see the lures even if I can cast into it.
On three consecutive visits on the same day over three weeks the weed has grown more than noticeably. Not only is it growing up towards the suns nutritious rays, but it is also spreading out like wild fire. In one area the entire width of the lake has been filled with all sorts of varieties and it is quite simple un-fishable already. The spread has become so bad that literally the outer edge of the main body of weed had spread two hundred metres in a week and beyond that, the smaller beds are now growing up and joining together. At this rate I can see the majority of the water being un-fishable by the end of August.
Spending time on the bank has also made it clear that the fish aren't in their normal haunts, which on a ninety acre water that makes things even more difficult. I have considered raking a few swims out but even that feels a bit futile considering the extent of the problem. Given that I can't spend as much time on the bank this year, I feel that I might be wasting my valuable time and before I have really begun the sun might be setting on Coombe for me this year.
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The three Provinces wholly in the Republic are Leinster, Connaught and which other? | Ulster | historic province, Ireland | Britannica.com
historic province, Ireland
John de Courci
Ulster, ancient Ulaid, one of the ancient provinces of Ireland and subsequently the northernmost of Ireland’s four traditional provinces (the others being Leinster , Munster , and Connaught [Connacht]). Because of the Ulster cycle of Irish literature, which recounts the exploits of Cú Chulainn and many other Ulster heroes, Ulster has a place of great prominence in Irish literature. The name Ulster is now used by many to refer to Northern Ireland.
Narrow Water Castle, Newry and Mourne (historical County Down, Ulster province), N.Ire.
Chris Hill/Tourism Ireland
Ancient Ulster extended from the northern and northeastern coasts of Ireland south to what is now County Louth and west to what is now County Donegal . About the beginning of the Common Era, when the ancient provinces of Ireland were first taking permanent shape, Ulster had its capital at Emain Macha, near Armagh . Attacks from the midland kingdom of Meath (Midhe, or Mide) led to Ulster’s disintegration in the 4th and 5th centuries. The province subsequently split into three kingdoms: Oriel, or Airgialla (in central Ulster), Aileach (in western Ulster), and the smaller kingdom of Ulaid (in eastern Ulster).
During the Anglo-Norman invasion of Ireland in the late 12th century, one of the baronial adventurers, John de Courci , captured eastern Ulster and ruled that small kingdom until dispossessed in 1205 by King John , who created Hugh de Lacy (died 1242) earl of Ulster. From 1263 to 1333 the earldom was held by the Anglo-Norman family of de Burgh, passing then to an heiress who married Lionel, duke of Clarence, a son of King Edward III , and ultimately to the crown.
Mussenden Temple and Downhill Demesne, Castlerock, Coleraine (historical County Londonderry, Ulster …
Nutan/Tourism Ireland
In the 16th century Ulster was administratively divided into nine shires (counties), of which those in the Republic of Ireland still exist. Meanwhile, the O’Neills (of County Tyrone ) and the O’Donnells (of County Tyrconnell [ Donegal ]) had become virtually supreme in much of Ulster. These two Roman Catholic clans were involved in a serious rebellion against Queen Elizabeth I from 1594 to 1601, caused in part by attempts to impose the English Reformation on the Irish. The failure of negotiations with James I led to the flight of the northern earls of Tyrone, Tyrconnell, and many others in 1607. Soon afterward thousands of settlers, mainly Lowland Scots Presbyterians, were introduced into Ulster, and particularly into its eastern portions, which became predominantly Protestant as a result. Their descendants prospered, and their refusal to join the rest of Ireland in accepting Home Rule led to the establishment of the state of Northern Ireland in 1921, consisting of the six Ulster counties of Antrim , Down , Armagh , Londonderry , Tyrone , and Fermanagh (replaced in the early 1970s by 26 local districts). The three Ulster counties of Monaghan , Cavan , and Donegal were included in independent Ireland, the Republic of Ireland since 1949.
Learn More in these related articles:
in Ireland
| Munster |
Where is the volcano Olympus Mons? | Irish land divisions - and how these impact on genealogy records
Irish land divisions
Home → Land and property records → Irish Land Divisions
Irish land divisions go beyond the familiar names of the 32 counties which make up the island. There are a number of additional land divisions which are worth understanding because genealogical records are not all organised in the same way. Gaining an acquaintance with how Irish land divisions work will therefore save you wasted searches and duplication of effort.
The nation
The modern-day island of Ireland is split into two entities: the Republic of Ireland and Northern Ireland. The Republic covers a little more than 80% of the island. It includes all of the provinces of Connaught, Leinster and Munster, plus three counties of Ulster – Cavan, Donegal and Monaghan.
Northern Ireland is part of the United Kingdom and consists of the remaining six counties of Ireland's province of Ulster – Antrim, Armagh, Derry (also called Londonderry), Down, Fermanagh and Tyrone.
The province
The four provinces of Ireland relate, approximately, to the regions ruled by pre-Norman kings or clans. They are the oldest of all Irish land divisions. Connaught in the West (O'Conor); Leinster in the East (MacMurrough); Munster in the South (O'Brien); and Ulster in the North (O'Neill). They do not have any administrative purpose or official status anymore. In fact, they are rarely mentioned except in sporting fixtures.
The province of Connaught is made up of Galway, Leitrim, Mayo, Roscommon and Sligo. Its flag shows an eagle and a sword.
The province of Leinster contains 12 counties: Carlow, Dublin, Kildare, Kilkenny, Laois, Longford, Louth, Meath, Offaly, Westmeath, Wexford and Wicklow. Its flag is a harp set on a green background.
The province of Munster contains Clare, Cork, Kerry, Limerick, Tipperary and Waterford. Its flag shows three gold crowns on a blue background. It is sometimes confused for Dublin's flag.
The province of Ulster is made up of Antrim, Armagh, Cavan, Derry/Londonderry, Donegal, Down, Fermanagh, Monaghan and Tyrone. Its flag highlights a red hand on a shield set on a background of gold/orange with a red cross.
The county
The 32 counties are probably the most consistent Irish land divisions and most people identify themselves with their native county.
All the counties of Ireland have a county town (which is often named after the county, just to confuse everyone!) which may have grown over the years to achieve city status ie Cork City, Galway City etc. A more recently added complication has been the division of Dublin into four county councils and of Tipperary into two.
Each county is made up of a number of civil parishes. About 25 of them have more than 100 parishes. Country Leitrim has just 17, the smallest number.
Learn more about each of the counties of Ireland .
The barony
Although its origin remains somewhat obscure, the barony used to be one of the most important Irish land divisions when surveys and early censuses were carried out. Many baronies span parts of multiple civil parishes and counties in Ireland and their areas changed over time. They have been obsolete since 1898, but not for genealogists! Many old land and property valuations were organised according to barony so it is worth being able to identify the barony in which an ancestor's townland was located.
The parish
There are two types of parish ecclesiastical and civil and they should not be confused, no matter how confusing this gets!
There are about 2500 civil parishes in Ireland. Each contains an average of 24 townlands and they are usually responsible for the compilation and maintenance of Irish land and property taxes and records.
The ecclesiastical position is rather more complicated because there are both Church of Ireland parishes and Roman Catholic parishes, and they have different congregations and boundaries. Typically Catholic parishes spread over a larger region than Church of Ireland parishes. The differences are best explained by a little history.
Back in the early 1800s, the Church of Ireland was still the Established Church of the island, and civil parishes followed pretty much the same geographical area, and used the same name, as the Church of Ireland parishes. Over the last couple of centuries, there has been some shifting of boundaries and some renaming of parishes, but for most genealogical purposes, there has been little or no change. One peculiarity is that some individual Church of Ireland parishes actually incorporate several civil parishes. This was because Church of Ireland congregations were quite small in some regions and a church in each civil parish could not be justified.
The ruins of Kilkerranmore parish church, co Cork
Roman Catholic parishes are the more complicated. When the Reformation reached Ireland in the mid-1600s, the RC church had to respond to the confiscation of its assets and removal of most of its clergy. It did this by creating much larger parishes, and these sometimes contained quite spread-out pockets of civilisation.
While this no doubt created some difficulties initially, the RC authorities found that since they were no longer restrained by any official map or Irish land bounderies, they had greater flexibility to create new parishes centred on shifting or growing areas of population.
This was particularly the case after full Catholic emancipation was granted in 1829. After this time, many new Catholic parishes were created.
Unfortunately, the long term result for Irish genealogy research is not so favourable. Not only do some Catholic parishes share the name, but not necessarily the land, of a civil parish, they cover a larger population simply because the majority of the Irish was Catholic. Plus, the registers for a particular area may have been split between two parishes when a new parish was created.
By contrast, the records of the Church of Ireland cover wider areas, smaller congregations and are relatively easy to search.
If your ancestors emigrated from Ireland, bear in mind that they may have listed their civil parish as a place of origin on civil documents in their adopted country. They are just as likely to have recorded the Church of Ireland parish or Roman Catholic parish when completing ecclesiastical documents ie noting their place of baptism or marriage, rather than their place of origin.
The diocese
An old ecclesiastical map of Ireland
The diocese is an administrative ecclesiastical unit and of little relevance to genealogy except that some types of records use it for filing purposes.
When these Irish land divisions was first introduced in the 12th century, there were 22 dioceses, each one belonging to one of four ecclesiastical provinces: Armagh, Cashel, Dublin and Tuam. At the head of each province was an archbishop.
Over time, the Church of Ireland and the RC church have gone their own way over dioceses. The former now has 12 dioceses in two just two provinces, Armagh and Dublin, although they cover the whole island.
The Catholic church retains its four provinces: Armagh, Dublin, Cashel & Emly, and Tuam.
It also still has 26 dioceses: Achonry; Ardagh & Clonmacnoise; Armagh; Cashel & Emly; Clogher; Clonfert; Cloyne; Cork & Ross; Derry; Down & Connor; Dromore; Dublin; Elphin; Ferns; Galway, Kilmacduagh & Kilfenora; Kerry; Kildare & Leighlin; Killala; Killaloe; Kilmore; Limerick; Meath; Ossory; Raphoe; Tuam, Waterford & Lismore.
Cities and Towns
The least complicated of Irish land divisions! These are urban neighbourhoods and should not be confused with townlands. A city or town may be made up of several townlands or be only one part of a townland.
Fortunately, most genealogical documents for addresses in cities and towns will bear a street name and sometimes a house number or name.
The townland
The townland is the most fundamental of all Irish land divisions and is the essential ingredient for successful genealogical research in Ireland. It is the smallest official division and one of the most ancient. It was originally based on 'ballyboes', areas of land deemed sufficient to sustain a cow.
Over time, townlands of varying sizes were established and by the 1830s there were some townlands of less than one acre and others of several thousand acres. Land was rented out using the name of townlands and they were used as a basis of census returns from 1821.
In the 1830s, the Ordnance Survey was carried out and the names (and their spellings) of all townlands standardised and recorded. In 1861, an Index (full name: General Alphabetical Index to the Townlands and Towns, Parishes & Baronies of Ireland) was published by Alexander Thom & Co. of Dublin, based on data from the 1851 census. Dublin-based genealogist Shane Wilson has created a free online Townlands Database from this Index.
A later Index was published in 1904, based on data used for the 1901 census. A free online database based on this Index is freely available on IrishAncestors.ie , the website of the Irish Genealogical Research Society.
Although these Indexes are incredibly useful, problems frequently arise because some townlands and locations also have unofficial place names. Imagine the frustration of locating the name of the townland where your ancestors lived only to find the place doesn't seem to exist; it has happened. Often. These place names are usually the old Irish names, binned when the Ordnance Survey was recorded. A number of new websites are now available to help overcome these difficulties. They include Logainm.ie , which covers the Republic of Ireland, and PlaceNamesNI , which covers Northern Ireland. Both are free.
In rural areas, the townland is still used as the postal address for letters, packages and other deliveries, and there is a lot of resistence to the introduction of postcodes. Because townlands cover quite small areas, road maps of Ireland do not show them, but they appear in Ordnance Survey maps.
The Poor Law Union
In 1838, a Bill established a system of poor relief to the destitute of Ireland. It created a series of workhouses to which society's most unfortunate could retreat when they could no longer provide themselves with basic necessities. Rather than follow the civil parish system or other traditional Irish land divisions, Poor Law Unions were created and centred on market towns, where the workhouses were also built.
In total, 137 unions were created. They were of varying geographical size with the largest in the west (where the population was sparser) and the smallest in the east of Ulster (where the population was dense).
Poor Law Unions were subsequently subdivided into district electoral divisions (DEDs) for the taking of censuses. They are also important Irish land divisions for studying valuation records.
The boundaries of PLUs were also used when Superintendent Registrar's Districts were created.
The Superintendent Registrar's District
These districts are Irish land divisions created purely for administrative purposes, in particular the civil registration of births, marriages and deaths. They date from 1845. From a genealogists perspective, they are the same as Poor Law Unions.
District Electoral District
District Electoral Districts (DEDs) are subdivisions of Poor Law Unions and consist of a number of townlands. Some land records ie the cancelled land books, are arranged by DED so it always worth making a note of the relevant DED alongside any townland name you record; you may need it later in your research
Census returns are also arranged by DED numbers. Because the 1901 and 1911 returns are now indexed and freely available , it has become rather easy to identify these particular Irish land records. Simply search for one of your ancestors using the townland name; the DED will be shown in the results.
Offline, the only way to locate the relevant DED is to study the Alphabetical Index of Townlands, available at the National Archives in Dublin and many major libraries around the world. Maps of these Irish land divisions can be bought from osi.ie.
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Which musical instrument did Karen Carpenter normally play? | Carpenters Fans Ask-Richard Answers Archive
5
1
�Richard, you write the most beautiful orchestrations I have ever heard. Do you ever plan or have been asked to write movie scores?�
�I don�t plan to write movie scores; I think that is a talent in itself. I consider myself more of a song writer, arranger, producer - a record maker.�
College
3.1
"What college courses did Karen and Richard take?"
�Karen and I took all the usual pre-reqs, and as music majors, had to select an instrument, as well as take the required music courses. Obviously, I went for a piano major. What one would do the first semester, no matter how well or poorly he or she played, was perform a �closed recital� for 1, 2 or 3 of the faculty, and if they deemed you worthy, you got to play for your peers at the next recital (�open recital�, one each semester). I got �open recital�, which I was certain I would; however it�s a double-edged thing, because most of us got nervous playing for our peers. �Karen was a vocal major of course, but the trouble with that was she was a �pop� singer, and they (faculty) didn�t want to know from that. They had her singing using her �head voice�, not the �money voice� � the instantly identifiable chest voice of hers, because it didn�t work for the traditional classical repertoire required. They had her singing things she really wasn�t born to sing. �As a music major one was required to take Harmony I and Harmony II (Music Theory)
College
3.2
(Continued)
learning correct 4-part voicing and how to diagram a selection. Another course was, to me, a misnomer, Musicianship. It really was ear training. I�m a firm believer that there is no such thing as �ear training�; you�re either born with it or not. You can�t teach someone to sing in tune, or write a memorable melody. People can be born with perfect pitch and not be musical at all. As long as they know a C or A for example, a car horn will sound and they will know what note it is. I do not, nor did Karen, have perfect pitch. We have relative perfect and sang perfectly in tune. Once it was established what the first note was, we could tell what any note was after that. The teacher would play little motifs, or �melodies�, and we were supposed to write them down. It was really simple stuff (if you could do it!).
College
3.3
(Continued)
I can play almost anything by ear; no bragga docio, it's something I was born with. One had to take one semester of that, and take Counterpoint and Music History, and, if you weren�t a piano major, four semesters of piano. A music major had to be a member of a performing group; there were two of each, two instrumental, two choral, and one of them in each was the better of the two. You had to have some 'chops', relatively speaking, to be accepted in the better ensembles.�
What Carpenters DVDs have been produced and which are available?
"Gold", "Interpretations", and "Close To You: Remembering The Carpenters".
DVD
6
2
Will Richard ever release another DVD of Carpenters songs�besides repackaging of Yesterday Once More and Interpretations?
No, nothing much left!
5
4
�Are there any other songs that you believe will be inducted into the Grammy Hall of Fame, other than �Close To You� and �We�ve Only Just begun�?�
�Probably �Superstar�, one of these days.�
Hits
5
5
�Did you think that �Close To You� was going to be as big of a hit as it was?�
�No, honestly, never thought it would be as big a hit as it was. Thought it would be either #1 or a stiff. Not like �Ticket To Ride�, which stayed on the charts for months and peaked at #54.�
Influence
7
"Who would you name as your most notable influence in the area of musical arrangements?"
�Not all my influences, but listed chronologically: 1. Jud Conlon � He rose to prominence in the 40s as a visionary vocal arranger, credited with what�s known as 'tight' or 'close' harmonies for use in mainstream popular music (as opposed to barbershop), leader of the Rhythmaires who backed Bing on a number of hits. 2. Les Paul and Mary Ford � Ford�s 4-part 'close' harmonies and Les�s development of overdubbing. 3. Hugo Winterhalter � arranger/orchestrator, conductor. 4. Burt Bacharach.�
Instrument
5
8
"In the liner notes of the album 'Offering' it states that Karen played electric bass on two of the songs. Which two songs are these?"
� 'All Of My Life' and 'Eve' �
Instrument
5
9
�I know you are fond of the Baldwin piano and used it regularly on recordings, but was this also the same piano used on �(They Long To Be) Close To You�, and the original piano track (�70) for �We�ve Only Just Begun�? If so, it was a grand, I assume?�
�Most recordings, except the �A Song For You� album, were done with Steinway A (one of four), which was an A&M Studios piano; I think it was terrific. My only complaint was that it was 'well-worn' and creaked, like in �Merry Christmas Darling�, which starts with just Karen and piano. When the pedal was pushed the assembly which goes up into the piano (lyre) creaked. Steinway model 'B', 7 footer.�
Instrument
5
10
�What made you decide to switch from the frequent use of the Wurlitzer Electric on the records to using more of the Fender Rhodes sound around �75 and on?�
�The Fender Rhodes has a nice tremolo if one controls it properly, and it breaks into stereo which would fill out some of the recordings. I first noticed the full effect in 1975 in �Only Yesterday� � there also is some Wurlitzer on that, a fill that breaks out of the sax solo and into the guitar solo. Every now and again, like on �Those Good Old Dreams� and some of the others, I would use the Wurlitzer. But for an actual backing in the rhythm for the chords the Rhodes has a fatter or prettier sound, whereas the Wurlitzer for certain breaks and fills has a funkier or rastier sound."
Instrument
5
11
�It would be interesting to know what kind of keyboard Richard played back in the early days, and if Karen preferred one type of drum or snare over another.�
"Spinet: Baldwin Acrosonic. Grand: Baldwin. Electric Piano: Wurlitzer, models 140B or 200. Drum kit: Ludwig, with Karen preferring a Ludwig 'Supersensitive' snare, complete with all chrome plating and adjustable snares."
Instrument
12.1
"What Instruments did Karen and Richard play?�
�Drums and piano, respectively. I learned piano on a Baldwin Acrosonic, a spinet; at the time the best available. Joanie, my cousin, was raised from age 18 months by my folks, and at 18 when she graduated from high school in 1954, she immediately got a good job with Bell Telephone and bought the Acrosonic; we both used it. Joanie eventually got married and moved out, with the piano, so my parents (always believing in us) and I picked out another Acrosonic. We had that until 1964 when I was starting to make some money by teaching piano and playing church organ and nightclubs. We all pitched in, traded the Acrosonic, and purchased the piano I have now in my sitting room - forty-one years later! It�s a Baldwin Model L, 6�3� parlor grand, and a very good piano. �I now have a couple of Baldwins and a couple of Steinways (big house, you understand!) In concert I play a Baldwin concert grand, as I am a Baldwin Artist; they send one to each performance. In addition, I'd play a Wurlitzer electric piano. And starting around 1975 or �76 we added a Rhodes
Instrument
12.2
(Continued)
electric piano, so that made three different keyboard sounds. Karen immediately liked the sound of Ludwig drums. One person she looked up to was Jim Squeglia, a high school pal of mine in New Haven who owned a set of Ludwigs. At the time Ludwig, Rogers and Slingerland were arguably the best, with a couple of people Karen looked up to playing Ludwigs; Joe Morello who played with the Dave Brubeck Quartet, and Ringo Starr, who played with some group who�s name I can�t quite remember. She was 14 years old, telling my folks she wants to play drums. We weren�t �in the chips� and were already paying on the Baldwin. Nevertheless, they bought her an entry-level Ludwig set. She proved immediately that she could play. What she really wanted was the big set in silver sparkle (Karen�s original silver sparkle Ludwig set is on display at the Carpenter Performing Arts Center). It was the full size with two top toms and dual floor toms. She liked, of course, Zildjian cymbals. She also liked the Rogers �high hat�, and a Rogers kick-drum pedal; that�s what she always used.
Instrument
12.3
(Continued)
The snare she really wanted, but we couldn�t afford, was the Supersensitive top-of-the-line Ludwig with adjustable snares, all chrome. We started with getting the penultimate L 400, and she had that a little while, but soon we all broke down and got her the Supersensitive. Then of course, as soon as we hit it big it was like a dream come true in a number of ways. Wurlitzer was sending me every new model of electric piano for free, and sending out to California from Illinois the fellow who actually invented the electric piano, Cliff Anderson, who would do special modifications. Ludwig was sending Karen every drum set she wanted. It was really something.�
Karen
13
�How close were Olivia Newton-John and Karen?�
�Karen and Olivia were very close, and I considered Olivia a genuine friend.�
Karen
5
14
�Were you pleased with the outcome of the 1989 �The Karen Carpenter Story�?�
�Heavens no, I was not pleased. It�s not a good film. One of the biggest mistakes I ever made was agreeing to cooperate in the making of it. It brings to mind the old adage 'The road to hell is paved with good intentions'.�
Karen
5
15
�At Karen's funeral there was an anthem sung called "Give Me Jesus" arranged by Fleming. Who was the author of the song and is there a score of the arrangement?�
�The song �Give Me Jesus� was written by Larry Fleming (now deceased) and published by Augsburg Fortress, Minneapolis, MN. CSULB has a score in their music department library. Frank Pooler at CSULB called two nights before the funeral, and asked if we would like the choir to sing, and suggested this and others. In addition, I got a chart of �Ave Maria� from our Christmas album and transposed it, and our pal Dennis Heath sang. It was quite a moving experience.�
Karen
5
16
�Is the Karen Carpenter Memorial Foundation still in progress, and where can we send donations?�
�Yes. It�s been renamed 'Carpenter Family Foundation'. There is a description of the Foundation and contact information in the CFF section of this website.�
Karen
6
3
After Karen came back from New York in 1982, did she do any singing at all, other than her last performance at Buckley School for her god children?
With the exception of "Now", no.
5
17
"There has never been a live Carpenters album released in the U.S. I am sure you have many live shows recorded. Any chance of a new live CD, or box set of live concerts?"
"Not many live shows were recorded, only two: 'Live in Japan' (1974) and 'Live at the Palladium' (1976). Both have been released on CD, but the former will probably be easier to obtain. Japan is the source to look for both - through Tower or Virgin imports, of course. These were never released in the U.S. at my request, as I'm just not much on live albums by anybody."
Logo
5
18
�The �Carpenters� logo has worn very well over the years and has become one of the most recognizable icons in the world of popular music. Who was responsible for designing the logo? How much input had Karen and Richard in the selection? Also, why was there no logo on the �PASSAGE� album?�
�Craig Braun and Associates designed the �Carpenters� logo. They were hired by the A&M graphics department to do the whole package on the Carpenters third album. We had no input on the design. I recognized it to be a great logo as soon as I saw it. There is no logo on the front of the �Passage� album due to a �transition idea� by all of us at the time. To keep things consistent, though, every Carpenters album from the logo�s inception shows the logo; it�s on the back of the �Passage� album, bottom center.�
Misc
19
�Do you still listen to your recordings?�
�Every third blue moon, and of course, when we�re working on some project, the SACD being the most recent.�
Misc
5
20
�I would be interested to know if there are any artists on the charts today whose work Richard admires?�
�I think Sting is really a talented fellow, but he�s been with us many a year, along with Steely Dan and U2. As for the new crop of artists, I�m not particularly impressed. Norah Jones is, at least, a genuine singer.�
Misc
5
21
�Do the artists winning Grammys today impress you as much as your own music did?�
�No, even if you take Carpenters out of the equation and look at some other people winning Grammys then, they were much more talented than now. The records now, with rare exception, are 'manufactured'.�
Misc
5
22
�What are Richard�s memories of his encounter with Frank Zappa at the Billboard Forum in June 1975? I wish I�d been there to see my two musical heroes together!�
�Frank was a talented fellow. I really liked the way he played the guitar, and I liked his take on certain cultural and sociological issues; he had a marvelously sardonic sense of humor. We saw each other very briefly in the 'Green Room' before going out to answer a few questions.�
Misc
"What was Carpenters� biggest ever gig?"
� 'One-nighter': Ohio State Fair, summer of 1971, approximately 50,000.�
Misc
24
�Do your children enjoy the music you created?�
�Yes, they hear it now and then, but I�ve never sat them down in a concerted effort. They are kids and, of course, like certain of our songs more than others, as do adults!�
Misc
6
4
I am very familiar with A&M Studios and it's layout and have heard different theories over the years while recording there as to where you and Karen liked recording certain things. How did you normally select your rooms (i.e. tracking, string dates, vocal overdubs, etc.)?
Tracks usually in Studio B and later Studio D. Strings, horns et al, A or D. Vocals B, C & later D. D was Karen's favorite as it has a vocal booth.
Misc
6
5
Did you think Akiko Kobayashi sounded a lot like Karen? Did she remind you of it?
At times, and she wanted my production of her album to be reminiscent of Made In America.
Misc
Is it true that Frank Sinatra said he wanted to sing with Karen Carpenter?
Not to my knowledge.
5
25
"We would like to have updated new reports on what Richard is doing and where the Carpenters music is currently heading."
�I am raising a large family with my wife Mary, involved in community and school activities, the Carpenter Performing Arts Center in Long Beach, CA, and continuing to write songs. I�m still with A&M Records, and am always working sometime or other on a request for a Carpenters' package, i.e. the 5.1 Surround Sound project. The catalog is available in its entirety in the US and Japan. One of the newest requests is for a double-CD plus DVD 'Gold' package, which will be granted; I like the idea.�
News
"Is there a future-talent amongst the Carpenter family?�
�Time will tell; you do mean musical talent?�
SACD
5
27
�Having recently re-mixed �The Singles 1969-1981� for SACD/DVD-Audio release, was there anything about the process which surprised you?�
"Not really; it all seemed as natural as mixing in stereo."
SACD
5
28
"Will the new surround mixes use the original instrumentation, or will some of the later re-recorded instrumentation be used?�
"Both, depending on the particular track."
SACD
5
29
"Will the stereo layer of the upcoming SACD or DVD-A compilation have the original stereo mixes?�
"Some, along with remixes from various years.�
SACD
5
30
"Is Richard considering using recordings used for the Quad mixes from some 30 years ago on the new SACDs? Fans would simply eat that up.�
"No, no, no, no. Quad was a dubious experiment, and Karen & I were on the road and had no time to oversee the quadraphonic mixes ourselves. An A&M staff engineer - not Ray Gerhardt - did the remixes and I was anything but happy with them. Technology has come light years and I can guarantee the 5.1 remixes will be far superior to the Quad."
SACD
6
7
Just wondering if there is any likelihood of another 5.1 release as there are so many more Carpenters songs that would be great to hear in surround, ie, "Those Gold Old Dreams" & "Let Me Be The One".
There are currently no plans for additional SACDs. The record company is the one to decide if the format is economically worthy to produce another.
Song
5
31
�Did you select the second to last track in �Gold� with the phrase �and when my life is over�� because she is no longer with us?�
�The song title �A Song For You� serves as a metaphor for the whole set and that line works very well. I also wanted to end the tune stack with Karen�s Theme, which also happens to be in the same key as �A Song For You�.�
Song
5
32
"I really love the solo on 'Goodbye To Love'. It sounds to me like an electric guitar played directly into the sound board and overdriven onto analog tape. I would love to know more about it. Who played it? how exactly was it recorded? .Who decided it should have such a raucous sound? It was a great call!"
"It's an electric guitar, Gibson, vintage 1957. Tony Peluso played the solo, done in the 'good old days' when all he used was a crude little fuzz unit called a 'Big Muff'. He hooked his guitar into the Big Muff and our engineer Ray Gerhardt took it into the board. It was recorded in Studio B at A&M Studios. The song and arrangement, including the 'raucous' fuzz guitar solo, are mine."
Song
5
33
�Regarding �The Rainbow Connection� - My question is whether there may be a leakage of a sound where Karen sings 'dreamers and meeeeee'. I'm not sure if this is the reason why you left it out as an outtake to begin with. I was guessing her lead was only partial so you thought it had better be untouched. But now with your effort and enthusiasm, we are able to listen to this beautifully arranged song with previously unreleased vocals by Karen."
�This was originally written for Kermit the Frog (Muppet), with some accents on the wrong syllables. I took some artistic license and changed the melody a bit. Still, Karen just didn't like the song, and it didn't make the album. For years fans kept requesting the recording, so I completed the chart and put it out. In the matter of leakage, there is none.�
Song
5
34
�We all have our favorite songs of the Carpenters. What song was YOUR favorite of all the songs you and Karen recorded together, and why? What was Karen�s favorite song that the two of you recorded?�
"To me, there's a difference between �song� and �recording�. My favorite song would probably be either 'For All We Know' or 'Superstar'. Favorite recordings would be 'Ticket To Ride' (1973, remix), 'Close To You' or 'Merry Christmas, Darling'. Karen's favorite was 'I Need To Be In Love'."
Song
6
8
I have the original very first CD release of 'Singles 69-73' which came out on CD around 1985. I also have the remastered classic's version which seems to be the same except it's remastered. However, the Canadian release of this very same CD seems to use all the original mixes except for 'Yesterday Once More' which uses a remix.
The original, Singles album, on CD came out in 1983. As far as the versions on CD, there is the #1 original, album, from Now &Then album, available only on the Carpenters box set from Japan, done as originally released; #2 version is the single version which Karen and I did in 1973; the #3 version is the remix, and rerecorded piano in stereo, from 1985. #4 is the one Bernie Grundman and I did, digitally remastered, in 1998.
Song
6
9
I noticed on the compilation from Japan entitled Sweet Memory, a song I am unfamiliar with. It is on disc 5 selection 12 and is entitled "Turn Away". Is this the only place this can be found? I would like to know if it can be found elsewhere as I can't get a copy of this and anything "new" from the Carpenters would be wonderful to hear.
Yes, there is one other place � the first album, Ticket To Ride, band 6 or track 6 on that album.
Song
6
10
On the song SOLITAIRE, (a) which I feel is Karen�s crowning vocal achievement, how come she didn�t like it? And (b) did you ever sing this song in concert? Summer of 1975?
(a) Karen never put it into words. (b) No.
Song
6
11
Upon first hearing the Master Karaoke remixes years ago, I noticed in Rainy Days and Mondays that the string line was mixed out during the sax solo. This has also been a common mix on most, if not all, of the subsequent compilations. What was your reasoning for this?
After repeated listenings to the original, I decided I did not like it and it wasn't needed.
Song
6
12
I know you wrote the piano arrangements for "From This Moment On" and "It's Christmas Time". Are they charted and if so, will you ever consider releasing them?
Actually, I didn't; Mitzie and Ken Welch did the former and Peter Knight, the latter. They are charted for my use, not published, and no, I won't consider releasing them.
Song
6
13
(a) During the summer tour of 1975, when Richard and Karen sang with Neil Sedaka, did you ever do duets with him on Laughter in the Rain? (b) And what are your thoughts on that song?
(a) No. (b) I think it is a terrific song and record.
Song
6
14
Did you and Karen sing a �LIVE� performance at the 1972 Academy Awards of Bless The Beasts and the Children?
Lip-sync, thankfully; it was a chaotic evening.
Song
6
15
When you first heard "IF I HAD YOU" from Karen�s solo sessions�were you amazed at the intricate harmonies? Was Karen pleased by it?
Not quite amazed, but certainly impressed and yes, she was pleased.
Standards
5
35
�In the Ray Coleman book, Richard says that he wishes that he and Karen had recorded more songs of the quality of �I Get Along Without You Very Well.� Was he just speaking hypothetically, or did he and Karen actually record a track of this old standard?�
"No, not hypothetically. While Karen was in the hospital in New York, I made her some multi-artist cassettes to help her pass the time. On one I put 'I Get Along Without You Very Well' sung by Matt Monro. Karen had always been a fan of his, but had not heard his version of the Hoagy Carmichael standard until this (1982). She called and thanked me for the tape and singled this track out, wanting to sing it herself. Between both our illnesses, we'd lost enough time in the studio and I knew A&M would want us to do new stuff upon our return, so I suggested we pass. Of course, Karen was gone shortly thereafter and I am still upset that we didn't record not only this standard, but any number of others. Karen was born to sing great ballads and, let's face it, they're just not writing too much now that possess much melody or great lyrics."
Technique
5
36
�It�s been said that one time Karen, while riding in her car with a friend, started singing a song in a �higher range than she�s used to�. It was remarked to be beautiful, and Karen is reported to respond, �The money�s in the basement�. Why had you not highlighted her voice in a range that was seldom heard by us?�
�She must have been singing in her �head voice�, Both Karen and I felt the magic was in her �chest voice� (a.k.a. �basement�). There is no comparison in terms of richness in sound, so I wasn�t about to highlight the upper voice. We did use it every now and again for some arrangemental colorings. For example, you can hear it on 'here to remind you...' on the song 'I'll Never Fall In Love Again'. The second time it is sung, Karen and I cover three octaves; I go to a low F and Karen goes to a high F. That is her head voice. The thirds that are done underneath the second half of the sax solo in 'All You Get From Love Is A Love Song' also feature her head voice."
Technique
5
37.1
"To what extent was that decision � to leave in or to remove a breath � commonplace in your production technique? What reasoning led to your decisions in those cases?"
"I tried to leave in the breaths as much as I could because, of course, they�re natural. There�s an anecdote concerning 'Goodbye To Love'. The breath is there on the multi-track, but we couldn�t use it in the original mix as there was drumstick leakage, and Hal Blaine's 'three' from the count-off audible in Karen�s headphones, so when we went to remix it in 1985 I put a breath in. We get letters every now and again regarding certain sounds, especially on acoustic guitar moves, where there would be little squeaks sometimes from the fingers rubbing over the strings, and to me that�s a natural sound. Some people don�t like it at all, but we would leave it in. You note examples where phrases are very long as in 'I Just Fall In Love Again' and 'Goodbye To Love', questioning whether some breaths had been removed. The thing is, every now and again, we would do what is called 'punching-in', or in England 'dropping in', where let�s say the singer liked most of a lead, but wanted to get one word or two over. Now it�s easier than ever, but back then, if you had a good
Technique
37.2
(Continued)
second man or good first engineer, you would sing into it and sing out of it as well, and you knew where to take the breath, and he (the engineer) would 'punch' in very quickly to get one or two words, and every now and again a 'breath' just went away. This may be what you refer to. One definitely does not hear every breath that was ever inhaled on a lead, as hard as we tried. But Karen, along with Andy Williams, Johnny Mathis and John Gary, could take one breath and do the super-human bit where they just kept singing and singing. You are absolutely right in your mention of 'Goodbye To Love', which has some very long phrases. Other singers would come up to Karen and comment on this; I remember John Davidson asking, 'Do you have three lungs?' because Karen took a breath and sang, 'time and time again the chance for love has passed me by and all I know of love is how to live without it�' and that Karen just did naturally. 'Live', as well. It�s not like we had to get it in multiple takes in the studio."
Technique
5
38
�What is your feeling about the idea of Karen�s voice as �intimate�? Is this (her singing very close to the microphone) the true extent of the relationship between her voice�s �intimacy� and the technology, or, to what extent did your production try to emphasize her naturally �intimate� vocality?�
"It has nothing to do with singing closely to the microphone; that would just make for a more present sound. Karen had the intimacy built right into the sound of her voice and her brain, so it was her born sound that so beautifully interpreted a lyric. The writer, Tom Nolan, who did the cover piece on us for Rolling Stone wrote (of a concert in Las Vegas), 'Out comes that marvelous voice, exactly as on record�. a marvel, youth combined with wisdom.' Tom nailed it. It�s not singing close to the mic. Singing close to the mic just made it better sonically."
Technique
5
39
�On the �Singles 1969-73� vinyl LP and most of the CD versions of the album, it seems the songs �Rainy Days and Mondays�, �Superstar� and �Goodbye To Love� are speeded up, compared to the same songs on the original LPs �A Song For You� and �Carpenters�. This has mystified me for two decades. Can you clarify what exactly is different about these two sets of records/CDs? Are the original LP versions too slow, or are the �Singles 1969-73� versions too fast? Or are they pitched in a different key?
�One of them years ago, I think �Rainy Days And Mondays� or �Goodbye To Love�, at my request, was vso�d (a machine called a �variable speed oscillator�). For the single, rather than slowing the one back to original speed, we sped up the other two to match, much to my regret in later years. The original LP version was too slow, in my mind, for a single. They aren�t pitched to a degree that would make a different key. Compared to the same songs on the original LPs, one (�Rainy Days And Mondays� or �Goodbye To Love�) was speeded up. In later days for remix I returned all that had been vso�d to their original speeds.�
Technique
5
40
�When you and Karen overdubbed the backing vocals, how did you normally do it with regard to voicing, etc? In other words, was it common for you both to sing unison on certain parts to �thicken� the inner core of the harmonies a bit, or was it more common to sing two parts at a time and just layer everything that way?�
�Back when we had 8 or 16 track we did two voices at a time, say the outer parts of any 4-part chord, then we doubled it and tripled it until we got the part the way we wanted it, which was perfect. Later, when there were 24 tracks, we did each part by itself, and Karen would go in to listen to me, and I would go in to listen to her. In later years we found out we didn�t even have to triple it, the doubling did just fine.�
Technique
5
41
�Due to the limitations you had with 16-track and 24-track tape during your recording with Karen, did all of the backing vocals get ping-ponged within the same master tape and subbed down to four, or did you switch to a fresh reel of tape, overdub each voice onto its own track, and then �fly� all the parts back over down to four separate tracks (subs) on the grand master?�
�We didn�t have the tracks and yes, we would �ping-pong� even later on. Plus, you get it done and there is less to worry about when the final mix day comes. Ultimately, no matter how many tracks you have, all have to go to two tracks and now, in some instances, to 5 or 7!. No, we did not switch to a fresh reel. We did it right on the master tape whether it was 16 or 24.�
Technique
5
42
�I assume you no longer use the original 2� tape to do all of the Carpenters remixes. What kind of media (i.e. ADAT, Digi tape, etc) did you transfer/back-up the original Carpenters multis on that you use for remixing, etc? What kind of media do you prefer to record on these days?�
�For some we went to 1� digi media. Actually, I still like the old-fashioned way; I think there is a certain warmth to it, so we don�t go all digital, at least for certain things. We get out the Dolbys to lose the hiss and we go to analog for a warmer sound.�
Technique
5
43
"In 'Interpretations', UK and Japan releases, Richard explains about remixing 'Desperado', saying something like 'you did it for things that would bore the listener'. Well, why so? I'm just dying to know why and so I beg you to please put down more of your input for any release as much as its space and your energy allows you to. If that's impossible due to space on a liner note, I think of your website that I can turn to."
�Regarding �Desperado� - This was remixed because the harmonica goes up quite high and there was intermodular distortion at the end of it, especially on vinyl. Even on CD, there is a ripping sound when Tommy Morgan goes up high.�
Technique
6
16
Due to your very close harmonies, I have always had a question concerning "We've Only Just Begun". Following the first verse featuring Karen/piano, you guys break into the rather large harmony "WE'VE ONLY BEGUN". How many parts/voices is this and what exactly is the voicing?
The four parts are tripled (12 voices - 6 Karen, 6 Richard) and pushed way up in the mix!
Technique
6
17
From around '74 on, I noticed that whenever Karen would double her lead vocal, the sound was a bit thicker than in previous years (i.e. song 'HAPPY' you can deal me in this time around"). Why is this? Did you have a particular effect or technique that you applied to the doubles during this time period that made them stand out more?
I don't hear this myself because nothing was different! No effect or technique (other than overdubbing) was used.
Technique
6
18
You and Karen fit well into the category of "GREATS" in the history of popular music. Will you consider writing a book similar to those published on the Beatles, etc. that is entirely based on the production aspect of the Carpenters' music, recording, arranging/production, etc.?
Thanks, but no.
6
19
On the Carol Burnett Show, where you are all singing the Bacharach medley, is it live, or was it prerecorded?
Live to track recorded at CBS Television City for the show.
TV Specials
6
20
I know some of the video tracks on the two Carpenters music DVDs ("Gold" and "Interpretations") were taken from your television specials. But where are the other tracks from?
Ticket To Ride is from a short-lived syndicated pop music program called �Where It�s At�, hosted by, of all people, John Byner and they just did a marvelous job. It�s filmed, to boot! We�ve Only Just Begun on the first one is from a Bob Hope Special, 1973. A number of them are A&M promo films, and most actually are the forerunners to the modern-day video.
TV Specials
20
(continued)
They were filmed (there was no MTV or video at that time) and sent to foreign territories to promote our records. A number of them, Only Yesterday, Please Mr. Postman, and one of the Close To You s (I don�t remember which recording) was done at A&M Studio B as a promo film. Several are from our own summer replacement show, �Make Your Own Kind Of Music�.
"Will there be a Christmas video release in the near future?"
�Not to my knowledge.�
Video
5
45
"I'm trying to find out if "Make Your Own Kind Of Music" will ever be released completely on DVD?�
�Absolutely not. Obtaining guest artists' releases, taking care of payment for publishing, director's fee, musicians' fees, etc. would prove to be a Herculean task and one that would not be practical given the meager amount of sales the package would generate. Plus, I don't care at all for the show.�
Video
46
"Are there any plans to release any Carpenters audio-DVDs in the near future?�
�Yes � DVD-Audio 'Singles 1969-1981', within the next 12 months if not sooner.�
Video
5
47
�Which Disneyland did you and Karen use to shoot the �Please Mr. Postman� video? Where was the �Only Yesterday� video shot?�
�The one and only Disneyland, the original, in Anaheim, CA. The �Only Yesterday� video was shot at the Huntington Library gardens, Pasadena, CA.�
Video
6
21
(a) I was wondering what your opinion was on the "I Need to Be In Love" video. I appreciated the fact that there was some actual acting involved, rather than your typical lip-synched, performance video. (b) Who created the original concept for the video?
(a) I loathe it; all those google eyes being made. I call it the "Love Plane". (b) An employee of our by the name of Ed Sulzer.
5
48
�I have recently noticed, hearing the box set �From the Top�, particularly the song �Maybe it's You�, that there's a tiny difference in Karen's vocals compared to the original version featured on the �Close to You� album. Would Richard tell me if, indeed, there are two (or more) different leads of the same song?�
"Good ears! In 1970, we punched in and got 'maybe it's just that I have never been the kind who can pass a lucky penny by', as we weren't happy especially with that line on the master lead. The trouble was, it was recorded on a different day and the sound didn't quite match even though the EQ, mic, studio, engineer - ald singer - were the same. When remixed the second time, we went back to the original.
Vocals
22
What is the lowest note Karen sang?
D, below middle C, on A Song For You. Only Yesterday starts on a low E flat, below middle C. As a rule, I wouldn�t take her any lower than that.
Vocals
| Drum kit |
Kingsford Smith airport serves which major city? | Karen Carpenter
Karen Carpenter
Introduction
Karen Carpenter has a clear, strong voice. But there is a lot more to her singing than that -- she is also a brilliant artist and she does some very neat things in her songs. She also has some defects as a singer which might contribute to making her music seem either simple or boring. This makes Karen Carpenter a very interesting singer to analyze.
The stand-out feature of Carpenter's singing is her long notes -- she sings a lot of long notes, her songs are chosen for them, and they can be beautiful. Her voice of course is clear and strong. But at her best, there is a lot more to them than that.
Extension
An extension is what the singer does to extend the length of a note. Karen Carpenter has extensions to die for. On a bad day, Carpenter just sings vibrato on her long notes. But she usually extends her notes in the traditional manner -- she starts with a clear note, then later adds the vibrato. Then she usually puts a drop at the end.
Noteworthy extensions occur the last notes on "Rainy Days and Mondays" and "We've Only Just Begun". She extends these notes with what I will call a "second push" -- there is a modulation in pitch produced by a pulse in loudness, as if she was starting the note again. I don't know of any other singer who does this.
Scoops
Carpenter often scoops notes, including her long notes. They seem to be traditional rock scoops of about a major third. To me, Carpenter's scoops are very harmonic -- she makes clearer than most what note she is starting her scoop from.
Drops
One of the most beautiful features of her long notes are the drops at the end. They are not that obvious, but if you listen for them, they are there. ("Superstar" is her only famous song without a drop, as far as I know, and in my opinion the song suffers for that.) Her drops, like her scoops, are to a well-defined note below the note she is singing, presumably to a note in the harmony. It manages to define that note and yet be a ver short drop -- you could easily listen to her songs and not notice them.
If I try to mimic her drops, or do a purposeful drop, it comes out much too large. The only way I have found to produce drops like Carpenter's is to just think what note I want to drop to. Then somehow the drop occurs accidentally. This takes A LOT of concentration while singing. I have no idea whether Carpenter is doing her drops intentionally or accidentally.
Soft Versus Hard Voice
A "hard" voice is like an opera singer sings; a "soft" voice will be breathy. At least in her early songs, Carpenter uses voicing in a simple but effective way. She will start with a soft voice, then slowly increase the hardness as the song progresses. I think the increases occur on the long notes, adding to the beauty of the extension.
Gristle
This is my term for the deviations from a clear voice. One use of these is to convey sadness (or grief, or something like that.) Carpenter does this on a recording of "California Dreamin'", including even some falsetto (I think). This is a very early recording of hers. Otherwise, as far as I know, Carpenter does not use the unclear voice for effect. However, she does not always sing with a clear voice -- about 40% of her songs will have some creak. (If you close your throat and produce a soft breath, you can produce creak. Just imagine that added to regular singing.)
It is not obvious why she does it. It is not the sound one makes for crying, nor is there any tendency I can see for her creaks to occur at sad or bitter parts of a song. It is not exactly right for a sexy creak -- there isn't enough phlegm, to be crude. It still sounds a little sexy, and could pass for sexy, except that I could see no pattern of it occurring at sexy parts of the song.
If anything, it just sounds old or wise. There may be some tendency for the creaks to occur at "wise" parts of the song, perhaps when Carpenter is brining us into her confidence.
My guess is just that when she sings soft, her voice has a natural creak.
Rhythm
Karen Carpenter was originally a drummer, not a singer. She apparently does not play the drums on any of her songs. But perhaps because of her training, her singing tends to be very much on the beat. A very good example is the phrase "Rainy days and mondays always get me down" in the song "Rainy Days and Mondays." It is extremely natural in normal speech and even in singing for "rain" to be longer than "y", and for "days" and "mon" to be longer than the intervening "and". But Carpenter sings them with near perfect rhythm. The drum actually follows this rhythm too, so you can hear her following the rhythm.
This is not always for the good, I suspect. I find her rendition of "Rainbow Connection" to be too sharp and rhythmic. Of course, when she does ease into a note in that song, it is more pleasurably for the contrast. But I suspect the song should be less rhythmic.
As noted below, she uses the ending consonant for rhythmic beat in the song "Rainbow Connection". This is probably the clearest use of this that I know of. If she uses it there, she probably uses it in other places.
We've Only Just Begun
This song contains beautiful extensions. The extensions all contain drops.
The only notable extension is the last note, where she varies pitch in the extension. Works for me, and it might foreshadow the pitch change the orchestra makes when they end.
The most notatable part of this specific song is "us" in "talkin' it over, just the two of us." I cannot tell if the effect is stronger the second time this line is sung, or if they two are identical. Anyway, I cannot describe the emotion or combination of emotions conveyed in this single word. I rate it one of the best notes in all of music.
Notably, neither of the us's is extended. They are both drops. But the second "us" is what might be called a "sung" drop. The normal drop is a falling off in pitch. It usually occurs around the closing of the note -- Carpenter extends the vowel sound and then drops on or near the consonants. There is usually a sharp drop in loudness to accompany the drop in pitch. But sometimes the drop is sung. This is not completely true for the second "us". I think there is a decrease in loudness. But that is for effect, not because she is closing off the note. And the drop starts on the vowel. This is a short note to create any effect on
"And when the evening comes, we smile". There is a typical Carpenter creak on "we". I can't that it accomplishes anything, but I like it. She doesn't do it the second time this phrase is sung.
The Rainbow Connection
This is an interesting song to analyze. (It can be found on the "best of" 2CD set Carpenters Gold.) I feel like one of Carpenter's strengths is her excellent sense of rhythm. In this song, I think she overdoes it -- most of the time, the song is too rhythmical.
As "properly" song, the entrance to the notes should be soft; the entrance has to be caressed. Carpenter does this for some notes. In fact, arguably, it is beautiful when she does it, for the contrast. I am still guessing that the rhythmicality is too much.
The softest caress comes at the end, where it should be. It is really a lovely moment. The last few words "dreamers and me." If you listen carefully, you can hear the end of one word actually held over to the next note. So, as it is sung, the last two or three times: "dreamer zan d'me" In this, everything is run together -- there are no breaks between words.
There is actually a very clear use of a secondary consonant to create rhythm. In the first time we here "Some day we'll find it, the rainbow connection" Here's what happens. Some is right on the beat. Day is right on the beat, even though a natural tendency in speech would be for it to precede the beat, and that is how it would probably be usually sung. Day is on the beat, we'll is on the beat, it starts on the beat. There would normally be a one-beat pause. The 't' in it occurs right on this beat. Then all the remaining syllables are on the beat, including a strong 'b' sound in 'rainbow', up to "tion" in connection, which precedes the beat (and hence is experienced as softer and more caressing).
On each verse, there is a part that goes back and forth between two notes. In the first verse, the words are "so we've been told and some choose to believe it." This is sung very rhythmically except for a delay on "choose" and a very early final "it". There are essentially two different principles that could be evoked for how to explain it. First, one could take it as a Bach-like motif, so it should receive perhaps no scoops. The other is that it is boring and so differential scoops are needed to break the monotony. I think the second principle would take precedence here -- it is too boring to be a real Bach motif. I think she maybe should have sung some without scoops.
But the scoops are, ultimately boring. On the first verse, the there are three large scoops, all identical, then two smaller scoops, reflecting the change in chord structure. These last two also seem identical. The unchanging scoops do not relieve the boredom (except for the one change). And they tend to evoke the Bach principle: Scoops don't work well in a Bach-like melody.
And yet. There is real action happening on the bottom note. As near as I can tell, each of the bottom notes of the series gets a larger drop (than the drop on the previous bottom note). This would seem to take great skill as a singer, and considerable preparation -- I cannot imagine how someone could do that without any practice.
I don't know what to make of the final effect. My first thought is that it has a very "Carpenters" sound. And it is interesting enough, but I think not inspired.
And unless my ear is deceiving me, she does not hold pitch on the final last note. It has a very long extension (but there is a very short break suggesting that an extension was added to her extension.)
I should note that this is a "work lead". Apparently she sang this by herself and it wasn't intended to be the final version, it was just something for the musicians to work with. The background singers and orchestra were added later.
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Which song from Mary Poppins won the Academy Award for Best Song? | Mary Poppins [Original Motion Picture Soundtrack] - Disney | Songs, Reviews, Credits | AllMusic
Mary Poppins [Original Motion Picture Soundtrack]
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AllMusic Review by William Ruhlmann
Prior to their 14-song score for Mary Poppins, songwriting brothers Richard M. and Robert B. Sherman were best-known for the Top Ten hits "Tall Paul" by Annette Funicello and "You're Sixteen" by Johnny Burnette . Mary Poppins changed all that. It won the brothers Academy Awards for best original musical score and best song -- for "Chim Chim Cher-Ee" -- and the soundtrack album won them a Grammy Award for Best Original Score Written for a Motion Picture or TV Show, as well as winning Best Recording for Children. The album also topped the Billboard LP chart for 14 weeks and reportedly sold 2.3 million copies in its first year of release. Of course, all this success could not be the sole result of the brothers' writing ability, as also expressed in memorable songs like "A Spoonful of Sugar," "Supercalifragilisticexpialidocious," and "Feed the Birds (Tuppence a Bag)." A great deal of it could be credited to the many unnamed talents at the Disney studio, and not a little to Julie Andrews , who embodied the character of Mary Poppins so perfectly that she never really escaped it. But Mary Poppins had a lot of songs for a movie musical, no less than 13 separate numbers, and they were all very good, from Mrs. Banks' ( Glynis Johns ) declaration of "Sister Suffragette" to Mr. Banks' (Dave Tomlinson) transfiguration, "Let's Go Fly a Kite." The brothers had clearly paid attention to Andrews ' stage triumph My Fair Lady, and not just to learn how to craft songs for her. They wrote what might have been a new song for that show's Henry Higgins character in Mr. Banks' statement of purpose as a self-satisfied British male in "The Life I Lead." But their primary influence was the popular music of the period in which the story was set, Edwardian England, specifically the British music hall style of the pre-World War I era. That gave them the buoyancy and glee of many of the numbers, but the wonderful melodies of songs like "Chim Chim Cher-Ee" and "Feed the Birds" were their own. And they benefited from an excellent cast that included Johns , Tomlinson, and Ed Wynn in minor parts, and Dick Van Dyke (sporting an awful, but nevertheless entertaining Cockney accent) in a major one. Best of all, of course, was Andrews , simultaneously warm and proper, bringing out the best in the material.
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| Chim Chim Cher-ee |
Whose first words are ‘How are you’? ‘You have been in Afghanistan I perceive’? | "Chim Chim Cher-ee" Wins Original Song: 1965 Oscars - YouTube
"Chim Chim Cher-ee" Wins Original Song: 1965 Oscars
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Published on Nov 12, 2013
Fred Astaire presenting Rchard M. Sherman and Robert B. Sherman the Oscar® for Best Original Song for "Chim Chim Cher-ee" from "Mary Poppins" at the 37th Annual Academy Awards® in 1965. Hosted by Bob Hope.
Watch more of the 1965 Oscars: https://www.youtube.com/playlist?list...
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Which heavenly body was Giotto sent to photograph in 1986?` | Halley’s Comet (from a different perspective)
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Halley’s Comet (from a different perspective)
January 5, 2010
Click here for a larger view Photo courtesy of the European Space Agency .
Perhaps no other heavenly body commands more attention when it comes within view of our planet than Halley’s Comet . There are probably few among us indeed who didn’t catch at least a brief glimpse of the storied comet when it made its last appearance just a few years ago.
Comets have long been viewed through telescopes and photographed, but the mysterious objects’ nuclei have always remained veiled by the bright glow that surrounds them. But that changed in 1986 when a European spacecraft named Giotto encountered Halley at close enough range to create an image that clearly shows the comet’s potato shaped nucleus.
Thanks to the efforts of Giotto, those who are lucky enough to still be around when Halley again comes calling in the year 2061 will be able to look at this most famous of all comets in an entirely different light.
| Halley's Comet |
The extinct Moa is believed to be the largest ever ………what? | Once a myth, now an object of study | EurekAlert! Science News
Once a myth, now an object of study
European Space Agency
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The comet, which moves in an elliptical orbit around the Sun, will at rendezvous be some 675 million kilometres from the Sun, near the point in its orbit farthest from the Sun. The meeting point was not chosen at random: at this point the comet is still barely active, it is still in fact a frozen lump of ice and interplanetary dust, in all probability the matter from which our solar system emerged four and a half billion years ago. Rosetta's job is to find out more about these strange bodies that travel through our solar system. As it moves on, the comet will begin to change. As it approaches the Sun, it will - like all comets - become active: in the warmth of the Sun's rays, the ices evaporate, tearing small dust particles from the surface. This produces the comet head (the coma) and tail during solar flyby skims several metres of matter off the comet's surface. In the case of a small comet like Churyumov-Gerasimenko, the shrinkage is a good 1% each time round." As it flies past the Sun every 6.6 years it can look forward to a short future, especially on a cosmic timescale.
Comets - a mystical view
Visible cometary phenomena have fascinated human beings from time immemorial - and frightened them too. Even today mystical explanations prevail among some of the Earth's peoples. The Andaman islanders, a primitive people living in the Gulf of Bengal, see comets as burning torches hurled into the air by forest spirits - the more easily to detect humans foolish enough to stay out at night. For some Australian aborigines, comets are flaming sticks ridden by mighty shamans.
Efforts to provide a scientific explanation of the 'cometa aster' ('hairy star') phenomenon stretch back to ancient times. A widely held view was that comets were in some way connected with processes at work in the atmosphere. In Meteorologica, Aristotle (384-322 BC) described how inflammable gases escape from clefts in rocks, collect in the upper layers of the sub-lunar world ('world under the Moon') and ignite. Rapid release of such gases produced a shooting star; when let out slowly, they gave rise to a comet. That was Aristotle's best shot - and he was well aware of his limited insight into the question. As he himself acknowledged: "As we have no demonstrable basis for assertions about comets, I have to settle for an interpretation that does not conflict with established truths." Admittedly such truths were thin on the ground at the time.
Comets - something of a disaster
As the centuries unfolded, what could be called the opposite view - that the comets were responsible for intense heat spells - also gained a considerable audience, though there was just as little truth in it. The natural philosophers went one further. They said comets lead to heat, heat to storms and storms to natural disasters. Pliny the Elder for example (born circa 23 AD) listed twelve cometary phenomena according to their external appearances. And he assigned one natural disaster to each class.
The Christian Middle Ages no longer saw cometary phenomena as the blind raging of an even blinder nature, preferring to interpret them as signs from God. Theologians such as Saint Hildegard of Bingen (1098-1179) and Albert Magnus (1200-1280) cited holy scripture. The Book of Jeremiah for example (1:11,12), in which God caused a fearsome "rod of an almond tree" to appear in the sky, a symbol of the prophet's empowerment. Or again Luke 21:11: "And great earthquakes shall be in divers places, and famines, and pestilences; and fearful sights and great signs shall there be from heaven."
In 1066, Halley's Comet appeared to many as a harbinger of the Norman conquest of Britain, so vividly portrayed in the Bayeux tapestry, with its scenes from the Battle of Hastings.
The decisive step towards overturning the view that comets are atmospheric phenomena was taken in 1577 by Danish astronomer, Tycho Brahe. For two and a half months he observed from his observatory in Uranienburg the progress of a comet across the heavens. Relying on the phenomenon of the daily parallax - an apparent "shuddering" motion of heavenly bodies in fact attributable to the observer's position on the revolving Earth - he was able to establish that the comet had to be located beyond the lunar orbit.
Halley discovers an elliptical orbit
The scientific description of comets took another major step forward in 1705 thanks to the work of the British astronomer and physicist, Edmond Halley, a friend and patron of Isaac Newton. Investigating recorded comet measurements, he observed that the orbits of a number of bright comets were very similar: his own calculation of the orbit of a comet observed in 1682 coincided with the data recorded by Johannes Kepler in 1607 and by Apianus in 1531. He concluded that various comet observations were attributable to one and the same comet.
Halley was proved right when in December 1758, the comet whose return he had predicted, thenceforth named after him, did indeed make a repeat appearance. This confirmed his theory that apparently parabolic comet orbits were in fact "simply" sections of one enormous elliptical orbit. Since then observations recorded in China in 240 BC have been identified as relating to a sighting of Halley's comet, the oldest known document dealing with this phenomenon.
What was described in the Bible as a sign from God was seen by Fred Hoyle, the British astrophysicist, as a possible explanation for the great hiatal breaks in history. He took the view that such extraordinary developments as the extinction of the mammoth were attributable to strikes by comet fragments. His views incorporated the theory advanced by British astronomers Victor Clube and Bill Napier in 1982 that a giant comet was trapped by our solar system 15000 years ago. With the return of that comet every 1600 years, the accompanying debris - so the argument goes - prompted some of the world's great turning points. This might also be an explanation for such legends as the Flood.
A lump of icy sludge
So what does the actual nucleus of a comet look like? One answer was supplied by the Giotto space probe in a mission masterminded by ESA. The probe was named after the major Italian painter Giotto di Bondone, who, in the early 14th century, portrayed a comet in his fresco in the Scrovegni Chapel in Padua. On 14 March 1986, the probe succeeded in taking 100-metre-resolution pictures of the nucleus of Halley's Comet from only 600 kilometres away. In the words of Uwe Keller: "The mission forced us to revisit our long-standing image of a comet nucleus as a 'dirty snowball'. The pictures showed that it was more like a lump of icy sludge. The solid part of the nucleus is much larger than the icy part."
Bur hardly had Giotto trained its electronic eye on the heavenly body than the photo opportunity was already over; a dust particle measuring about a millimetre hit the probe. As the velocity differential between probe and comet was at that point 68.4 km per second, the force of the involuntary encounter was enough to put paid to any further snapshots. All the same, despite the damage to the camera, it proved possible to go on with the mission. Following two periods of "hibernation", Giotto achieved a successful flyby of the Grigg-Skjellerup comet on 10 July 1992.
Rosetta should now bring us entirely new knowledge about comet nuclei. It will orbit the comet and deposit a small lander probe on its surface. So for the first time in history a comet travelling sunwards will be investigated from close quarters.
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Who was the ‘gentleman burglar’ created by E W Hornung? | A.J. Raffles, The Gentleman Thief series by E.W. Hornung
A.J. Raffles, The Gentleman Thief series
6 works, 4 primary works
Arthur J. Raffles is a character created in the 1890s by E. W. Hornung, a brother-in-law to Arthur Conan Doyle, the creator of Sherlock Holmes. Raffles is, in many ways, a deliberate inversion of Holmes — he is a "gentleman thief," living in the Albany, a prestigious address in London, playing cricket for the Gentlemen of England and supporting himself by carrying out ingenious burglaries. He is called the "Amateur Cracksman," and often, at first, differentiates between himself and the "professo Arthur J. Raffles is a character created in the 1890s by E. W. Hornung, a brother-in-law to Arthur Conan Doyle, the creator of Sherlock Holmes. Raffles is, in many ways, a deliberate inversion of Holmes — he is a "gentleman thief," living in the Albany, a prestigious address in London, playing cricket for the Gentlemen of England and supporting himself by carrying out ingenious burglaries. He is called the "Amateur Cracksman," and often, at first, differentiates between himself and the "professors" — professional criminals from the lower classes.
As Holmes has Dr. Watson to chronicle his adventures, Raffles has Harry "Bunny" Manders — a former schoolmate saved from disgrace and suicide by Raffles, who persuaded him to accompany him on a burglary. While Raffles often takes advantage of Manders' relative innocence, and sometimes treats him with a certain amount of contempt, he knows that Manders' bravery and loyalty are to be relied on utterly. In several stories, Manders saves the day for the two of them after Raffles gets into situations he cannot get out of on his own. ...more
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Nelson is a famous wine producing area in which country? | Raffles the Gentleman Thief - Trilogy ISBN 9781781667187 PDF epub | E. W. Hornung ebook | eBookMall
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Raffles, the gentleman thief, was created by E. W. Hornung, who was brother-in-law to the creator of Sherlock Holmes, Arthur Conan Doyle. In many ways, Raffles is an inversion of Holmes, he has his own Watson in the form of Harry "Bunny" Manders, and he is a master of disguise. This compilation contains three Raffles stories: • The Amateur Cracksman • Further Adventures of the Amateur Cracksman • A Thief in the Night
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The sangiovese grape is chiefly used in the production of which Italian wine? | Sangiovese
Sangiovese
Italian immigrants from Tuscany probably introduced the Sangiovese grape to California in the late 1800s, possibly at the Segheshio Family's "Chianti Station," near Geyserville. 1 It is one of several varietal components of the field blend in many old North Coast and Gold Country vineyards that are often otherwise identified as Zinfandel.
Sanguis Jovis, the Latin origin for the varietal name, literally means "blood of Jove" and it is likely that Sangiovese (aka Sangioveto or San Gioveto) was known by Etruscan winemakers, although the first literary reference to it was in 1722. It is probably indigenous to Tuscany, whose most famous wine is Chianti.
The basic blend of Chianti was established by Baron Ricasoli in the 1890s. This averages 70% sangiovese as the varietal base (along with 15% canaiolo [red], and 15% trebbiano [white] and sometimes a little colorino [red]). Many vineyards are traditionally planted with this varietal mix. It is difficult even for the Italians to keep up with their own ever-changing and very detailed wine laws, which specify permitted grape types, maximum yields per acre, minimum alcohol content, minimum aging standards before sale, etc. Currently, the minimum amount of sangiovese permitted in Chianti is 90%. Other grapes that may be used now include malvasia toscana, a white grape far superior to the ubiquitous trebbiano. Regardless of this improvement, currently the total white grapes used must not exceed 5% of the blend.
In some ways sangiovese is to Chianti as cabernet sauvignon is to Bordeaux. Both form the base of wines normally blended with other varietals and both by themselves share a certain distinctive elegance and complexity, when well-made.
There are at least 14 separate and distinct clones of sangiovese. At one point, there was some attempt in Italy to identify two separate "families", Grosso and Piccolo, although this seemed to have more of a commercial basis ("mine's better than yours") than any compelling ampelographic or sensory evidence to justify this attempt to classify. Sangiovese makes wines that vary in quality from ordinary to superb and seems strongly affected by its environment, more than most varieties.
The fruit is slow to mature and late-ripening. With relatively thin skins, it has a tendency to rot in dampness and does not mature well if planted above an elevation of 1,500 feet. Sangiovese vineyards with limestone soil seem to produce wines with more forceful aromas.
The hot, dry climate, such as Tuscany provides, is where sangiovese thrives. Because these climatic criteria generally enhance quantity, rather than quality, it takes careful cultivation and winemaking techniques to produce really excellent wine from this grape. The official classification of Chianti itself demonstrates the widely fluctuating range of Sangiovese quality from those identified as ordinary vino di tavola to the highest classico superiore. Sangiovese is the #1 varietal in Italy with 247,000 acres, 10% of the entire wine grape crop.
The flavor profile of Sangiovese is fruity, with moderate to high natural acidity and generally a medium-body ranging from firm and elegant to assertive and robust and a finish that can tend towards bitterness. The aroma is generally not as assertive and easily identifiable as Cabernet Sauvignon, for example, but it can show a strawberry, blueberry, faintly floral, violet or plummy character.
*Typical Sangiovese Smell and/or Flavor Descriptors
*Typicity depends upon individual tasting ability and experience and is also affected by terroir and seasonal conditions, as well as viticultural and enological techniques. This list therefore is merely suggestive and neither comprehensive nor exclusive.
Varietal Aromas/Flavors:
| Chianti |
Which sparkling wine is made chiefly in the Penedes region near Barcelona? | Chianti Wine: The Taste, Region and Classic Pairings | Wine Folly
Advanced , Chianti , Italy , Sangiovese , Tuscany , Wine Blend , Wine Regions
Why is Chianti more written about, drank, and talked about than any other Italian wine in history? What makes Chianti the perfect food wine? We’re going to tackle these questions and more in our exploration of Chianti.
Chianti, a red blend from Tuscany, is the most recognized wine outside of Italy. It is as essential to Italian cuisine as extra virgin olive oil. There are few pleasures as distinct as a tart, spicy, herbaceous Chianti wine next to a plate of sliced prosciutto or pasta al pomodoro.
What is Chianti Wine?
source: Marco Bernardini
Chianti is Sangiovese
The Sangiovese that forms the majority of the Chianti blend is a thin-skinned grape, so it makes translucent wines. In the glass, Sangiovese displays a ruby red color with flashes of bright burnt orange –a hue commonly associated with aged wines. Besides Sangiovese, Chianti wines may contain wine grapes like Canaiolo, Colorino, Cabernet Sauvignon and even Merlot. White grapes were once allowed in Chianti Classico but not anymore.
Learn how to read an Italian wine label.
The best examples of Chianti are a visceral tasting experience. Imagine the smells as you walk through an Italian grocery store: at the entrance there’s a bowl of preserved sour Amarena cherries. You walk under bunches of dried oregano, past a wall of dark, aromatic balsamic vinegar, then pass a counter where dry salami is being sliced. At the bar, dark espresso is dripping into a ceramic tazzo. A whisper of sweet tobacco wafts in the door from the pipe of the old man outside. Chianti smells and tastes like Italy. There will be a little coarseness and tartness on the palate, but these aren’t flaws, they are classic characteristics of Sangiovese.
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Chianti wine is more than just a place.
Chianti is a small region within Tuscany, but a wine calling itself "Chianti" is allowed to be made almost anywhere in Tuscany. Because of this, Chianti has 8 sub-zones. The truest examples come from Chianti Classico, which is the name given to wines from the original historic boundaries. Both Chianti Classico and Chianti Rufina are likely to be of higher quality, since they are made in smaller quantities from distinct historical areas.
The city of San Gimignano within the Chianti region of Tuscany. source: Kevin Po
The most serious examples of Chianti Classico come from a small group of villages from Siena in the south to the hills above Florence. The Classico region’s warm climate and clay-based soils, such as galestro marl and alberese sandstone, produce the boldest Chianti wines.
TIP: A wine labeled “Chianti” for $7-$11 is most likely made in bulk from a larger area and won't have the classic taste of a great Chianti.
Map of Italian Wine Regions
See an easy to understand map of Italian wine regions and major wine varieties. Learn about the 20 Italian wine regions and which ones to try first when delving into Italian wines.
source: jpellegen
Chianti Food Pairing
Chianti has savory flavors paired with high acidity and coarse tannin which makes it an incredible wine with food. The high acid cuts through richer fatty dishes and stands up to tomato sauces ( pizza! ). All that dry, powdery tannin makes Chianti wines ideal with dishes that use olive oil or highlight rich pieces of meat such as Bistecca alla Fiorentina.
Other food pairing ideas for Chianti
Tomato-based pasta sauces are fantastic, such as the Tuscan slow-simmered Ragù al Chingiale made with wild boar. Pizza is another favorite pairing and works with all styles of Sangiovese, from lighter Chianti wines to richer Brunello di Montalcino (find out more about Brunello below). A personal favorite is Bistecca alla Fiorentina, a dry-aged porterhouse steak from the grass-fed and grain-finished Chianina cattle. When done properly it’s one of the most succulent meat dishes on the planet.
Top Rated Italian Wine
Don’t worry, you’re not the only person who thinks getting into Italian wines is hard. Here are some illuminating reasons as to why Italian wines are such a mystery to non-Italians. Read more...
Aging & Classifications of Chianti Wine
General Aging
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The winner of which famous race traditionally swigs milk from the bottle? | Why is milk the drink of Indy champions? | FOX Sports
Why is milk the drink of Indy champions?
May 25, 2011 at 1:00a ET
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It is one of the most famous sights in all of motorsports, the victor’s drinking of the milk after the Indianapolis 500. It’s been honored, discussed, protested — and memorialized in cheese. What more could a tradition offer?
The open-wheel drivers lust after this swig of milk. It is the stuff of both legend and lore. And once, according to published reports, even of a protest by People for the Ethical Treatment for Animals.
But just how did this tradition get started?
According to Indianapolis Motor Speedway, three-time winner Louis Meyer “regularly drank buttermilk to refresh himself on a hot day.” Turns out, one such day was the 1936 race, which he won and then drank milk in Victory Lane.
An executive with the Milk Foundation saw the photo in the sports section and worked to make sure it was repeated. Obviously, it was, except for a period from 1947-55 when milk was not offered.
The practice remains in vogue to this day, with images of the race winner slugging the product annually.
Drinking milk in Victory Lane has led to some interesting stories, though.
In 2001, the Seattle Post-Intelligencer reported that PETA, citing cruelty to cows, asked then-speedway President Tony George to drop the tradition.
"Please consider dropping this outdated practice, or change the Indy 500 beverage to something humane and healthful, like orange juice or soy milk," wrote Andrew Butler, PETA Vegan Campaign coordinator, according to the story.
In 2005, Sports Illustrated named the bottle of milk given to the winner as No. 1 among the “sports world’s coolest prizes.”
In 2007, race fans at the Indianapolis State Fair were given a special treat. According to a story on the track’s website, a sculpture made from cheese — to commemorate the American Dairy Association of Indiana’s involvement with the Indianapolis 500 — honored the tradition.
The “Winners Drink Milk” sculpture was carved from cheese in front of fair attendees. It showed the race winner drinking milk beside his car — and included milk dripping from the lips of the victor. It took 67 hours to complete.
And finally, it has even been a topic on David Letterman’s show. The host, who is part owner of an IndyCar Series team, brought race winner Scott Dixon onto the show in 2008.
According to reports, Letterman posed the obvious question:
"After 500 miles, is milk what you really want to drink?"
And Dixon offered his take on the tradition — that it is simply the fact that one has the chance to do it that matter.
"That milk could have been a glass of mud for all I care at that point. It was the best moment," he said.
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| Indianapolis 500 |
In which sport is the term ‘bonk’ used meaning tiredness from lack of food? | Indianapolis Motor Speedway
World's Largest Milk Toast Planned for 100th Running of the Indy 500
March 16, 2016 | By IMS
The most iconic celebration in sports will add a new chapter to its legacy this year, as 100,000 fans will have the chance to share the world’s largest milk toast with the winner of the 100th Running of the Indianapolis 500 presented by PennGrade Motor Oil. The Indianapolis Motor Speedway is teaming up with the American Dairy Association (ADA) and Prairie Farms to add this spectacular moment to Race Day.
“Drinking the milk in Victory Circle is one of those special traditions that sets us apart from other events,” Indianapolis Motor Speedway President J. Douglas Boles said. “This year, as we mark the 100th Running of ‘The Greatest Spectacle in Racing,’ we felt it was important to bring as many fans as possible into the mix. This 100,000-strong milk toast will be an epic part of an unforgettable Race Day.”
On Race Day, 100,000 16 oz. pints of Prairie Farms milk will be distributed by ADA volunteers to spectators sitting in the grandstand sections along the front stretch. The milk bottles will be available throughout the race at several strategic locations which will be announced before the event.
"Being a part of the victory celebration and that famous drink of milk, representing Indiana dairy farmers who produce the milk is a special thrill, honor and tradition of American Dairy Association Indiana,” said Deb Osza, American Dairy Association Indiana. “We are excited to continue our partnership with the Indianapolis Motor Speedway and the Indianapolis 500 Mile race in 2016 at the 100th Running of the Indy 500. We’ll be there helping distribute 100,000 milks. We hope to see you on Race Day!"
“Prairie Farms is looking forward to providing milk for the World’s Largest Milk Toast and we’re proud to be part of the most iconic celebration in sports,” Prairie Farms CEO Ed Mullins said. “We strongly believe in giving back to the communities we serve. Not only is Prairie Farms providing 100,000 commemorative bottles of milk for the celebration, our farm families and employees will be there to engage with race fans throughout the day.”
The pints of milk will be specially branded for the 100th Running and will be available at retailers leading up to the race. Fans are encouraged to buy ahead of time to ensure they can celebrate with the winner. A 50-cents-off coupon is included in the Indy 500 ticket mailing. Fans watching from home are encouraged to purchase and participate as well.
IMS video boards and PA equipment will be used to help notify attendees of the time to raise their bottle of milk alongside the 100th Running champion. Get ready for a photo moment not to be missed!
The tradition of drinking milk following an Indy 500 victory began in 1936 with three-time champion Louis Meyer. Meyer regularly drank buttermilk to refresh himself on a hot day and happened to drink some in Victory Lane as a matter of habit after winning the 1936 race. An executive with what was then the Milk Foundation was so elated when he saw the moment captured in a photograph in the sports section of his newspaper the following morning that he vowed to make sure it would be repeated in coming years.
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A French court banned parents from calling their daughter ……what? | Banned Baby Names: French Parents Barred From Calling Children Nutella
Banned Baby Names: French Parents Barred From Calling Children Nutella
Alison Coldridge
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From @ to Anus, we’ve come across some weird and wacky baby name choices – and plenty have been ruled illegal .
But this one has to be up there with the strangest.
No Nutella for this baby girl [Rex]
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A French couple has tried to name their daughter ‘Nutella’. As in the chocolate spread. We know it’s delish and all, but would you really want your child to have the same name as something you put on toast?
According to Time magazine, a court in Valenciennes, France, has decided that the tot needs a new name.
The baby girl, who was born in September, can’t be named after the food because it’s not a good idea in the long run, the judge decided.
Nutella as a name? We're not convinces [Rex]
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“The name ‘Nutella’ given to the child is the trade name of a spread,” the court’s decision read, according to a translation.
“And it is contrary to the child’s interest to be wearing a name like that can only lead to teasing or disparaging thoughts (sic).”
So what, you may ask, will the lucky baby be called now? For now, she’s been given the name ‘Ella’ by the judge – as her parents didn’t show up for the court case and so couldn’t weigh in with their opinion.
But we reckon using half of ‘Nutella’ is a pretty good compromise.
| Nutella |
In which famous film was Frank Miller coming to kill Will Kane? | Nutella and Strawberry not suitable names for children, French court rules - Telegraph
France
Nutella and Strawberry not suitable names for children, French court rules
French families find themselves in a jam after a court rules they cannot name their daughters Nutella and Fraise (Strawberry)
French families find themselves in a jam after a court rules they cannot name their daughters Nutella and Fraise (Strawberry) Photo: Alamy
By Rory Mulholland in Paris
12:15PM GMT 26 Jan 2015
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A court in northern France has taken a tough stance towards parents who want to name their babies after chocolate spreads or fruit, overturning two families’ decisions to call their daughters Nutella and Fraise (Strawberry).
When one couple in Valenciennes tried to call their child Nutella last September, the shocked registrar immediately informed the local prosecutor, who took the case to court in the northern city.
The judge said that giving the child “the name of a chocolate spread” was against the girl’s interests as it might “lead to mockery and unpleasant remarks,” La Voix du Nord newspaper reported.
The parents did not turn up at the hearing in November, and in their absence the judge ruled that the girl should be renamed Ella.
The same court in Valenciennes made similar arguments in January this year before overturning the decision of another couple to name their child Fraise.
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The judge said that in particular the girl might face derision from people using the uncouth expression "ramène ta fraise" - a slang saying that translates as "get your a-- over here".
The parents opted instead for Fraisine, an elegant name popular in the 19th century.
French parents can choose whatever name they want for their offspring, but a registrar will occasionally seek to ban a moniker that might be deemed against the child’s interests.
A family was told in 2009 that they could not name their child after the French cartoon character Titeuf.
But the recent spate of French kids who have been named after characters in the Game of Thrones series, such as Khaleesi or Joffrey, does not appear to have ruffled any official feathers.
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What was the name of the computer that beat Gary Kasparov at chess in 1997? | IBM100 - Deep Blue
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On May 11, 1997, an IBM computer called IBM ® Deep Blue ® beat the world chess champion after a six-game match: two wins for IBM, one for the champion and three draws. The match lasted several days and received massive media coverage around the world. It was the classic plot line of man vs. machine. Behind the contest, however, was important computer science, pushing forward the ability of computers to handle the kinds of complex calculations needed to help discover new medical drugs; do the broad financial modeling needed to identify trends and do risk analysis; handle large database searches; and perform massive calculations needed in many fields of science.
Since the emergence of artificial intelligence and the first computers in the late 1940s, computer scientists compared the performance of these “giant brains” with human minds, and gravitated to chess as a way of testing the calculating abilities of computers. The game is a collection of challenging problems for minds and machines, but has simple rules, and so is perfect for such experiments.
Over the years, many computers took on many chess masters, and the computers lost.
IBM computer scientists had been interested in chess computing since the early 1950s. In 1985, a graduate student at Carnegie Mellon University, Feng-hsiung Hsu, began working on his dissertation project: a chess playing machine he called ChipTest. A classmate of his, Murray Campbell, worked on the project, too, and in 1989, both were hired to work at IBM Research. There, they continued their work with the help of other computer scientists, including Joe Hoane, Jerry Brody and C. J. Tan. The team named the project Deep Blue. The human chess champion won in 1996 against an earlier version of Deep Blue; the 1997 match was billed as a “rematch.”
The champion and computer met at the Equitable Center in New York, with cameras running, press in attendance and millions watching the outcome. The odds of Deep Blue winning were not certain, but the science was solid. The IBMers knew their machine could explore up to 200 million possible chess positions per second. The chess grandmaster won the first game, Deep Blue took the next one, and the two players drew the three following games. Game 6 ended the match with a crushing defeat of the champion by Deep Blue.
The match’s outcome made headlines worldwide, and helped a broad audience better understand high-powered computing. The 1997 match took place not on a standard stage, but rather in a small television studio. The audience watched the match on television screens in a basement theater in the building, several floors below where the match was actually held. The theater seated about 500 people, and was sold out for each of the six games. The media attention given to Deep Blue resulted in more than three billion impressions around the world.
Deep Blue had an impact on computing in many different industries. It was programmed to solve the complex, strategic game of chess, so it enabled researchers to explore and understand the limits of massively parallel processing. This research gave developers insight into ways they could design a computer to tackle complex problems in other fields, using deep knowledge to analyze a higher number of possible solutions. The architecture used in Deep Blue was applied to financial modeling, including marketplace trends and risk analysis; data mining—uncovering hidden relationships and patterns in large databases; and molecular dynamics, a valuable tool for helping to discover and develop new drugs.
Ultimately, Deep Blue was retired to the Smithsonian Museum in Washington, DC, but IBM went on to build new kinds of massively parallel computers such as IBM Blue Gene ®. [Read more about this Icon of Progress.]
The Deep Blue project inspired a more recent grand challenge at IBM: building a computer that could beat the champions at a more complicated game, Jeopardy!.
Over three nights in February 2011, this machine—named Watson—took on two of the all-time most successful human players of the game and beat them in front of millions of television viewers. The technology in Watson was a substantial step forward from Deep Blue and earlier machines because it had software that could process and reason about natural language, then rely on the massive supply of information poured into it in the months before the competition. Watson demonstrated that a whole new generation of human - machine interactions will be possible.
| Deep Blue |
What allegedly crashed at Roswell, New Mexico in 1947? | In Upset, Computer Beats Chess Champion - The New York Times
The New York Times
U.S. |In Upset, Computer Beats Chess Champion
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In an unexpected victory of machine over man, Deep Blue, the new I.B.M. chess computer, trounced the world chess champion, Gary Kasparov, yesterday in the first game of their scheduled six-game match here at the Pennsylvania Convention Center.
Computers have beaten grandmasters before, mostly in games of speed chess, but this is the first time a world champion has ever lost a game played against a computer with regulation time limits, in which each player has two hours to make his (or its) first 40 moves.
When Mr. Kasparov resigned instead of making his 37th move, he had only 5 minutes and 42 seconds left on his clock; the computer had nearly an hour left and had clearly been in control of play for some time. As Mr. Kasparov stood and reached across the chessboard to shake the hand of Feng-Hsiung Hsu, the I.B.M. research scientist who moved the pieces on behalf of Deep Blue, the other members of the I.B.M. team, monitoring the game in an adjoining room, burst into applause.
"This is what we've been hoping for, but until it happens you never know if it's even possible," said A. Joseph Hoane, who has been working on Deep Blue software for five years.
After shaking hands, Mr. Kasparov left the stage briskly and did not speak to reporters.
Going into the match, he had been the heavy favorite, based on the assessment of virtually all chess aficionados. Deep Blue is acknowledged to be the strongest chess computer ever built, but it had never competed at its full strength before and even its programmers, who tinkered with it up until match time, were uncertain how it would perform. In midgame, however, Mr. Hoane, who had acknowledged that he was nervous before the game began, said the computer could not have done better.
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"I'm not stretching things to say that we've got one of the greatest concentrations of computing power ever focused on a single problem working here today," Mr. Hoane said, adding that at some points during the game, Deep Blue was searching in excess of 100 million chess positions a second.
For its first hour and a half, the game was tense and closely contested, by the assessments of both the chess experts on hand and a computer program known as Fritz, which last May in Hong Kong won the world computer chess championship. Analyzing the game mathematically, Fritz estimated that either one player or the other was ahead by less than the strength of a single pawn through the first 20 moves.
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Then, Mr. Kasparov mounted a daring attack, featuring a pawn sacrifice, which was fended off by Deep Blue. When the attack failed, his position collapsed.
Mr. Kasparov showed his distress in his facial expressions, clenching his jaw muscles, furrowing his brow, cupping his chin fiercely in the palms of his hands. By move 28, he had removed his sport jacket; by move 30, he was leaning precipitously over the board, examining it with the pieces just inches from his chin.
"He is devastated," said Maurice Ashley, an international master who was among those providing live commentary on the game for an audience of some 200 people in an adjoining auditorium. "Look at him, shaking his head under the cold, cold attack of the computer. I wish he could pull a rabbit out of his hat, but I'm afraid the rabbit's dead."
Everyone from I.B.M. made sure to note that today's game was only one victory in a six-game match that runs through next Saturday, with Game 2 being played on Sunday. They were aware that Mr. Kasparov is known for his tenacity and grit in coming back from a defeat. Still, it was a moment of celebration.
"We feel like this is, in itself, a victory," said Joel Benjamin, an American grandmaster who advised the Deep Blue team on chess strategy. "After all, it's never happened before."
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Who succeeded Moses as leader of the Israelites? | Ahmed Osman/Out of Egypt
Click to order Ahmed's books
TUTANKHAMUN AND THE TRINITY OF CHRIST
In his interesting account of Velikovsky's Worlds in Collision (Fortean Times 118), Niklas Rasche referred to my argument of the similarities between Pharaoh Akhenaten and both Moses of the Bible and Oedipus of Greek mythology. Tom Holland had, in an earlier issue Akhenaten (Fortean Times 117), given more details of my identification of Akhenaten with Moses, but he went on to say:
"The naming of Akhenaten as the founder of the Jewish religion seems positively restrained compared with Osman's real bombshell, his revelation that Tutankhamun had, in fact, been Jesus Christ."
The early Fathers of the Church accepted that Jesus appeared, not once, but twice: First in the person of Joshua the son of Nun, who succeeded Moses as the leader of the Israelites in the 14th century BC, and again when, in his Glory, he appeared to the disciples in the 1st century AD. "Jesus" is the Greek form of "Joshua," which appeared for the first time in the Greek translation of the Old Testament made in Alexandria during the 3rd century BC. When the Gospels were written, also in Greek, it was understood that Jesus Christ was the same person as the Israelite leader who succeeded Moses. The confusion between the two forms of the name only appeared from the 16th century onwards, when the Bible was translated into English. Only then was the name "Joshua" given to the Old Testament character, while "Jesus" was used for his New Testament appearance.
As I've come to the conclusion that Akhenaten was the same as Moses, I also concluded that Akhenaten's successor was the same as the leader who succeeded Moses. Akhenaten, king of Egypt (1378-1361 BC.), was the first monotheistic ruler in history. He abolished the worship of the different gods of Ancient Egypt and introduced a deity with no imageAten, the biblical Adonaito be the sole God for all people. In his 17th year, Akhenaten was overthrown by a military coup when he used the army to force the new religion on his people, and was replaced by Tutankhamun in 1361 BC. Akhenaten then went into exile in Sinai, accompanied by some of his followers. Recognizing that ordinary people need a physical object for their worship, Tutankhamun allowed the ancient deities to be worshiped again, but only as mediators between Aten and his people.
Ernest Sellin, a German biblical scholar, had found textual evidence to suggest that an Israelite leader was murdered in Sinai, and Sigmund Freud thought this leader was Moses. The Israelites, he thought, killed Moses as they resented his strict teachings. I was able, however, to identify the assassinated leader as Joshua the son of Nun, successor of Moses. It was Phinehas, the priest of Moses, whom I've identified with Pa-Nehesy the high priest of Akhenaten, who killed Joshua. While the Israelites were still in the land of Goshen in Egypt, Pa-Nehesy killed Tutankhamun at the foot of Mount Sinai, as he regarded him as a heretic who allowed paganism's return.
In the tomb of Tutankhamun there is a unique scene, not found in any other Egyptian burial, representing the Trinity of Christ. The profound significance of the wall-painting escaped me until November 1997 when I was invited by General Mohamed Yusef, the then governor of the city of Luxor, to speak in the city hall as part of the 75th anniversary celebration of the tomb's discovery. Afterwards I was privileged to have a private visit to the tomb. As I stood alone, gazing at the painting of the burial chamber on the north wall, I realized for the first time that I was looking at the strongest pictorial evidence linking Tutankhamun and Christ.
The painting is divided into three separate scenes. The first scene on the right shows Aye, already crowned as the king's successor, but nevertheless officiating as a priest dressed in the leopard skin, performing the ritual of "the opening of the mouth" for resuscitation of the dead Tutankhamun, who is shown as a risen Osiris. The middle scene shows Tutankhamun entering the heavenly realm of the gods and being welcomed there by the sky goddess Nut. It was the ultimate scene on the left of the north wall, however, that aroused my wonder. Here I saw three different representations of Tutankhamun linked as one person. On the left of the scene stood Tutankhamun as the risen Osiris, with a second Tutankhamun facing him as the ruling king, Horus. Behind him is a third Tutankhamun depicted as his Ka.
The most remarkable feature of this scene is the fact that the risen Osiris, although shown in the conventional mummified form with his hands folded across his chest, is reaching out to touch Horus, as is his kA Thus we have Tutankhamun as father, son and spiritthe same relationship that we find in the Christian Trinity of the three persons in one GodFather, Son and Holy Spiritfinally established as orthodox belief after much acrimonious debate during the first four centuries of the Christian era.
Ahmed Osman
Historian, lecturer, researcher and author, Ahmed Osman is a British Egyptologist born in Cairo
His four in-depth books clarifying the history of the Bible and Egypt are: Stranger in the Valley of the Kings (1987) - Moses: Pharaoh of Egypt (1990) - The House of the Messiah (1992) - Out of Egypt (1998)
| Joshua |
A bonspiel is a tournament in which winter sport? | Jehoshua - definition of Jehoshua by The Free Dictionary
Jehoshua - definition of Jehoshua by The Free Dictionary
http://www.thefreedictionary.com/Jehoshua
Also found in: Thesaurus , Encyclopedia , Wikipedia .
Josh·u·a 1
(jŏsh′o͞o-ə)
In the Bible, a Hebrew leader who succeeded Moses as leader of Israel.
[Late Latin Ioshua, from Hebrew yəhôšûa', Yahweh (is) salvation; see hwy in the Appendix of Semitic roots.]
Josh·u·a 2
1. (Bible) Moses' successor, who led the Israelites in the conquest of Canaan
2. (Bible) the book recounting his deeds
Douay spelling: Josue
1. the successor of Moses as leader of the Israelites. Deut. 31:14, 23; 34:9.
2. a book of the Bible bearing his name.
ThesaurusAntonymsRelated WordsSynonymsLegend:
Noun
1.
Joshua - (Old Testament) Moses' successor who led the Israelites into the Promised Land; best remembered for his destruction of Jericho
Old Testament - the collection of books comprising the sacred scripture of the Hebrews and recording their history as the chosen people; the first half of the Christian Bible
2.
Joshua - a book in the Old Testament describing how Joshua led the Israelites into Canaan (the Promised Land) after the death of Moses
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Who committed what became known as the West Port murders in Edinburgh in 1828? | The Worlds of Burke and Hare
But and ben wi� Burke and Hare.
Burke�s the butcher,
Hare�s the thief,
And Knox the boy who buys the beef.
The Horrid and True Story of Burke and Hare
On Monday, November 3, 1828, Edinburgh awoke to the horrifying news that the most atrocious murders of the decade -- of the century -- had been committed in the West Port district of the Old Town. William Burke and William Hare, together with Helen M'Dougal and Margaret Hare, were accused of killing 16 people over the course of 12 months, in order to sell their cadavers as "subjects" for dissection. Their purchaser was Dr. Robert Knox, a well-regarded anatomical lecturer with a flourishing dissecting establishment in Surgeon's Square. The ensuing criminal investigation and trial raised troubling questions about the common practices by which medical men obtained cadavers, about the lives of the poor in Edinburgh's back alleys, about the ability of the police to protect the public from deliberate, unprovoked murder for gain.
The murders were discovered when two of Burke's lodgers, Ann and James Gray, grew suspicious about the unexpected disappearance of a visitor, Madgy Docherty, whom they had met in Burke's house the night before. They found her dead body under the bed and went for the police.
Burke, M'Dougal, and William and Margaret Hare were arrested for Docherty's murder. William and Margaret Hare turned King's witnesses, that is, witnesses for the prosecution, in return for immunity. Burke and M'Dougal were tried for murder on December 24, 1828. M'Dougal was acquitted with the distinctively Scots verdict, Not Proven. Burke was convicted and sentenced to death. He was executed on January 28, 1829. His body was dissected and publicly exhibited. Their preferred method of murder, suffocation by leaning on and compressing the chest, has been known ever since as "burking."
The story of Burke and Hare has made its way into popular culture through Edinburgh's Blackwood's Magazine, through Robert Louis Stevenson, and through Gil Grissom of CSI. Popular movie versions include Robert Wise's The Body Snatcher, with Bela Lugosi and Boris Karloff, Freddie Francis's The Doctor and the Devils, with Timothy Dalton and Jonathan Pryce, and John Landis's Burke and Hare, with Simon Pegg and Andy Serkis.
Click on thumbnails to view slideshow.
| Burke and Hare murders |
What profession was followed by Grace O’Malley, Mary Read and Anne Bonny? | William Burke News | Wiki - UPI.com
William Burke News
ST. PETERSBURG, Fla., April 3 (UPI) -- St. Paul, Minn., attorney Jeffrey Anderson filed suits Wednesday against the Vatican, three Catholic dioceses and two religious orders charging them with moving
Wiki
The Burke and Hare murders (also known as the West Port murders) were serial murders perpetrated in Edinburgh, Scotland, United Kingdom in 1827 and 1828. The killings were attributed to Irish immigrants William Burke and William Hare, who sold the corpses of their 17 victims to the Edinburgh Medical College for dissection. Their principal customer was Doctor Robert Knox, and their accomplices included Burke's mistress, Helen MacDougal, and Hare's wife, Margaret. From their infamous method of killing their victims has come the word "burking", meaning to purposefully smother and compress the chest of a victim.
Before 1832, there were insufficient cadavers legitimately available for the study and teaching of anatomy in British medical schools. The University of Edinburgh was an institution universally renowned for medical sciences. As medical science began to flourish in the early 19th century, demand rose sharply, but at the same time, the only legal supply of cadavers—the bodies of executed criminals—had fallen due to a sharp reduction in the execution rate in the early 19th century, brought about by the repeal of the Bloody Code. Only about 2 or 3 corpses per year were available for a large number of students, as compared with the 18th century. This situation attracted criminal elements who were willing to obtain specimens by any means. The activities of body-snatchers (also called resurrectionists) gave rise to particular public fear and revulsion.
Burke (1792 – 28 January 1829) was born in Urney, County Tyrone, Ireland. After trying his hand at a variety of trades and serving as an officer's servant in the Donegal Militia, he left his wife and two children in Ireland and emigrated to Scotland about 1817, working as a navvy for the Union Canal. He acquired a mistress, Helen MacDougal, and afterwards worked as a labourer, weaver, baker and a cobbler.
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For which organisation did the camp Jason King work? | A Short Biography of Peter Wyngarde
Born: August 23rd 1933
Fact File
Peter Wyngarde is a French-born English actor best acknowledged for creating and playing the character of Jason King, a successful writer and detective, in two British television series of the 1960s and early 1970s:' Department S' (1969–1970) and 'Jason King' (1971–1972). Born Cyril Goldbert in Marseille, France, the son of an a a French mother and English father .
His father worked in the British Diplomatic Service, consequently his childhood was spent in a numerous different countries. In 1941, although his parents were away in India, he went to live with a Swiss household in Shanghai. The Japanese Armed forces took over Shanghai's International Settlement on the 8th December 1941, and as a British national his father was incarcerated in the Lunghua concentration camp on 10 April 1943. Conditions in the camp were at times harsh. According to J.G. Ballard's autobiography Miracles of Life, "Cyril Goldbert, the future Peter Wyngarde" was a fellow internee at Lunghua Camp and "He was four years older than me...". Ballard was born in November 1930 but according to Lunghwa Camp archives, compiled in 1943, Goldbert was really born in 1928. His younger siblings, Adolphe Henry and Marion Simeone, were under Swiss protection and consequently immune from internment. As a young man he began acting, and from the mid-1950s had innumerable roles in feature films, single television plays and television series. In the late 1960s, he was a steady guest star on countless popular UK series of the day, many of which had espionage and adventure plots, including 'The Avengers', 'The Saint', 'The Baron', 'Sherlock Holmes', 'The Champions', 'The Troubleshooters', 'Love Story', 'I Spy' and The 'Man In Room 17'. He also played the Number Two in The Prisoner ("Checkmate", 1967).
Wyngarde's movie work was narrow but had influence. In 1961, he made the most of his brief scenes as the leering Peter Quint in Jack Clayton's 'The Innocents' with Deborah Kerr and Pamela Franklin. The next year he starred in the occult adventure movie 'Night of the Eagle'.
The Big break came for Wyngarde in 1969 when he was cast in the ITC television series 'Department S', (produced by Monty Berman) in the role of the charismatic Jason King, a sardonic, well-spoken, over sexed mystery author who also works for an undercover Interpol investigative unit. With his long hair and a loud moustache, and dressed in an array of late '60s/Swinging London-style cravats, ruffled shirts, crumpled velvet outfits, kaftans, etc., Wyngarde was the original peacock. The character's eccentric mannerisms, together with his look, soon made Wyngarde the main star of the show, casting a shadow on his two co-stars, Joel Fabiani and Rosemary Nicols; indeed, many fans felt that Wyngarde's character dressed more flashily than Nicols' character.
Now a days, Jason King's manner of dress, together with his ferocious sex drive and even with the sporadic use of such retro terms as "groovy" makes him the very obvious role model for the 'Austin Powers' chracter, made famous by Mike Myers.
In the series that spun out of 'Department S', simply called' Jason King', he worked solo but manoeuvred from bed-to-bed with a succession of women in seemingly every story, keeping up a pace that any self-respecting James Bond would have had a tough time keeping up with.
In 1970, Peter recorded an album for RCA Victor called Peter Wyngarde, and a single, "La Ronde De L'Amour/The Way I Cry Over You" was released. The album was reissued on CD by the British RPM Records label as 'When Sex Leers Its Inquisitive Head'. Curiously,it was not a collection of lounge standards but instead an unusual collection of spoken word/musical arrangements.
Several tracks are on the Radio Sounds Familiar playlist.
In 1983, he performed in the thriller 'Underground' opposite Raymond Burr (Ironside) at the Royal Alexandra Theatre, Toronto and at the Prince of Wales Theatre, London. During the 1980s and 1990s he made a number of television appearances, comprising the Doctor Who serial 'Planet of Fire' (1984), Hammer House of Mystery & Suspense (1984), 'The Memoirs of Sherlock Holmes' (1994) and the 'Movie Tank Malling' (1989).
In recent years he has been a regular invitee to Memorabilia, a cult, science fiction and memorabilia fair held at the National Exhibition Centre in Birmingham
The last time he appeared on TV was in 2003,as a guest of the late Simon Dee in the Channel Four one-off revival of his chat show 'Dee Time' in.
In 2007, Wyngarde participated in recording extras for a re-release of 'The Prisoner' on DVD, including a mock interview section titled "The Pink Prisoner", this material was released in the Prisoner DVD set issued in the UK in 2007 and in North America on both DVD and Blu-ray in October 2009.
On a personal note, Peter Wyngarde remains a total hero of mine, and I thank him for his contributing to the golden age of television.
Related Video
In this clip, Peter Wyngarde challenges the witch that's been tormenting him in the film "Night Of The Eagle'
1979 Himmel, Scheich und Wolkenbruch
Scheich Al-Abdullah
1971-1972 Jason King (TV series)
Jason King
– That Isn't Me, It's Somebody Else (1972) … Jason King
– An Author in Search of Two Characters (1972) … Jason King
– Zenia (1972) … Jason King
– Chapter One: The Company I Keep (1972) … Jason King
– Every Picture Tells a Story (1972) … Jason King
See all 26 episodes »
1969-1970 Department S (TV series)
Jason King
– The Double Death of Charlie Crippen (1970) … Jason King
– A Ticket to Nowhere (1970) … Jason King
– The Soup of the Day (1970) … Jason King
– A Fish Out of Water (1970) … Jason King
– The Ghost of Mary Burnham (1970) … Jason King
See all 28 episodes »
1968 The Champions (TV series)
Hallam
– The Invisible Man (1968) … Hallam
1967 The Prisoner (TV series)
Number Two
1967 The Troubleshooters (TV series)
Sheik Mohammed bin Falik
– A Nice White Girl - Is She for Sale? (1967) … Sheik Mohammed bin Falik
1967 The Revenue Men (TV series)
General Daniel
– The Exile (1967) … General Daniel
1967 I Spy (TV series)
George
– Let's Kill Karlovassi (1967) … George
1967 Love Story (TV series)
Konrad Von Kroll
– It's a Long Way to Transylvania (1967) … Konrad Von Kroll
1966-1967 The Saint (TV series)
Tiberio Magadino / Turen
– The Gadic Collection (1967) … Turen
– The Man Who Liked Lions (1966) … Tiberio Magadino
1966-1967 The Avengers (TV series)
Stewart Kirby / The Honorable John Cleverly Cartney
– Epic (1967) … Stewart Kirby
– A Touch of Brimstone (1966) … The Honorable John Cleverly Cartney
1955-1967 ITV Play of the Week (TV series)
Garry Essendine / Guido / Hovstad / …
– The Crossfire (1967) … Hugo de Croissillon
– The Rules of the Game (1965) … Guido
– A Choice of Coward #1: Present Laughter (1964) … Garry Essendine
– A Midsummer Night's Dream (1964) … Oberon
– Camino Real (1964) … Jaques Casanova
See all 11 episodes »
1966 The Baron (TV series)
Arnold Noyes / King Ibrahim
– The Legions of Ammak (1966) … King Ibrahim/Arnold Noyes
1966 Lucy in London (TV movie)
1966 The Man in Room 17 (TV series)
Paul Panacek
– First Steal Six Eggs (1966) … Paul Panacek
– The Forum (1965) … Dr. Henri Lefebvre
1964 A Choice of Coward (TV series)
Garry Essendine
– Present Laughter (1964) … Garry Essendine
1964 Rupert of Hentzau (TV series)
Rupert of Hentzau
– The Decision of Fate (1964) … Rupert of Hentzau
– A Perilous Reunion (1964) … Rupert of Hentzau
– The Wheel of Chance (1964) … Rupert of Hentzau
– Audience with the King (1964) … Rupert of Hentzau
– Return to Zenda (1964) … Rupert of Hentzau
See all 6 episodes »
1962 About Religion (TV series)
– Dinner with the Devil (1962)
1962 Out of This World (TV series)
Captain Barton
– Cold Equations (1962) … Captain Barton
1958-1962 Armchair Theatre (TV series)
Werner Loder
– Night Conspirators (1962) … Werner Loder
– The Shining Hour (1958)
1962 Night of the Eagle
Norman Taylor
1960 The Siege of Sidney Street
Peter
1960 On Trial (TV series)
Sir Roger Casement
– Sir Roger Casement (1960) … Sir Roger Casement
1959 Epilogue to Capricorn (TV series)
Peter Vauxhall
– Traitor's Gate (1959) … Peter Vauxhall
– All on Tape (1959) … Peter Vauxhall
1958 The Dark Is Light Enough (TV movie)
Richard Gettner
1958 The Adventures of Ben Gunn (TV series)
John Silver
– The Honest Seaman (1958) … John Silver
– How the Treasure Was Buried (1958) … John Silver
– The Winning of the Treasure (1958) … John Silver
– The Taking of the Walrus (1958) … John Silver
See all 6 episodes »
1958 General Electric Theater (TV series)
Raymond DeTresk
– Time to Go Now (1958) … Raymond DeTresk
1957 Ordeal by Fire (TV movie)
Jerome Taillard
1957 A Tale of Two Cities (TV mini-series)
Sydney Carton
– The Footsteps Die Out (1957) … Sydney Carton
– A Hand at Cards (1957) … Sydney Carton
– The Darkness (1957) … Sydney Carton
– The Storm Breaks (1957) … Sydney Carton
– The Honest Tradesman (1957) … Sydney Carton
See all 7 episodes »
1957 Overseas Press Club - Exclusive! (TV series)
Andrea Bakolas
– The George Polk Story (1957) … Andrea Bakolas
1957 Jack Hylton's Monday Show (TV series)
– Hotel Riviera (1957)
1957 English Family Robinson (TV mini-series)
Indian
1957 Sword of Freedom (TV series)
Colonna
| Department S |
Tasseomancy is the reading of what, to determine a person’s future? | Jason King (TV Series 1971–1972) - IMDb
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This spin-off from the earlier "Department S" continued the adventures of hedonistic, womanizing dandy Jason King. After leaving Department S, Jason settled down to a full-time career of ... See full summary »
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Jason's temporary secretary in Germany convinces him to go to a health clinic. However, when several strange events occur he realises that there is much more to the clinic than it appears.
8.4
Jason is abducted in order to help the Moscow police work out how three men on a workers' delegation,got into a lift and then,when the doors opened again,there was nothing left of them but three ...
8.1
Jason gets off a plane in Switzerland and is mistaken for the hitman taken ill on the plane as he has picked up the bunch of red roses which will allow the killer's employers to identify him. He ...
7.9
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An elite department within Interpol, Department S inherited those cases which the other member groups had failed to solve. The brains of the group was Jason King, a hedonistic maverick who ... See full summary »
Stars: Peter Wyngarde, Joel Fabiani, Rosemary Nicols
The Baron (TV Series 1966)
Crime | Drama
Stories of an antique dealer who is really an undercover agent.
Stars: Steve Forrest, Sue Lloyd, Paul Ferris
A quirky spy show of the adventures of an eccentricly suave British agent and his predominately female partners.
Stars: Patrick Macnee, Diana Rigg, Honor Blackman
Jeff Randall and Marty Hopkirk are private detectives who specialize in divorce cases. Their long-running partnership seems to come to an abrupt end when Marty is killed by a hit-and-run, ... See full summary »
Stars: Mike Pratt, Kenneth Cope, Annette Andre
John Steed and his new accomplices Purdey and Gambit find themselves facing new and deadly dangers in the bizarre world of espionage. Mixing fantasy with a darker edge, the trio face ... See full summary »
Stars: Patrick Macnee, Gareth Hunt, Joanna Lumley
Simon Templar, a wealthy adventurer known as The Saint, travels around the world in his white Volvo P1800S.
Stars: Roger Moore, Ivor Dean, Leslie Crawford
The Protectors were Harry Rule, the Contessa di Contini and Paul Buchet, three freelance troubleshooters who ran an international crime fighting agency. Based in London, Harry was the ... See full summary »
Stars: Robert Vaughn, Nyree Dawn Porter, Tony Anholt
McGill (known as "Mac") was a former U.S. intelligence agent based in London. After being thrown out of the agency for something he did not do, he finds his "false" reputation has preceded ... See full summary »
Stars: Richard Bradford, Ricardo Montez, Warren Stanhope
John Drake is a special operative for NATO, specializing in security assignments against any subversive element which threatened world peace. The series featured exotic locales from all ... See full summary »
Stars: Patrick McGoohan, Richard Wattis, Lionel Murton
Craig Stirling, Sharron Macready and Richard Barrett were agents for Nemesis, an international intelligence organization based in Geneva. Their first mission as a team was to investigate ... See full summary »
Stars: Stuart Damon, Alexandra Bastedo, William Gaunt
English Lord Brett Sinclair and American Danny Wilde are both wealthy playboys, they are teamed together by Judge Fullton to investigate crimes which the police can't solve. These two men ... See full summary »
Stars: Tony Curtis, Roger Moore, Laurence Naismith
David Callan is the top agent/assassin for the Security Service (British counterintelligence), but he is an embittered man who performs his duties "for Queen and country" under duress. This... See full summary »
Stars: Edward Woodward, Russell Hunter, Lisa Langdon
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Storyline
This spin-off from the earlier "Department S" continued the adventures of hedonistic, womanizing dandy Jason King. After leaving Department S, Jason settled down to a full-time career of writing (trashy) Mark Caine novels. He philandered his way around the world, doing research for his stories and tripping over a variety of odd--often verging on surreal--cases, usually involving beautiful women. He was occasionally blackmailed into working for British Intelligence under the threat of being arrested for unpaid back taxes. Written by Marg Baskin <[email protected]>
15 September 1971 (UK) See more »
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(United Kingdom) – See all my reviews
This is by way of a comment on one of the other reviews.
The episode "All that Glisters..." was playing recently on a TV that I could hear but not see. "Thunderbirds!" I thought since I could clearly hear the voice of Scott Tracey. On going in to actually watch the TV I was amazed to see that it was Jason King rather than Thunderbirds and that bizarrely Clinton Greyn was speaking with Scott Tracey's voice. The lip-sync was excellent but it was clearly a dubbed voice since the acoustic was different. And of course, rather than Greyn's rounded Welsh tones we were getting the distinctive Canadian sound of Shane Rimmer. Cant understand why they did this - and then not credit it? Weird.
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By what name was the architect Charles-Edouard Jeanneret better known? | Le Corbusier Essay Examples | Kibin
Le Corbusier Essay Examples
Le Corbusier's Domino house project allowed the cladding or ``skin'' of
building to be free of the structure. Discuss this in relation to Le
Corbusier's later work, where concrete is used as the dominant material. Charles Charles-Edouard Jeanneret Edouard Jeanerett better known as Le
Corbusier. This name derived from his a...
1,297 words
'Petite maison' Le Corbusier
Introduction
This is the little house that Le Corbusier built in 1923-1924 in the shores of Lake Geneva, Switzerland. The house was built in terms of Le Corbusier and his cousin Pierre Jeanerette. The program and plan of the house were developed. The paper will discuss the design of the house an...
1,214 words
Characteristics of Literature During the 20th Century as an Intense Awareness and Reshaping of Fundamentals
The literature of the 20th century has been characterized by an intense awareness and reshaping of fundamentals. Just as the architectural vanguard led by Le Corbusier reinvented structural form, or the Cubists made new visual space the writers working with narratives renewed and heightened their concern with how time...
2,663 words
An Introduction to the Life of Charles-Edouard Jeanneret an Influental Swiss Architect
Charles-Edouard Jeanneret is an internationally known influential Swiss architect and city planner, whose designs combine the functionalism of the modern movement with a bold, sculptural expressionism. He belonged to the first generation of the so-called International school of architecture and was their most able propagand...
2,809 words
An Introduction to Architecture and Urbanism through the Swiss Architect Le Carbusier
Architecture is the design of individual building and garden projects that make the realm of the voids visible, memorable and ultimately, useful. Crucial to the making of any city is the clear distinction of such projects by scale and character. Firstly, the definition of buildings and landscape that builds an urban collect...
1,577 words
The Life and Death of Charles Edouard Jeaneret
Born Charles Edouard Jeaneret in the Swiss town of la Chaux-des-Fonds on October 6th, 1887. He was an artist at first, then he took his eventual name of Le Corbusier in 1920 when he knew his life would be that of architecture rather than strictly art. Though he was never schooled officially, he was influenced by many, this...
608 words
| Le Corbusier |
Who plays Alfred Hitchcock’s wife Alma in the movie Hitchcock? | Charles-Édouard Jeanneret, known as Le Corbusier | Great Thoughts Treasury
Charles-Édouard Jeanneret, known as Le Corbusier
(1887 - )
Biography:
Swiss Architect, Designer, Urbanist, Writer and Painter, famous for being one of the pioneers of what now is called Modern architecture or the International style. He was born in Switzerland and became a French citizen in his thirties.
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Jeanneret, known as Le Corbusier
Birth Date:
1965
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Swiss Architect, Designer, Urbanist, Writer and Painter, famous for being one of the pioneers of what now is called Modern architecture or the International style. He was born in Switzerland and became a French citizen in his thirties.
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With 19 so far who is by far the most Oscar nominated actress in history? | Jennifer Aniston, Oscar Nominee? 5 Takeaways from the 2015 SAG Award Nominations - The Daily Beast
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OSCAROLOGY
Jennifer Aniston, Oscar Nominee? 5 Takeaways from the 2015 SAG Award Nominations
Everyone’s favorite Us Weekly cover star scored a surprise SAG Award nod. Is Oscar next? We peruse the most surprising takeaways from this year’s SAG list.
12.10.14 5:44 PM ET
Jennifer Aniston, Oscar nominee?
The once implausible thought is inching closer to a reality for the former Friends star—an undeniably gifted comedic actress who’s been wallowing in trite romantic films (of both the clichéd comedy and sappy drama type) and overly ribald raunch-coms. Aniston scored the biggest surprised mention when the Screen Actors Guild Awards announced their nominees Wednesday morning, earning a nod for in Best Actress for her performance in the indie Cake.
Is an Oscar nomination next? From Aniston’s surge in the Oscar race to Edie Falco’s record-breaking nod, here’s a list of the biggest surprises and takeaways from the 2015 SAG Award nominations .
Jennifer Aniston could get an Oscar nomination
Four of the five slots in the Best Actress Oscar race have been sewed up for months now, with Julianne Moore (Still Alice), Reese Witherspoon (Wild), Rosamund Pike (Gone Girl), and Felicity Jones (The Theory of Everything) essentially guaranteed nods. This has been blasted as a “weak year” for the category—something that I and I daresay Jenny Slate, Tilda Swinton, Marion Cotillard, Shailene Woodley, and a slew of other deserving contenders who have disappeared from the conversation disagree with—meaning that there’s no real frontrunner for that last nomination.
The odds-on contenders for it are Amy Adams for Big Eyes and Hilary Swank for The Homesman. Adams has been thought to score the nod pretty much since Big Eyes has been announced, but, unfortunately, the movie just isn’t that good and her performance, while fine, is not that remarkable. Swank is excellent in The Homesman, which is a movie that few people even know exists. That means Aniston, who has been promoting the hell out of Cake and boasts the all-important “narrative” that Oscar voters salivate over (major celebrity reinvents herself in stripped-of-vanity indie drama) actually does stand a shot—albeit a long one.
Since it launched in 1994, the SAG Awards have been an uncanny crystal ball for predicting the Oscar nominations with 18 to 19 of the 20 nominees in the acting categories overlapping. That should be spectacular news for Aniston, except for the caveat: that overlap rate has dropped dramatically in the past two years. In those years, only 14 nominees overlapped. At the 2013 ceremony, Christoph Waltz wasn’t even nominated for Django Unchained at the SAG Awards, but went on to win at the Oscars.
So given the tepid reviews that Cake is receiving outside of Aniston’s performance and the recent history of acting surprises, expect a more traditional Oscar nominee like Adams or Swank, or possibly even Cotillard, who’s been gaining steam for her performance in Two Days, One Night, to take that fifth slot.
There’s still no clear Best Picture frontrunner
At this point in the Oscar race there’s usually an odds-on favorite to win Best Picture, a film that’s already well on its way to steamrolling every precursor critics’ prize and awards ceremony—think 12 Years a Slave, The Artist, Slumdog Millionaire. This year, however, it’s not even a clear two-way race, a la Social Network vs. The King’s Speech or The Hurt Locker vs. Avatar. Boyhood, Birdman, The Imitation Game, and Selma could all, conceivably, win Best Picture at the Oscars at this point, and the SAG Award nominations did nothing to settle which one is more likely to do so.
Birdman did score one more nod than both Boyhood and The Imitation Game, with its four to their respective three, but the trio of contenders all earned Best Ensemble mentions—which is the SAG equivalent of Best Picture—and all three are equally likely contenders for victory. Not only that, while the SAG nominees are good predictors of Oscar nominees, Best Ensemble is actually a terrible predictor of who will win Best Picture. Last year American Hustle took the category while 12 Years a Slave won Best Picture at the Oscars, indicative of a history in which only nine of the 18 Best Ensemble winners took home the big prize at the Academy Awards.
And as for Selma, while it was shut out completely from the SAG Awards, the film shouldn’t be counted out yet. While the other three major contenders premiered at festivals months ago and have been screening for critics and SAG voters ever since, Selma has only just begun its screenings. Giving the rousing response it’s getting from the audiences that have seen it and the unusual Best Picture toss up going on right now, it could still make a late entry grab for the golden boy.
Edie Falco and Meryl Streep broke SAG records
Meryl Streep broke her own record for her 15th nomination in the film categories with her nod in Best Supporting Actress for Into the Woods. (She has 16 total nominations, including one in the TV field for Angels in America.) But it’s Edie Falco who’s the reigning queen of SAG. She set a career nominations record with her 21st nod—all in the TV fields—for Best Actress in a Comedy for Nurse Jackie. She’s won five times, all in either Best Actress in a Drama or Best Ensemble in a Drama for The Sopranos. This year she faces off against the eclectic mix of Uzo Aduba (Orange Is the New Black), Julie Bowen (Modern Family), Julia Louis-Dreyfus (Veep), and Amy Poehler (Parks and Recreation).
And Julianna Margulies could set a new one
With her nomination in Best Actress in a Drama for The Good Wife, Julianna Margulies could set a new record for the most SAG Award wins of all time. Currently, she’s tied with Alec Baldwin—both have eight SAG Awards to their names. Margulies’s competition is Claire Danes (Homeland), Viola Davis (How to Get Away With Murder), Tatiana Maslany (Orphan Black), Maggie Smith (Downton Abbey), and Robin Wright (House of Cards). The reigning Emmy champ coming off her best season yet on The Good Wife, Margulies could very well set that record, too.
There were very few snubs and surprises
Aside from the inclusion of Jennifer Aniston in Best Actress, the film categories included very few snubs and surprises. Perhaps the other biggest surprise is Jake Gyllenhaal’s Best Actor nomination for Nightcrawler over Selma’s David Oyelowo. It’s undeniably a great boon for Gyllenhaal, who was looking like he’d be shut out the race. But the SAG Awards has been historically kinder to Hollywood’s young studs than Oscar . Past contenders like Emile Hirsch (Into the Wild), Ryan Gosling (Lars and the Real Girl), Leonardo DiCaprio and Armie Hammer (J. Edgar), Daniel Bruhl (Rush), and Dev Patel (Slumdog Millionaire) all scored SAG nods before being snubbed for Oscar in favor of Hollywood veterans.
Otherwise on the film side, Naomi Watts (St. Vincent) getting in Best Supporting Actress over Laura Dern (Wild) is unexpected, while the lack of mention for Into the Woods and Selma in Best Ensemble is a surprise, too.
On the TV side, it’s a joy to see Orphan Black’s Tatiana Maslany, who is criminally overlooked by most awards organizations (especially the Emmys), get a Best Actress in a Drama nod, while it’s a little exhausting that Downton Abbey’s Maggie Smith is nominated there yet again when the likes of Kerry Washington (Scandal), Christine Baranski (The Good Wife), Elisabeth Moss (Mad Men), or Lizzy Caplan (Masters of Sex) would have been far more deserving. It’s also a pleasant surprise that Orange Is the New Black breakout star Uzo Aduba made her way into the Best Actress in a Comedy race alongside such category heavyweights and Hollywood veterans.
See the full list of SAG Award nominees here .
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| Meryl Streep |
Who seized the throne in 1135 on the death of Henry I? | Oscars: The Winningest Winners This Awards Season
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Oscars: The Winningest Winners This Awards Season (So Far)
We tallied over 40 guild and critics awards from this Oscars season, and beyond Leo and Brie, there are no guarantees for Sunday.
Jeremy Fuster | February 22, 2016 @ 6:35 PM
As the final countdown to the 2016 Oscars begins, an Oscar race that began in complete chaos has finally begun to find some clarity…except when it comes to the top prize.
As the campaign hits the home stretch, the race for Best Picture is still very much up in the air. “The Revenant” and “Spotlight” are still the frontrunners with “The Big Short” as a dark horse. But “Mad Max: Fury Road” also remains a presence, buoyed by the support of its fan base and numerous film critics.
So before the envelopes and trophies arrive at the Dolby Theatre, we took a tally of 42 awards handed out by various guilds and critics circles. The results show a strong consensus in some categories, while others show a split in opinion between the critic and industry voting blocs.
The Best Actor tally just confirmed what we all already knew: Oscar Sunday will be the day of Leonardo DiCaprio ‘s coronation. DiCaprio has taken almost every single major acting award this awards season. In a distant second is Michael Fassbender , whose biggest awards victory came from the Los Angeles Film Critics Association.
The same can be said for Brie Larson , who is leading the Best Actress tally by a margin that is almost as wide. Her main Oscar competitors divided a smattering of critics’ awards among themselves, but the SAG, BAFTA and Golden Globe have gone to the “Room” star.
The results for the supporting roles are more interesting. For Best Supporting Actor, we got a tie between Sylvester Stallone for “Creed” and Mark Rylance for “Bridge of Spies.” They each have major awards to their names, with Stallone taking the Globe and Rylance taking the BAFTA. It should be noted, though, that the BAFTAs tend to give the nod more to Brits like Rylance. With that in mind, we’ll give the edge to Stallone, but don’t be surprised if Rylance gets a dark-horse win. Of the other actors on our chart, only Mark Ruffalo is nominated for an Oscar, while Idris Elba , whose snub helped fuel #OscarsSoWhite, checks in with a SAG win.
The Best Supporting Actress race seems to be Alicia Vikander ‘s to lose, but a deeper look shows the critic/guild split on what was most impressive about her breakthrough year. Her wins from the city critic circles are primarily for “Ex Machina,” but her biggest wins — SAG, Critics Choice, Satellite — are for “The Danish Girl.” She’s up at the Oscars for the latter, so her SAG win shows that she has a major shot, but Kate Winslet ‘s handful of wins include a Globe and a BAFTA. Winslet is in a similar spot as Rylance, trying to pick up a win to allow “ Steve Jobs ” to save some face.
For Best Director, the critics are clear: they love George Miller . Going into awards season, Miller was considered the best chance for “Mad Max: Fury Road” to score a big win, and if the circle awards were in charge, that big win would become a reality. Tom McCarthy has also made himself into a dark horse with his work on “Spotlight,” while defending champ Alejandro Inarritu only scored five wins on our tally. However, one of those five wins was the Directors’ Guild Award, whose winners almost always go on to take the Oscar. Barring a major upset, the Academy won’t belong to the Mad.
Finally, there is Best Picture, where a strong case can be made for several contenders depending on how you look at the numbers. “Spotlight” has the biggest haul in the top category, with wins from the Critics’ Choice and Satellite Awards. It also has the Best Ensemble SAG award and the WGA award for original screenplay. “Fury Road” is in second with wins from the Chicago Critics Association and the National Board of Review. Then there’s “The Revenant,” which only has two wins…but they are the Golden Globe and the BAFTA. Combine that with Inarritu’s DGA win, and all the widespread praise for “Spotlight” and “Fury Road” may only be a minor speed bump en route to Inarritu’s back-to-back Oscar triumphs.
19 Most Memorable, Outrageous Oscar Moments in History (Videos)
Jerry Lewis Improvises Oscars Finale for 20 Minutes (1959)< /b> Lewis hosted the show in 1959, but for some reason, the show ended 20 minutes early, so he improvised a monologue for the rest of the show, which was joked about for many years after that.
Marlon Brando Refuses Best Actor Oscar (1973) When Brando won the award for Best Actor for his role in "The Godfather," he sent up Sacheen Littlefeather to wave away the statue and say that Brando couldn't accept the award due to the treatment of Native Americans in the film industry.
Man Streaks on the Oscar Stage (1974) While David Niven was hosting the Oscars in 1974, he was surprised when Robert Opel decided to streak across stage, flashing a peace sign.
Charlie Chaplin Receives 12-Minute Standing Ovation (1972) When receiving the Honorary Award in 1972, Charlie Chaplin received a 12-minute standing ovation, the longest in Oscar history.
Sally Field's "You Really Like Me!" Speech (1985) When Sally Field won Best Actress for her performance in "Places in the Heart," she famously said, "I can't deny the fact that you like me!"
Rob Lowe's and Snow White's Disastrous Musical Opening (1989) This musical number was torn apart by critics, attracted a lawsuit from Disney, and had Julie Andrews, Paul Newman, Sidney Lumet and Gregory Peck co-signing a letter, calling it an “embarrassment” and “demeaning.”
Jack Palance Does Push-Ups on Stage (1992) When Palance won the Supporting Actor award for "City Slickers," he talked about producers taking risks with older actors. To give an example, he popped down onto the floor and did some push ups.
Tom Hanks Thanks (and Outs) His High School Teacher (1993) Tom Hanks delivered one of the most outstanding acceptance speeches when he won the Best Actor award for "Philadelphia." He also gave a shout-out to his high school drama teacher as one of "the finest gay Americans I have known." (Hanks had contacted his long-retired teacher beforehand, but the incident inspired the 1997 comedy "In & Out.")
Roberto Benigni Goes Wild (1999) When Roberto Benigni won the Oscar for Foreign Language Film in 1999, ("Life Is Beautiful"), he went wild and climbed on chairs, jumped around and hopped onto the stage.
Gwyneth Paltrow's Long Acceptance Speech (1999) Gwyneth Paltrow accepted the award for her role in "Shakespeare in Love," and cried and hiccuped throughout the entire three-minute speech.
South Park Creators Dress Like Gwyneth Paltrow and J-Lo (2000) Trey Parker and Matt Stone dressed as Jennifer Lopez and Gwyneth Paltrow in 2000, but later admitted they were "tripping on acid."
Julia Roberts' Acceptance Speech (2001) When Roberts won for the Best Actress award for "Erin Brockovich," she went way over the time limit and asked for the Academy to turn off the clock. However, she forgot to mention the real-life Brockovich, for which she later apologized.
Halle Berry's Oscar Speech (2002) Berry was the first African-American woman to win a Best Actress Oscar, and in her speech, called her award a door-opening moment for "every nameless, faceless woman of color that now has a chance."
Late Heath Ledger Wins The Oscar (2009) One year after Heath Ledger died, he won the Oscar for his supporting role in "The Dark Knight." His family accepted the award on his behalf.
Melissa Leo Swears on Stage (2011) When Leo accepted the award for Best Supporting Actress for her role in "The Fighter," she was so nervous that she kept cussing throughout the entire speech.
Jennifer Lawrence Falls (2013) When walking up stage to get her Oscar for Best Actress for her role in "Silver Linings Playbook," Lawrence tripped. The audience gave her a standing ovation but Lawrence said, "you guys are just standing because you feel bad that I fell."
John Travolta Botches Idina Menzel's Name (2014) When introducing Idina Menzel, who was set to perform "Let It Go" from "Frozen," he botched her name completely and called her, "Adele Dazeem."
Sean Penn's Fail of a Joke About Alejandro Inarritu (2015) Sean Penn introduced the winner of Best Picture, "Birdman," by saying, "who gave this son of a bitch his green card?" before announcing Alejandro Inarritu's name. However, the joke was completely lost on audiences and many criticized Penn for being racist.
Ellen's Superstar Selfie (2014) Ellen DeGeneres hosted the 2014 Oscars and wanted to break the record for the most retweeted photo of all time, so she snapped a star-studded picture with Jennifer Lawrence, Angelina Jolie, Brad Pitt, Julia Roberts, Meryl Streep, Bradley Cooper and Meryl Streep.
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Which famous fair was held for the first time at Smithfield in 1133? | Famous Executions at Smithfield | Owlcation
Famous Executions at Smithfield
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West Smithfield | Source
Smithfield is an area tucked away in the north-west of the City of London and is a part of the capital that is not so frequented by tourists unless they wish to visit the famous meat markets. However, this is an area rich in history and, however unlikely it may seem in the middle of a thriving, modern city, Smithfield was once a place of bloody execution.
This is an area that has seen human activity since Roman times, when it was an expanse of grassy high ground located just outside the city walls of what was then known as Londinium. Since Roman customs banned burials within the perimeters of city walls, they used this location which they called ‘Smoothfield’ as a cemetery and several stone coffins and cremations of that era have been excavated when building or renovation works have taken place.
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During the Middle Ages Smithfield was a prosperous commercial area and a centre for healing and religion. In 1133 an Augustinian monk called Rahere was given permission to build the priory and hospital he named St Bartholomew’s. Over the next few centuries the hospital gradually grew until it covered a huge area, housing dozens of monks and attracting many sick people in need of medical treatment.
A large horse fair was also held here right through medieval times as was the Kings Friday Market. In 1133 a royal charter initiated the three day annual event that was to run for the next seven hundred years, St Bartholomew’s Fair. It developed into one of the most famous cloth fairs in Europe and on occasions would run for as long as a fortnight. It brought substantial revenues into the priory and church, but was discontinued in 1855 due to the rowdy behaviour that took place. Smithfield was also a place used for horse racing and jousting, attracting huge crowds that would bet on their favourite horse or knights.
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So how did a colourful, busy area full of market traders, merchants, monks and patients become a place of execution? In modern times, many countries now do not permit capital punishment or if it is handed down as a sentence it is undertaken in private, usually within the walls of a prison. But back in medieval times, one of the main reasons people were executed was to set an example and send a message.
It was not a very subtle message, but it was an effective one. If you committed this crime, this is what would happen to you. Executions were also used to underline the authority of the king and the government, the reasoning being that if they allowed traitors or heretics to go unpunished then they were potentially undermining their own regime. It was a period in history when ‘might was right’ and any dissent was brutally crushed to maintain stability for the greater good of all.
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Therefore it was important that executions were witnessed by as many as possible, so it made sense to choose a place where people already congregated to go about their daily affairs. It also has to be said that, however distasteful it might appear to us, back then people enjoyed a good execution. They were regarded as a holiday and the crowds would attract hawkers and street entertainers. The atmosphere would have been more reminiscent of a modern sporting event than what we might associate with the agonising death of another human being, and even children and young infants would have been brought along. It really was a case of fun for all the family!
Sir William Wallace Memorial, Smithfield | Source
The place of execution in Smithfield was known as The Elms and these gallows were thought to have stood very near to the Church of St Bartholomew the Great, before they were taken away to be used at Tyburn sometime in the reign of King Henry IV. The first famous person to be executed at Smithfield was William Wallace, who was hung, drawn and quartered on 23rd August 1305, having been captured at Robroyston near Glasgow and handed over to King Edward I for punishment.
William Wallace, the Hollywood ‘Braveheart’, had been rebelling against England’s control over Scotland and was trying to drive the armies of King Edward I back south over the border so Scotland could once again be an independent country.
Because of his rebellion against the English crown, he was punished as a traitor, hence the hanging, drawing and quartering. Aware they may have created a martyr for his supporters, the authorities ensured that Wallace had no burial that could potentially become a place of pilgrimage by dipping his head in tar to preserve it and then setting it up for display on London Bridge and his limbs were dispersed to different locations in the north as a warning to other would-be rebels.
Advertisement
In medieval England, various methods of capital punishment were reserved for different crimes. Traitors were beheaded if they were of royal or noble blood and hung, drawn and quartered if they were commoners, heretics and women who killed their husbands or lovers (a crime known as petty treason) were burned to death, and felonies were punished by hanging.
If a woman was convicted of treason she would either be beheaded or burned, as hanging, drawing and quartering would have involved public nudity which was not considered at all proper for a member of the fairer sex. In England, witches were not burned at the stake, as witchcraft was a felony, so they were hanged.
The fourteenth century saw another couple of notables meeting their end at Smithfield. In 1330 Roger Mortimer paid the ultimate price for being the lover of Queen Isabella of France, helping to overthrow her husband King Edward II and then controlling the way the new monarch king Edward III ran the country.
As soon as he was old enough, the youthful Edward III had Mortimer arrested at Nottingham Castle and convicted of High Treason. Despite his nobility, he was condemned to being hung, drawn and quartered for his crimes and it was said the remains of his body were left hanging for two days before they were removed and buried. But even a vengeful Edward III baulked at executing his own mother and Queen Isabella was imprisoned for the rest of her life.
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During the reign of King Richard II in 1381, the first big uprising of the people against the power of the nobility and great landowners took place, known as the Peasant’s Revolt. The leaders of the rebellion were demanding the abolition of serfdom and they amassed with their supporters at Blackheath south of the Thames on June 12th.
The youthful Richard II, who was only fourteen at the time, was safe behind the sturdy walls of the Tower of London, but his Lord Chancellor Simon Sudbury, Archbishop of Canterbury and his Lord High Treasurer Robert Hales were both killed by the rebels and his uncle John of Gaunt’s palace of the Savoy was raised to the ground.
King Richard bravely met with the rebels at Mile End and agreed to their terms, but this did not stop them from rioting across the City of London. So he met with Wat Tyler, one of the rebel leaders, again the next day at Smithfield. Tyler would not be convinced the King intended to keep to his agreements, which caused a fight to start between the king’s men and the rebels. Tyler was dragged off his horse by William Walworth, the Mayor of London and killed.
This treacherous act almost ignited the situation into all out violence, but Richard II remained calmed and dispersed the peasants with promises their demands would be met. However, Wat Tyler was right to question Richard’s probity, for as soon as the rebels had returned to their homes he reneged on all his promises and revoked the pardons and charters of freedom he had granted.
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Burning of John Rogers at Smithfield | Source
But the form of execution that Smithfield was to become most famous for was burning at the stake. This was the place where England burned many of its heretics. England never became as enthusiastic as some continental countries about burning heretics and the Inquisition luckily never got a foothold here. But it was still a staunchly Roman Catholic country until the Reformation and heresy was a capital offence that was not tolerated by the all powerful church.
During the late 14th century John Wycliffe, a theologian at Oxford started translating the bible into English, so it could be read and understood by ordinary people. Although this may seem an entirely reasonable thing to do by us, this was considered heresy by the church at that time, whose doctrine demand that religious texts and services be kept to the original Latin.
Wycliffe soon attracted a band of followers who became known as Lollards, who preached against what they saw as a powerful, venal clergy and who wanted the church to be reformed. He wanted the church to return to holding scripture as its authority, for ordinary people to be able to assume responsibility for their own religious lives and even went as far as calling the pope the antichrist.
These arguments invoked strong opposition especially among the clergy, although he did have some powerful supporters who agreed with his views, one of which was John of Gaunt, Duke of Lancaster. In 1381, he put together his doctrine of the Lord’s Supper which was pronounced heretical. He appealed to the king and wrote in English a great confession that was widely distributed and he was also widely blamed for supporting the Peasant’s Revolt, when in fact he did not agree with it at all.
Although many of his writings were declared heretical or erroneous Wycliffe was not condemned for heresy, although after his death he was declared a heretic at the Council of Constance in 1415 and his body was dragged out of his grave, his bones burned and the ashes thrown into a nearby river. It was his supporters, the Lollards, who carried on his work who were to suffer.
Burning of John Wycliffe's Bones from Foxe's Book of Martyrs | Source
In 1401, the Statute of Heresy became law in England, signed by King Henry IV, which allowed the punishment of heretics by burning them at the stake. That this law was enacted to deal with the Lollards there is no doubt. It was beefed up by the 1414 Suppression of Heresy Act which made heresy a common law offence so civil law officers were given the powers to arrest suspected heretics and hand them over to the ecclesiastical courts for trial and punishment.
One of the first Lollard victims to fall into this net was a priest called William Sawtrey, who started preaching the beliefs of John Wycliffe. He was briefly imprisoned in 1399 for heresy, but was released when he recanted. However, he resumed his earlier activities, preaching his Lollard beliefs in London, and was arrested in 1401. He was convicted of heresy by Archbishop Thomas Arundel and burned at Smithfield in March 1401.
In 1410 another Lollard, John Badby would also die for his beliefs. He had preached against the doctrine of transubstantiation whereby the Catholic Church believes the bread and wine used during the Eucharist literally changes into the body and blood of Jesus Christ. He was arrested and tried in Worcester and then in London where the same Archbishop Thomas Arundel who had condemned Sawtrey also sent Badby to be burned at Smithfield. Legend has it that the future King Henry V attended his execution and tried to get him to recant by offering him his freedom and a good pension. Badby was followed in 1431 by Thomas Bagley, who was also executed for following the teachings of John Wycliffe.
1441 was to see the very rare spectacle of a witch being burned at the stake in England when Margery Jourdemayne, known as the ‘Witch of Eye’ was executed at Smithfield. She had been arrested along with Thomas Southwell and Roger Bolingbroke, for helping Eleanor, Duchess of Gloucester make an wax image of King Henry VI in order to divine when he was going to die.
Although she pleaded that all she had done was try to help the Duchess have a baby and that the wax image was only a fertility symbol, she was given the death penalty. This was very harsh as she had not been convicted of either treason or heresy. It may have been because this was her second offence, but was much more likely a sinister warning to anyone who was considering offering the Duchess their political support.
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No
| st bartholomew s fair |
Which US Trade Union was led by the notorious Jimmy Hoffa? | Famous Executions at Smithfield | Owlcation
Famous Executions at Smithfield
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West Smithfield | Source
Smithfield is an area tucked away in the north-west of the City of London and is a part of the capital that is not so frequented by tourists unless they wish to visit the famous meat markets. However, this is an area rich in history and, however unlikely it may seem in the middle of a thriving, modern city, Smithfield was once a place of bloody execution.
This is an area that has seen human activity since Roman times, when it was an expanse of grassy high ground located just outside the city walls of what was then known as Londinium. Since Roman customs banned burials within the perimeters of city walls, they used this location which they called ‘Smoothfield’ as a cemetery and several stone coffins and cremations of that era have been excavated when building or renovation works have taken place.
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During the Middle Ages Smithfield was a prosperous commercial area and a centre for healing and religion. In 1133 an Augustinian monk called Rahere was given permission to build the priory and hospital he named St Bartholomew’s. Over the next few centuries the hospital gradually grew until it covered a huge area, housing dozens of monks and attracting many sick people in need of medical treatment.
A large horse fair was also held here right through medieval times as was the Kings Friday Market. In 1133 a royal charter initiated the three day annual event that was to run for the next seven hundred years, St Bartholomew’s Fair. It developed into one of the most famous cloth fairs in Europe and on occasions would run for as long as a fortnight. It brought substantial revenues into the priory and church, but was discontinued in 1855 due to the rowdy behaviour that took place. Smithfield was also a place used for horse racing and jousting, attracting huge crowds that would bet on their favourite horse or knights.
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So how did a colourful, busy area full of market traders, merchants, monks and patients become a place of execution? In modern times, many countries now do not permit capital punishment or if it is handed down as a sentence it is undertaken in private, usually within the walls of a prison. But back in medieval times, one of the main reasons people were executed was to set an example and send a message.
It was not a very subtle message, but it was an effective one. If you committed this crime, this is what would happen to you. Executions were also used to underline the authority of the king and the government, the reasoning being that if they allowed traitors or heretics to go unpunished then they were potentially undermining their own regime. It was a period in history when ‘might was right’ and any dissent was brutally crushed to maintain stability for the greater good of all.
Advertisement
Therefore it was important that executions were witnessed by as many as possible, so it made sense to choose a place where people already congregated to go about their daily affairs. It also has to be said that, however distasteful it might appear to us, back then people enjoyed a good execution. They were regarded as a holiday and the crowds would attract hawkers and street entertainers. The atmosphere would have been more reminiscent of a modern sporting event than what we might associate with the agonising death of another human being, and even children and young infants would have been brought along. It really was a case of fun for all the family!
Sir William Wallace Memorial, Smithfield | Source
The place of execution in Smithfield was known as The Elms and these gallows were thought to have stood very near to the Church of St Bartholomew the Great, before they were taken away to be used at Tyburn sometime in the reign of King Henry IV. The first famous person to be executed at Smithfield was William Wallace, who was hung, drawn and quartered on 23rd August 1305, having been captured at Robroyston near Glasgow and handed over to King Edward I for punishment.
William Wallace, the Hollywood ‘Braveheart’, had been rebelling against England’s control over Scotland and was trying to drive the armies of King Edward I back south over the border so Scotland could once again be an independent country.
Because of his rebellion against the English crown, he was punished as a traitor, hence the hanging, drawing and quartering. Aware they may have created a martyr for his supporters, the authorities ensured that Wallace had no burial that could potentially become a place of pilgrimage by dipping his head in tar to preserve it and then setting it up for display on London Bridge and his limbs were dispersed to different locations in the north as a warning to other would-be rebels.
Advertisement
In medieval England, various methods of capital punishment were reserved for different crimes. Traitors were beheaded if they were of royal or noble blood and hung, drawn and quartered if they were commoners, heretics and women who killed their husbands or lovers (a crime known as petty treason) were burned to death, and felonies were punished by hanging.
If a woman was convicted of treason she would either be beheaded or burned, as hanging, drawing and quartering would have involved public nudity which was not considered at all proper for a member of the fairer sex. In England, witches were not burned at the stake, as witchcraft was a felony, so they were hanged.
The fourteenth century saw another couple of notables meeting their end at Smithfield. In 1330 Roger Mortimer paid the ultimate price for being the lover of Queen Isabella of France, helping to overthrow her husband King Edward II and then controlling the way the new monarch king Edward III ran the country.
As soon as he was old enough, the youthful Edward III had Mortimer arrested at Nottingham Castle and convicted of High Treason. Despite his nobility, he was condemned to being hung, drawn and quartered for his crimes and it was said the remains of his body were left hanging for two days before they were removed and buried. But even a vengeful Edward III baulked at executing his own mother and Queen Isabella was imprisoned for the rest of her life.
Advertisement
During the reign of King Richard II in 1381, the first big uprising of the people against the power of the nobility and great landowners took place, known as the Peasant’s Revolt. The leaders of the rebellion were demanding the abolition of serfdom and they amassed with their supporters at Blackheath south of the Thames on June 12th.
The youthful Richard II, who was only fourteen at the time, was safe behind the sturdy walls of the Tower of London, but his Lord Chancellor Simon Sudbury, Archbishop of Canterbury and his Lord High Treasurer Robert Hales were both killed by the rebels and his uncle John of Gaunt’s palace of the Savoy was raised to the ground.
King Richard bravely met with the rebels at Mile End and agreed to their terms, but this did not stop them from rioting across the City of London. So he met with Wat Tyler, one of the rebel leaders, again the next day at Smithfield. Tyler would not be convinced the King intended to keep to his agreements, which caused a fight to start between the king’s men and the rebels. Tyler was dragged off his horse by William Walworth, the Mayor of London and killed.
This treacherous act almost ignited the situation into all out violence, but Richard II remained calmed and dispersed the peasants with promises their demands would be met. However, Wat Tyler was right to question Richard’s probity, for as soon as the rebels had returned to their homes he reneged on all his promises and revoked the pardons and charters of freedom he had granted.
Advertisement
Burning of John Rogers at Smithfield | Source
But the form of execution that Smithfield was to become most famous for was burning at the stake. This was the place where England burned many of its heretics. England never became as enthusiastic as some continental countries about burning heretics and the Inquisition luckily never got a foothold here. But it was still a staunchly Roman Catholic country until the Reformation and heresy was a capital offence that was not tolerated by the all powerful church.
During the late 14th century John Wycliffe, a theologian at Oxford started translating the bible into English, so it could be read and understood by ordinary people. Although this may seem an entirely reasonable thing to do by us, this was considered heresy by the church at that time, whose doctrine demand that religious texts and services be kept to the original Latin.
Wycliffe soon attracted a band of followers who became known as Lollards, who preached against what they saw as a powerful, venal clergy and who wanted the church to be reformed. He wanted the church to return to holding scripture as its authority, for ordinary people to be able to assume responsibility for their own religious lives and even went as far as calling the pope the antichrist.
These arguments invoked strong opposition especially among the clergy, although he did have some powerful supporters who agreed with his views, one of which was John of Gaunt, Duke of Lancaster. In 1381, he put together his doctrine of the Lord’s Supper which was pronounced heretical. He appealed to the king and wrote in English a great confession that was widely distributed and he was also widely blamed for supporting the Peasant’s Revolt, when in fact he did not agree with it at all.
Although many of his writings were declared heretical or erroneous Wycliffe was not condemned for heresy, although after his death he was declared a heretic at the Council of Constance in 1415 and his body was dragged out of his grave, his bones burned and the ashes thrown into a nearby river. It was his supporters, the Lollards, who carried on his work who were to suffer.
Burning of John Wycliffe's Bones from Foxe's Book of Martyrs | Source
In 1401, the Statute of Heresy became law in England, signed by King Henry IV, which allowed the punishment of heretics by burning them at the stake. That this law was enacted to deal with the Lollards there is no doubt. It was beefed up by the 1414 Suppression of Heresy Act which made heresy a common law offence so civil law officers were given the powers to arrest suspected heretics and hand them over to the ecclesiastical courts for trial and punishment.
One of the first Lollard victims to fall into this net was a priest called William Sawtrey, who started preaching the beliefs of John Wycliffe. He was briefly imprisoned in 1399 for heresy, but was released when he recanted. However, he resumed his earlier activities, preaching his Lollard beliefs in London, and was arrested in 1401. He was convicted of heresy by Archbishop Thomas Arundel and burned at Smithfield in March 1401.
In 1410 another Lollard, John Badby would also die for his beliefs. He had preached against the doctrine of transubstantiation whereby the Catholic Church believes the bread and wine used during the Eucharist literally changes into the body and blood of Jesus Christ. He was arrested and tried in Worcester and then in London where the same Archbishop Thomas Arundel who had condemned Sawtrey also sent Badby to be burned at Smithfield. Legend has it that the future King Henry V attended his execution and tried to get him to recant by offering him his freedom and a good pension. Badby was followed in 1431 by Thomas Bagley, who was also executed for following the teachings of John Wycliffe.
1441 was to see the very rare spectacle of a witch being burned at the stake in England when Margery Jourdemayne, known as the ‘Witch of Eye’ was executed at Smithfield. She had been arrested along with Thomas Southwell and Roger Bolingbroke, for helping Eleanor, Duchess of Gloucester make an wax image of King Henry VI in order to divine when he was going to die.
Although she pleaded that all she had done was try to help the Duchess have a baby and that the wax image was only a fertility symbol, she was given the death penalty. This was very harsh as she had not been convicted of either treason or heresy. It may have been because this was her second offence, but was much more likely a sinister warning to anyone who was considering offering the Duchess their political support.
Do Yo Agree With Capital Punishment?
No
| i don't know |
What official position is currently held by Martin Rees? | Strange jobs you can get with the Royal Family (7 Photos) : theCHIVE
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1
The Royal family is an ancient institution in the modern world and with this comes some strange traditions – none more so than some of the official positions still held to this day, here are are some of the very strangest:
2
Warden of the Swan— along with the Marker of the Swans another position — the Warden conducts the annual census of swans on the Thames – yep that’s a thing. The Queen owns all of the unmarked mute swans in the U.K.. Prior to that, the Warden of the Swans and the Marker of the Swans was one position, known as the Keeper of the Queen’s Swans.
3
Astronomer Royal— largely an honorary title, the Astronomer Royal is presently Martin Rees, Baron Rees of Ludlow, he is expected to “be available for consultation on scientific matters for as long as the holder remains a professional astronomer,”
4
Surgeon-Gynecologist to the Royal Family — this is the least strange of the official titles, Dr Alan Farthing has held the position since 2008 and is in charge of the births of Royal children and also care for their mothers during their whole pregnancy.
5
The Queen’s Piper— A position since the Victorian era, the piper is tasked with playing every weekday at 9:00 a.m. for around 15 minutes under the Queen’s window when she is not travelling and in residence at either Buckingham Palace, Windsor Castle, the Palace of Holyroodhouse or Balmoral Castle. It definitely beats an alarm clock.
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| Astronomer Royal |
On a graph the abscissa is paired with what? | Longitude - Board of Longitude - Book Drum
by cm
The Longitude Act
The Astronomer Royal is a member of the Royal Household; the position was first created to address the Longitude challenge. The Royal Society was also established under the reign of Charles II, 15 years before, and is the oldest existing scientific society in the world. Interestingly, both these positions are currently held by the same man, Professor Martin Rees.
The First Lord of the Admiralty , a civilian (usually a courtier) rather than a practising naval officer, headed a board of Lords Commissioners who together occupied the office of Lord High Admiral; the position, twice held by Winston Churchill, was abolished in 1964 (the office of Lord High Admiral is now held by the monarch). The First Commissioner was the professional head of the Navy, more recently known as the First Sea Lord.
The Speaker of the House of Commons , the “First Commoner of the Land”, is the impartial presiding officer, responsible for selecting who will speak and maintaining order during debates.
The Lucasian Chair of Mathematics at Cambridge was also established under Charles II, and has been held by Isaac Newton and Stephen Hawking. The Savilian Chair at Oxford and the Plumian Chair at Cambridge are in fact for Astronomy.
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Which fictional pair vie for social supremacy in Tilling? | To understand the English, slip away to Tilling - Telegraph
To understand the English, slip away to Tilling
No one captured small-town snobbery quite like EF Benson in his Mapp and Lucia novels
Sparkling: Prunella Scales and Geraldine McEwan in 'Mapp and Lucia' Photo: REX FEATURES
By Laura Thompson
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Lamb House, in the exquisite town of Rye in East Sussex, is a fine early Georgian property belonging to the National Trust. Henry James once lived there, as did E F Benson. It was also home, at different times, to two fictional characters: the title pair in Benson’s six Mapp and Lucia novels, written between 1920 and 1939. Miss Elizabeth Mapp, the original mistress of Mallards – as it is called in the books – rents it out for a summer to the widowed Mrs Emmeline ''Lucia’’ Lucas. Later Lucia buys the house from Miss Mapp.
Formerly attached to Lamb House was a garden room overlooking the street, in which Benson conjured the image of Miss Mapp, seated at her window “like a large bird of prey”. Here she spies greedily upon her neighbours in “Tilling”, a representation of Rye that is one of the most delicious artistic constructs in comic literature.
The BBC has recently been filming at the house, and in the autumn broadcasts a three-part adaptation, Mapp and Lucia. The books were televised by ITV some 30 years ago. I recently watched this series and was entranced by its air of serene, smiling silliness. It is very true to Benson, and will be hard to improve upon.
Nevertheless, the BBC cast of Miranda Richardson, Anna Chancellor and Steve Pemberton (who has also written the adaptation) is as good as it gets, so hopes are pretty high; not least that the books will find a new readership. They certainly deserve it. They have been admired by Noël Coward, Nancy Mitford and W H Auden. Their elegant irony is comparable with Austen, the completeness of their world with P G Wodehouse. They stand within a supremely English literary tradition, the one that takes a small community – whether it be Highbury, or St Mary Mead, or Tilling – and makes of it a microcosm, a place where society is limited but its every detail depicted with a filigree perfection.
E F Benson was born in 1867 and died in 1940. His father was Archbishop of Canterbury, while he became mayor of Rye (Lucia, who gets everything that she wants – including Mallards – is elected to the same position in Tilling). A man of soulful appearance, probably homosexual, Benson was an astonishingly prolific writer. He produced some 100 novels and – rather surprisingly, given the worldliness of his Mapp and Lucia books – a large number of ghost stories.
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He also wrote biographies, including a 1932 life of Charlotte Brontë; it is richly perceptive, although its Victorian style is scarcely recognisable as that of the great chronicler of Tilling. But then Charlotte Brontë is not a subject for satire. Tilling is. Although Benson is never cruel, he is a natural satirist of snobbery and social machinations, and in his reimagining of Rye he found what all writers dream of: his perfect subject. It is remarkable that his obituary in The Times did not even mention these novels, given that they are the absolute expression of his gift.
So what is Tilling? It is home to a handful of glorious characters, in the full zest of their middle years, with private incomes of varying size that enable them – in between bridge, painting and little parties – to dedicate their time to each other’s doings. It is intensely passionate, not about love or any such nonsense, but about intrigues, grievances, and the power of knowing gossip before anybody else does. And it is, definitely, a female world. “Men don’t count for much in Tilling,” as one character says, “it’s brains that do it.” It is a recognition that stratagems, devised over tea tables, are what drive events in the town.
Nobody writes comic women better than E F Benson. Elizabeth Mapp, whose face is “corrugated by chronic rage and curiosity”, is the sturdy daemon around whom the Tilling set revolves. Lucia, spry and splendid, a Boadicea of the provinces, a life-force expending itself upon callisthenics, Italian conversation, piano (“celestial Mozartino”) and local activities, is the Mapp counterpart in her Tilling-lite home town of Riseholme.
When these two come together, they vie for supremacy in a war masquerading as a minuet. “I feel like the fourth of August, 1914,” says effete Georgie Pillson, as his friend Lucia boldly defies Miss Mapp by staging a large garden party at Mallards. Mapp’s “fixed and awful smile” when she learns that Lucia has invited inmates of the local workhouse, as well as the usual circle, is a sly hint at a Tilling beyond the known, the moneyed: very Jane Austen.
The twin goddesses command a court – Quaint Irene, a modernist painter of subjects such as “Wrestling Women”; the Wyses, who drive distances of 30 yards in their “Royce” – and each has a suitor of sorts. Major Benjy, blusteringly masculine, has a vague and drunken eye for Miss Mapp (and her money). Georgie Pillson, dandified yet dignified, is queen consort to Lucia. Despite his bibelots, his embroidery, his attempts to assert his manliness by pouring himself “a very small whisky and soda”, Georgie’s sexuality is left a delicate mystery. And this reticence, this surface that barely ripples with the surge of hints and jokes beneath, is the stamp of Benson’s sublime style.
The funniest joke of all is the central, ongoing paradox, wherein incidents of utter pointlessness – such as whether Mapp can acquire Lucia’s recipe to “Lobster à la Riseholme” – spiral into an ever more deadly significance. Benson is a poet of triviality. But his people are real; and they are dazzlingly alive, because of the joy in their creation.
“I lingered at the window of the garden room from which Miss Mapp so often and so ominously looked forth,” wrote Benson from Lamb House, as if in hope of seeing them, bustling merrily about Tilling.
| Mapp and Lucia |
What is the lightest solid element? | Mapp & Lucia : the complete collection (DVD video, 2014) [WorldCat.org]
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I thought you might be interested in this item at http://www.worldcat.org/oclc/869309446 Title: Mapp & Lucia : the complete collection Author: Donald McWhinnie; Michael Dunlop; Geraldine McEwan; Prunella Scales; Nigel Hawthorne; E F Benson; London Weekend Television (Firm),; Acorn Media (Firm),; RLJ Entertainment,; ITV Studios, Publisher: [United States] : Acorn, [United States] : RLJ Entertainment, [2014] 2014. ©1986 ©1985 ISBN/ISSN: 9781621722335 1621722333 OCLC:869309446
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Helen Gurley Brown was editor of which magazine for 32 years? | Helen Gurley Brown's 10 Most 'Fun and Fearless' Quotes | SELF
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Helen Gurley Brown's 10 Most 'Fun and Fearless' Quotes
Helen Gurley Brown -- the incomparable "Cosmo girl" and editor-in-chief of Cosmopolitan magazine for 32 years -- died at 90 years young on Monday, leaving behind a legacy of straight talk about sex and relationships (especially where single ladies...
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Helen Gurley Brown -- the incomparable "Cosmo girl" and editor-in-chief of Cosmopolitan magazine for 32 years -- died at 90 years young on Monday, leaving behind a legacy of straight talk about sex and relationships (especially where single ladies are concerned!), more than one shattered glass ceiling and a treasure trove of witty one-liners.
Cosmopolitan editor Helen Gurley Brown wearing a paisley dress in her New York office
Credit: WWD
Brown, of course, is credited with leading the way for women to talk openly about sex. Not only did she pen the (at the time) controversial book Sex and the Single Girl in 1962, but she edited Cosmo -- a magazine for "fun and fearless females" -- from 1965 until 1997.
Cosmo describes Sex and the Single Girl as "a fictional book about a swinging singleton who was leading this new kind of life ... Not only did the book tell women they didn't need a man to be happy, but it also encouraged them to enjoy sex with whomever they damn well pleased -- without guilt." In other words, there would be no Sex and the City without Helen Gurley Brown!
So what exactly is a Cosmo girl? Brown described it best when talking about her mag: "Cosmo is feminist in that we believe women are just as smart and capable as men are and can achieve anything men can. But it also acknowledges that while work is important, men are too. The Cosmo girl absolutely loves men!"
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Credit: Fairchild Archive
Brown may have left this world, but she leaves behind some words to live by. Here are 10 of her greatest quotes:
On forging your own path in life...
"I never liked the looks of the life that was programmed for me -- ordinary, hillbilly and poor -- and I repudiated it from the time I was 7 years old," she wrote in her 1982 memoir, Having It All.
"Don't use men to get what you want in life. Get it yourself."
On feminism...
"How could any woman not be a feminist? The girl I'm editing for wants to be known for herself. If that's not a feminist message, I don't know what is."
On sex...
"My own philosophy is if you're not having sex, you're finished."
"If only one of you is in the mood, do it. Even if sex isn't great every time, it's a unique form of communication and togetherness that can help you stay together with a good degree of contentment."
On being your true self...
"I was mousy on the outside but inside I'm this tiger and I have to get on with it."
On the important things in life...
"Beauty can't amuse you, but brainwork -- reading, writing, thinking -- can."
"You can have your titular recognition. I'll take money and power."
On success...
"I hope I have convinced you -- the only thing that separates successful people from the ones who aren't is the willingness to work very, very hard."
The ultimate life motto...
"Good girls go to heaven. Bad girls go everywhere."
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| Cosmopolitan |
Who sold his wedding photos to Viz for a pound in 2002? | Helen Gurley Brown's Penthouse!
Helen Gurley Brown's Penthouse!
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Helen Gurley Brown’s timing was always excellent. She grew up in Arkansas but moved to California at age 15 after her politician father died in an elevator accident. Working as a secretary at several Los Angeles ad agencies, including the William Morris Agency, Brown parlayed her writing talents to become one of the country’s highest paid ad writers. She hit the big time in 1962 with her book Sex and the Single Girl, which also became a hit movie starring Natalie Wood.
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As the new editor of Cosmopolitan magazine in 1965, Brown revamped its formula from a family and literary publication with writers such as O. Henry, Upton Sinclair and Jack London to a women’s magazine with lots of sex (think 1972 centerfold of an almost-naked Burt Reynolds), sensationalism and fashion. Sex and the Single Girl stayed on the bestseller list for over a year, was published in 28 countries and Cosmopolitan expanded into over 100 countries. Brown remained editor-in-chief of the magazine for 32 years and continued writing books instructing women how to “have it all” as they moved into their 60s and beyond. Helen Gurley Brown died at age 90 in New York City two years after the death of her husband, film producer David Brown.
Now for sale for the first time in 40 years, and possibly with a contract already in the works, is Helen and David Brown’s quadraplex penthouse apartment in the South/East tower of the Beresford on Central Park West. It has 360-degree views of Central Park, Hudson River and city skyline with a large terrace and private elevator access. Though square footage is not listed, there are two bedrooms, four baths, large formal rooms with 10.5-foot ceilings, and wrap-around balcony. The master suite is on the third floor and opens to a 52-foot terrace overlooking Central Park and a large great room with 17-foot ceilings and a fireplace. With contract pending, the penthouse is priced at $20 million.
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What are characterised by patterns such as loops, whorls and arches? | Fingerprints are composed of different patterns called whorls - CJE - 1640
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Fingerprints are composed of different patterns called whorls, arches, and loops. Whorl patterns are divided into four types: plain, central pocket whorl, double whorl, and accidental. Arches are characterized by ridge lines that enter the print from one side and exit the other side. Loops are characterized by ridge lines that enter from one side of the pattern, curve, and exit the pattern from the same side. The moment we are born we are born with friction ridges where they remain unchanged during our lifetime, unless they are damaged through permanent scarring. Friction ridge patterns are unique and never repeated. There are many different methods for forensic scientists to enhance latent fingerprints so they are clearer and more defined. Methods used to enhance prints solely depended on the type of the surface that the print is left on. Hard and non-absorbent surfaces such as glass, and tables, are usually enhanced using powders and super-glue fuming. However, soft and porous surfaces, such as carpet, require some sort of chemical treatment. There are two main methods of developing latent prints: physical methods and chemical methods. The most common physical method for enhancing prints is by using aluminum power. This fine powder is applied with a brush, after it adheres to body oil deposits and perspiration the print will develop. The magnetic brush technique can be used to apply magnetic-sensitive powders; since the brush doesn’t have actual bristles it greatly reduces the chance of damaging the print. Spraying or dipping small particle reagent (SPR) to latent prints is another form to enhance the print. Particles adhere to the lipid components of the residue. SPR is typically used when evidence has been wet or was recovered from water. The most common chemical form for enhancing prints is by
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Hernandez 6 using ninhydrin. Ninhydrin is used to enhance prints on porous surfaces such as paper. Ninhydrin is a compound that reacts with the amino acids in the print to produce a purple-blue print once developed. There are two different methods of fuming that forensic scientists can use to enhance latent fingerprints. The iodine fuming method uses iodine crystals that vaporize sublimation when they are heated. The vapors combine with components on the fingerprint, resulting in it becoming visible. Using this method has its precautions; the enhanced print will fade over time so it is critical that a photograph is taken as soon as possible. The super-glue fuming method uses ethyl or methyl cyanoacrylate which, when fumed, produces a white deposit on the latent print. It is extremely important when lifting the enhanced print using tape, that it the tape completely covers the print and thorough pressure is applied before carefully lifting the print. Using a physical developer to enhance a print involves using s silver-based solution that reacts with fatty components. Physical developer is sometimes used on prints that did not develop by ninhydrin. This makes sense because physical developer reacts to lipid
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TERM
Laura Hernandez 7/14/15 CJE-1640 Module 10 Discussion Post Original Post: In this cen
CJE-Module 10 Discussion.docx
| Fingerprint (disambiguation) |
Which novel tells the tragic story of displaced migrants George Milton and Lennie Small? | Whorls - definition of whorls by The Free Dictionary
Whorls - definition of whorls by The Free Dictionary
http://www.thefreedictionary.com/whorls
(wôrl, hwôrl, wûrl, hwûrl)
n.
1. A form that coils or spirals; a curl or swirl: spread the icing in peaks and whorls.
2. Botany An arrangement of three or more leaves, petals, or other organs arising from a single node.
3. Zoology A single turn or volution of a spiral shell.
4. One of the circular ridges or convolutions of a fingerprint.
5.
a. A small pulley that regulates the speed of the bobbin of a spinning wheel.
b. A small flywheel that regulates the speed of a hand-operated spindle.
[Middle English whorle, alteration of whirle, whirl, from whirlen, to whirl; see whirl .]
whorl
(wɜːl)
n
1. (Botany) botany a radial arrangement of three or more petals, stamens, leaves, etc, around a stem
2. (Zoology) zoology a single turn in a spiral shell
3. (Anatomy) one of the basic patterns of the human fingerprint, formed by several complete circular ridges one inside another. Compare arch 14b, loop 110a
4. anything shaped like a coil
[C15: probably variant of wherville whirl, influenced by Dutch worvel]
whorled adj
(ʰwɜrl, ʰwɔrl, wɜrl, wɔrl)
n.
1. a circular arrangement of like parts, as leaves or flowers, around a point on an axis; verticil.
2. one of the turns or volutions of a spiral shell.
3. anything shaped like a coil.
4. one of the central ridges of a fingerprint that form at least one complete circle.
5. a flywheel or pulley, as for a spindle.
[1425–75; whorle, whorvil, wharwyl, Old English hwyrfel=hweorfa whorl of a spindle]
whorl
- A variant of whirl, it first meant "small flywheel."
See also related terms for whirl .
ThesaurusAntonymsRelated WordsSynonymsLegend:
Noun
1.
whorl - a round shape formed by a series of concentric circles (as formed by leaves or flower petals)
curl , curlicue , gyre , ringlet , scroll , coil , roll
corolla - (botany) the whorl of petals of a flower that collectively form an inner floral envelope or layer of the perianth; "we cultivate the flower for its corolla"
calyx - (botany) the whorl of sepals of a flower collectively forming the outer floral envelope or layer of the perianth enclosing and supporting the developing bud; usually green
round shape - a shape that is curved and without sharp angles
verticil - a whorl of leaves growing around a stem
2.
lock , ringlet , curl
hair - a covering for the body (or parts of it) consisting of a dense growth of threadlike structures (as on the human head); helps to prevent heat loss; "he combed his hair"; "each hair consists of layers of dead keratinized cells"
sausage curl - a fat sausage-shaped curl
forelock - a lock of hair growing (or falling) over the forehead
crimp - a lock of hair that has been artificially waved or curled
dreadlock - one of many long thin braids of hair radiating from the scalp; popularized by Rastafarians
3.
whorl - a structure consisting of something wound in a continuous series of loops; "a coil of rope"
coil , helix , volute , spiral
hank - a coil of rope or wool or yarn
structure , construction - a thing constructed; a complex entity constructed of many parts; "the structure consisted of a series of arches"; "she wore her hair in an amazing construction of whirls and ribbons"
whorl
noun swirl , spiral , coil , twist , vortex , helix , corkscrew The plant has dense whorls of red-purple flowers.
Translations
[wɜːl] N [of shell] → espira f; [of fingerprint] → espiral m (Bot) → verticilo m
whorl
[ˈhwɜːrl] n (literary) → volute f
whorl
n → Kringel m; (of shell) → (Spiral) windung f; (Bot) → Quirl m, → Wirtel m; (of fingerprint) → Wirbel m
whorl
[wɜːl] n (of shell) → voluta
whorl
1. disposición de fibras en forma esférica, esp. las fibras cardíacas;
2. tipo de huella digital.
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References in classic literature ?
He did these pantograph enlargements on sheets of white cardboard, and made each individual line of the bewildering maze of whorls or curves or loops which consisted of the "pattern" of a "record" stand out bold and black by reinforcing it with ink.
If you will look at the balls of your fingers-- you that have very sharp eyesight--you will observe that these dainty curving lines lie close together, like those that indicate the borders of oceans in maps, and that they form various clearly defined patterns, such as arches, circles, long curves, whorls, etc.
View in context
They have audaciously adjusted, in the name of "good taste," upon the wounds of gothic architecture, their miserable gewgaws of a day, their ribbons of marble, their pompons of metal, a veritable leprosy of egg-shaped ornaments, volutes, whorls, draperies, garlands, fringes, stone flames, bronze clouds, pudgy cupids, chubby- cheeked cherubim, which begin to devour the face of art in the oratory of Catherine de Medicis, and cause it to expire, two centuries later, tortured and grimacing, in the boudoir of the Dubarry.
From infancy to senility the fingerprints of an individual change only in size, except as injuries alter the loops and whorls.
Come, Tarzan," cried D'Arnot, "let's see what your whorls look like.
View in context
Behind her was a dim room scantly illumined by the one small candle that had guided us through the storm; but the old Waterloo stove was colouring the gloom with tremulous, rose-red whorls of light, and warm and cosy indeed seemed Peg's retreat to us snow- covered, frost-chilled, benighted wanderers.
View in context
In the vertebrata, we see a series of internal vertebrae bearing certain processes and appendages; in the articulata, we see the body divided into a series of segments, bearing external appendages; and in flowering plants, we see a series of successive spiral whorls of leaves.
View in context
Now the whorl is in form like the whorl used on earth; and the description of it implied that there is one large hollow whorl which is quite scooped out, and into this is fitted another lesser one, and another, and another, and four others, making eight in all, like vessels which fit into one another; the whorls show their edges on the upper side, and on their lower side all together form one continuous whorl.
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What is the subject of Hemingway’s Death in the Afternoon? | Hemingway Now Writes of Bull-Fighting as an Art
Hemingway Now Writes of Bull-Fighting as an Art
By R. L. DUFFUS
DEATH IN THE AFTERNOON
By Ernest Hemingway.
he emergence of Mr. Hemingway as an authority on bull-fighting should not be a surprise to any one who has read the passages in "The Sun Also Rises" which touch upon that peculiarly Latin sport. That he is an authority may be conceded, even by those who have never seen a matador, not only from Mr. Hemingway's statement that he has seen fifteen hundred bulls killed on the field of honor and his acknowledgment of indebtedness to some 2,077 "books and pamphlets in Spanish dealing with or touching on tauromania," but from the internal evidence of the book itself. One would say that Mr. Hemingway knows bull-fighting at least as well as the specialized sports writer in our own country knows baseball, football, racing or fighting. He knows it so well that on occasion only the introduction of an extremely singular old lady as the author's interlocutor, a few digressions on death, modern literature and sex life, joined with Mr. Hemingway's extremely masculine style of writing, save the reader from drowning in a flood of technicalities.
It may be asked why Mr. Hemingway should infer in American readers a sufficiently passionate interest in bull-fighting to induce them to buy and read a book of 517 pages on the subject. But this would be to put the cart before the horse--or letting the bull wave a red cloth at the matador instead of vice versa. Bull-fighting, one infers, became a hobby with Mr. Hemingway because of the light it throws on Spain, on human nature and on life and death. In a sense this book is Mr. Hemingway's book on "Virgin Spain." The reference is pertinent because, as he explains in an extremely candid bit of analysis, Mr. Hemingway does not particularly like that style of writing for which his most flattering epithet is "bedside mysticism." But the author's fundamental motive is perhaps this:
"The only place where you could see life and death, i. e., violent death now that the wars were over, was in the bull ring and I wanted very much to go to Spain where I could study it. I was trying to learn to write, commencing with the simplest things, and one of the simplest things of all and the most fundamental is violent death."
In another passage Mr. Hemingway points out that one of the essentials if a country is to love bull-fights is "that the people must have an interest in death." The people of Castile, he finds, have such an interest in death, "and when they can see it being given, avoided, refused and accepted in the afternoon for a nominal price of admission they pay their money and go to the bull-ring." The English and French, on the other hand, "live for life" and consequently don't especially care for bull-fights. Here Mr. Hemingway seems to be getting mystical on his own account, but at least it is not "bedside mysticism."
Bull-fighting always means death for the bull, for if he is not killed in the arena during the allotted time he is killed outside. It means death for horses--a death in which Mr. Hemingway says there is sometimes an element of the comic--if they are not protected by mattresses. It sometimes means death for the matador, it means in almost every case that he will sooner other later be grievously wounded, and if he is a good matador it means that he must go to the very brink of death every time he puts on a performance. Moreover, it means that a good matador must actually enjoy killing and that the spectators must be able to derive an emotional kick from the operation. As Mr. Hemingway puts it:
"He [the matador] must have a spiritual enjoyment of the moment of killing. Killing cleanly and in a way which gives you esthetic pleasure and pride has always been one of the greatest enjoyments of a part of the human race. * * * Once you accept the rule of death thou shalt not kill is an easily and naturally obeyed commandment. But when a man is still in rebellion against death he has pleasure in taking to himself one of the Godlike attributes, that of giving it. This is one of the most profound feelings in those men who enjoy killing. These things are done in pride and pride, of course, is a Christian sin and a pagan virtue. But it is pride which makes the bull-fight and true enjoyment of killing which makes the great matador."
The "true enjoyment" of the fan or "aficionado" is in the bravery or "nobility" of the bull and in the skill and bravery of the matador. At least these are the points upon which Mr. Hemingway dwells. The "aficionado" does not want to see a good matador killed, though he may be indifferent to the wounding of a bad matador, or even try to damage him a little by hurling bottles and other hard objects at him as he leaves the ring. But it is hard to believe that those to whom death is of profound interest may not sometimes hope that if a matador is to be killed by a bull they may be there to see it. And Mr. Hemingway does make it clear that the nearer the matador comes to the horns at the supreme moment the better liked his performance is. The bull ring is not the place for skill without risk. As a confirmed bull-fight fan Mr. Hemingway is disgusted with a matador who kills by a trick stroke "bulls that he is supposed to expose his body to in killing with the sword." If the finishing thrust is properly put in, the matador must always be in such a position that if a gust of wind comes at the wrong time or if the bull suddenly raises his head the man will be gored. If no part of the spectators feels any morbid expectation at such crises a Spanish assemblage is different from other gatherings.
But bull-fighting, though as Mr. Hemingway says, "a decadent art in every way," is an art, indeed, "if it were permanent it could be one of the major arts." It does not seem absurd to Mr. Hemingway to compare it with sculpture and painting, or to set Joselito and Belmonte side by side with Velasquez and Goya, Cervantes and Lope de Vega, Shakespeare and Marlow. Even such refined elements as the line of the matador's body at the critical instant or the "composition" of bull and man enter into the intelligent "aficionado's" enjoyment. Bull-fighting is thus presented as an art heightened by the presence of death and, if the spectator can project himself into the matador's place, in the terror of death. For even the best matadors have their moments of fear--even their days and seasons of fear.
The book is thus not only a careful, even a meticulous explanation of the way bull- fighting is done, but is also a picturing of the spirit in which it is done and seen. One must add to this observation, however, that the book goes far beyond these relatively simple phases in being representative of an important literary movement as typified in Mr. Hemingway. It would be impossible to discuss it with complete adequacy without also discussing both Mr. Hemingway and his movement; that is to say, without asking, not only whether this book is good Hemingway but whether Mr. Hemingway himself is good.
It may be said flatly that the famous Hemingway style is neither so clear nor so forceful in most passages of "Death in the Afternoon" as it is in his novels and short stories. In this book Mr. Hemingway is guilty of the grievous sin of writing sentences which have to be read two or three times before the meaning is clear. He enters, indeed, into a stylistic phase which corresponds, for his method, to the later stages of Henry James. The fact that a sentence is usually good Anglo-Saxon, with anything but a shrinking from calling a spade a spade, does not make it a clear sentence if one cannot easily distinguish the subordinate verbs from the principal one. And when Mr. Hemingway throws into one chapter, in a kind of reminiscent emotional jag, all the things about Spain and bygone youth that he could not get into the rest of the book, the reader feels like a chameleon on a patch work quilt. This is not art in the sense in which the final pages of "A Farewell to Arms" were art--it is fireworks.
On certain passages which in former days would have been called vulgar or even obscene it if difficult to pass judgment. One does not know whether they are wholly sincere or whether, on the other hand, Mr. Hemingway is trying to startle the little handful of literates who are still capable of being startled. As to the root philosophy that only death and procreation, and subjects related to them, are "simple" and "fundamental," no one reviewer can contribute much to that problem. On the whole it may be said that Mr. Hemingway's reactions to most subjects, whether proscribed ones or not, are at least vigorous and healthy. He is no more vulgar than life and shows as much good taste as death.
The book will certainly find its place on the shelves of Hemingway addicts. One's guess is that it will be less successful than the novels in making new Hemingway addicts. Action and conversation, as the author himself suggests, are his best weapons. To the degree that he dilutes them with philosophy and exposition he weakens himself.
| Bull Fighting (TV series) |
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Product details
Publisher: Arrow; New Ed edition (10 Oct. 1994)
Language: English
Product Dimensions: 11 x 2.3 x 17.8 cm
Average Customer Review:
Product Description
Review
"Hemingway's style, at its best, is a superb vehicle for revealing tenderness of feeling beneath descrptions of brutality" (Guardian)
Book Description
Hemingway's classic portrait of the pageantry of bullfighting, from the Nobel Prize-winning author of A Farewell to Arms.
By Donald Mitchell HALL OF FAMETOP 1000 REVIEWERVINE VOICE on 29 Aug. 2004
Format: Paperback
I don't approve of killing animals for entertainment, and this book did not change that disapproval. I endorse this book because of its qualities as a model for introducing a subject to a new learner, rather than for its subject matter.
If you like bullfights, you will like this book because Death in the Afternoon will probably expand your understanding of what you see. If you want to go to bullfights, this is a good book also because it will tell you how to do so in the most enjoyable way for you.
Most people will never attend a bullfight, because of ethical concerns, some personal dismay about their potential reaction to the violence and horror of the event, or due to lack of opportunity (bullfighting is mainly done in Spain and Mexico). Many of these people will have some interest in understanding more about bullfighting or the appeal and spectacle of the event. Death in the Afternoon provides you with a thoughtful way to satisfy any curiosity you may have.
Hemingway set out to write "an introduction to the modern Spanish bullfight and attempt[ed] to explain that spectacle both emotionally and practically." I think he more than succeeded.
Hemingway leads you gently into the subject as though you were chatting while seated at a comfortable table in an outdoor cafe on a pleasant afternoon sipping your favorite beverages. In fact, for part of the book, he invents an old lady whom he converses with for comic effect.
He tells you about his own experiences throughout beginning expecting "to be horrified and perhaps sickened." It turned out that this was not his reaction at all. He liked the bullfight, and saw 1,500 bulls killed before writing this book. He also reports that many people he took to fights often experienced different emotions than they expected. Read more ›
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By A Customer on 18 July 2001
Format: Paperback
A collection of what seems to be stories loosely sewn together to form a very long essay on the virtues of bull fighting. It looks closely at the world of the matador, explains every rule of the fight in great detail and shows his great enthusiasm for this very Spanish of sports (though it still takes place in some areas of France and Portugal).
You've got to have the stomach for this one and it is a hard book to swallow if you're remotely sensitive to the plight of innocent animals. Some of the pictures are a bit too graphic though you do get the other side of the coin with some rather frank pictures of matador's thrown over bulls horns and even in one or two cases, lying dead in the morgue.
Hemingway does have a winning style though and he is intensely readable and somehow you get swept along even when the subject is uncomfortable reading. He is undoubtedly a brilliant writer and he has a passion for the sport. If anything it's a learning experience in the hands of a master.
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By jacr100 VINE VOICE on 27 Dec. 2003
Format: Paperback
Death in the Afternoon is a book about bullfighting, something Englishmen tend to object to on moral grounds. It was also published in 1932, over half a century ago. So why should you read it? For several reasons, in fact. Firstly, because it is a rich historical document: the book is in effect a biography of all the toreros of note practising their art in Spain in the early decades of the twentieth century, and Hemingway is refreshingly honest in his assessments of their merits. In those departments where they excelled, Hemingway was always ready to say as much; but where they were lacking - and woe betide them if they were cowardly rather than simply technically inept - no rod would be spared in disparaging the effect their craven actions were having on the ancient art of bullfighting. Secondly, because Hemingway is a true aficionado, and is able to penetrate to the heart of the aesthetics of bullfighting, persuasively arguing as he does so why the killing of the horses (no longer a feature of bullfights) is incidental, and necessary to tire the bull, who alone is the tragic figure. Death, Hemingway reveals, is the true crux of the culture of bullfighting, it being guaranteed in every fight, but what the Spaniard comes to see at each corrida is not this guarantee of death but rather its antithesis:
'[The bullfighter] is performing a work of art, and he is playing with death, bringing it closer, closer, closer, to himself, a death that you know is in the horns because you have the canvas-covered bodies of the horses on the sand to prove it. He gives the feeling of his immortality, and, as you watch it, it becomes yours.'
It is this toying with death that excites the Spanish imagination, with the most acknowledged fighters being those who calmly take the most risks. Read more ›
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By jacr100 VINE VOICE on 23 Dec. 2003
Format: Paperback
Death in the Afternoon is a book about bullfighting, something Englishmen tend to object to on moral grounds. It was also published in 1932, over half a century ago. So why should you read it? For several reasons, in fact. Firstly, because it is a rich historical document: the book is in effect a biography of all the toreros of note practising their art in Spain in the early decades of the twentieth century, and Hemingway is refreshingly honest in his assessments of their merits. In those departments where they excelled, Hemingway was always ready to say as much; but where they were lacking – and woe betide them if they were cowardly rather than simply technically inept – no rod would be spared in disparaging the effect their craven actions were having on the ancient art of bullfighting. Secondly, because Hemingway is a true aficionado, and is able to penetrate to the heart of the aesthetics of bullfighting, persuasively arguing as he does so why the killing of the horses (no longer a feature of bullfights) is incidental, and necessary to tire the bull, who alone is the tragic figure. Death, Hemingway reveals, is the true crux of the culture of bullfighting, it being guaranteed in every fight, but what the Spaniard comes to see at each corrida is not this guarantee of death but rather its antithesis:
‘[The bullfighter] is performing a work of art, and he is playing with death, bringing it closer, closer, closer, to himself, a death that you know is in the horns because you have the canvas-covered bodies of the horses on the sand to prove it. He gives the feeling of his immortality, and, as you watch it, it becomes yours’. Read more ›
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What kind of footwear did Jimmy Nail have in 1994? | Jimmy Nail - IMDb
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Jimmy Nail was born on March 16, 1954 in Benton, Newcastle-upon-Tyne, England as James Michael Aloysius Bradford. He is an actor and writer, known for Evita (1996), Still Crazy (1998) and Auf Wiedersehen, Pet (1983). See full bio »
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About: Crocodile Shoes
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Crocodile Shoes is a British 7-part television series made by the BBC and screened on BBC One in 1994.The series was written by and starred Jimmy Nail as a factory worker who becomes a country and western singer. The show's eponymous theme tune "Crocodile Shoes" became a chart hit for Nail as did the album of the same name.A sequel, Crocodile Shoes II followed in 1996 and the theme tune "Country Boy" was a hit for Nail too.Paddy McAloon of Prefab Sprout supplied five original songs to the two series, all of them recorded by Jimmy Nail.
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Crocodile Shoes is a British 7-part television series made by the BBC and screened on BBC One in 1994. The series was written by and starred Jimmy Nail as a factory worker who becomes a country and western singer. The show's eponymous theme tune "Crocodile Shoes" became a chart hit for Nail as did the album of the same name. A sequel, Crocodile Shoes II followed in 1996 and the theme tune "Country Boy" was a hit for Nail too. Paddy McAloon of Prefab Sprout supplied five original songs to the two series, all of them recorded by Jimmy Nail. The series is currently being re-screened on UK channel, Drama, as of February 2016.
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Who composed the To October Symphony? | Symphony No. 2 (“To October”) | LA Phil
Symphony No. 2 (“To October”)
Last Modified:
May 14, 2012
Dmitri Shostakovich’s Second and Third Symphonies, composed in the late 1920’s when he was still a graduate student at the Leningrad Conservatory, were never among his better-known works. Both are, on the surface at least, pieces of orthodox patriotism, written for important Soviet holidays. With Shostakovich, of course, nothing is beyond debate, and there is a school of thought that he approached the Second and Third Symphonies with heavy doses of sarcasm and irony. You can find support for such a view in grotesque and humorous passages in both symphonies, but they hardly amount to proof: Shostakovich’s music was always full of grotesque and humorous elements. His composition professor at the Conservatory had complained: "What is this enthusiasm for the grotesque? … Probably there will be some critic in Leningrad who'll say this is brilliant, this is wonderful, and that will be the end of you!"
Shostakovich has been seen as everything from a loyal party functionary to a closet dissident whose every utterance and every note of music was a protest against the Soviet state. There is not much question that his music sometimes contains a message in a bottle. For example, in the Fifth Symphony, written when he was the target of official attacks, he inserted a quotation from one of his own songs, then unpublished, that makes it clear that he thought history would consign his critics to oblivion. But ascribing similar intent to Shostakovich a decade earlier, in a happier time for both Shostakovich and the Soviet Union, is a dicey proposition. Even Mstislav Rostropovich, who regards Shostakovich’s life work as an anti-Soviet statement, concedes that the young Shostakovich was “taken in” by the promise of the Russian Revolution.
The Second and Third Symphonies are very much works of their time, which was a period of great hope between enormous catastrophes. Shostakovich had already lived through a world war that killed millions of Russians, a revolution that caused complete social upheaval, and a long civil war. By 1927, it seemed that a bright future was finally arriving.
This was particularly true for the composer, who was 21 years old and riding very high. He was hailed as a genius after the premiere of his First Symphony the previous year, and had fallen in with the Leningrad avant-garde literary and theater crowd. Soviet art in 1927 was a far cry from what it would be a decade later. Even as Stalin was gradually establishing himself as a dictator and the government was collectivizing land, artists were able to experiment with all kinds of modernist trends and engage in freewheeling debate about what sort of art was appropriate in a socialist state. Shostakovich was occasionally criticized for being bourgeois, decadent, modernist, or insufficiently in tune with proletarian sensibility, but he was still a national treasure, the first bona fide musical genius who was a child of the Revolution. (It is no accident 1936, when the government finally imposed complete control over the arts, it signaled the takeover with a withering attack on Shostakovich, letting everyone know that even the favored son of Soviet music had to conform.)
In March 1927, the Propaganda Department of the State Publishing House asked Shostakovich for a symphonic work for that year’s tenth-anniversary celebrations of the “October Revolution” (which, by the Western calendar, happened in November), in which the Communists had finally seized power. Shostakovich responded with what he first called a “symphonic poem” to words by Alexander Bezymensky. There is ample evidence that Shostakovich disliked the poem and found it difficult to work with, but it isn’t clear whether he disagreed with its sentiments, had an intellectual’s distaste for displays of patriotism, or just found it literarily inept.
The Second is, at different points, both a consciously “modernist” work, with newfangled sounds and compositional devices, and a harking back to the past. The modernism can be heard at the outset. Perhaps because Bezymensky’s poem goes from hunger and despair through struggle to triumph, the piece begins with darkly and slowly. Shostakovich builds a fog of increasing complexity, each section entering in quicker note values (basses in quarter notes, cellos in eighths, violas in triplet eighths, second violins in 16ths). The effect is an indistinct humming that goes on until the trumpet finally enters with a theme. A few minutes later, a solo violin begins what appears to be an extended trio with the clarinet and bassoon, but turns into what Shostakovich described as 27-part “ultra-polyphony,” in which the five string sections, 20 wind instruments, and two percussion all play independent lines.
The chorus is ushered in by the sound of a factory whistle. The Russian Revolution was associated from the first with turning an agrarian, Russian society into an industrial one, so the factory whistle was a powerful symbol. Shostakovich actually wrote parts for several factory whistles of different pitches and loudnesses, but, recognizing that factory whistles aren’t always ready to hand, he also wrote the factory-whistle notes into the wind instrument parts as a substitute.
The choir evokes old Russia, and more than a little of Mussorgsky’s Boris Godunov, as it sings of the people’s helplessness in the first verse. Fanfare figures in the brass build to the exclamation “Oh, Lenin!” The choir sings about “struggle” over a sustained note in the bass—a genuine 18tth-century dominant pedal point, but the shouting, rather than singing, of the last line, was up-to-the-minute modern in 1927.
- Lawyer and lutenist Howard Posner has also annotated programs for the Los Angeles Baroque Orchestra, the Coleman Chamber Concerts, and the Salzburg Festival.
DETAILS:
Composed: 1927
Length: 20 minutes
Orchestration: piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, bell in F-sharp, cymbals, glockenspiel, snare drum, triangle), strings, and chorus
First Los Angeles Philharmonic performances: January, 2002
| Dmitri Shostakovich |
Which character was once played by Peter Dean in Eastenders? | Symphony - encyclopedia article - Citizendium
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A concert hall , where symphonies are played.
A symphony is a large-scale musical composition for an orchestra . Since the late eighteenth century, composers have regarded the symphony as “the central form of orchestral composition”, similar to how writers of fiction regard the novel and filmmakers the feature film. [1] According to music historian Michael Kennedy, the symphony “is reserved by composers for their most weighty and profound orchestral thoughts, but of course there are many light-hearted, witty, and entertaining symphonies.” [2] In the present day the symphony is a principal element of orchestral concerts in the United States and Europe, and the very name "symphony orchestra", a common synonym for “orchestra”, attests to the symphony’s predominance in the classical concert hall.
Contents
History
Beginnings the Baroque (1600 - ca. 1750) and early Classical periods (ca. 1750 - 1770s)
In the seventeenth century, a "sinfonia" was, most generally, a short instrumental piece that served as an introduction to a larger work, such as an overture to an opera or a cantata . However, the term could also refer to an instrumental work that stood alone, such as a concerto grosso (e.g. Alessandro Stradella’s sinfonie a più istrumenti, "symphonies with more instruments"). Moreover, the terms "sinfonia", "concerto", and "trio sonata" were often used as synonyms. There were two general types of overture in the seventeenth century: the Italian opera sinfonia, exemplified by the works of Alessandro Scarlatti; and the French Overture, exemplified by the works of Jean-Baptiste Lully. Both types of overture were most often structured in three movements; however, the structure of an Italian sinfonia was fast-slow-fast, while that of a French Overture was slow-fast-slow. Regardless of the type, an overture was composed for a small orchestra (no more than fifteen players), was relatively easy to play, and was short in duration (typically six or seven minutes). [3]
During the eighteenth century, the overture or sinfonia as "symphony"an independent, multi-movement musical piece for concert performance with (as opposed to a concerto ) no one dominant instrumentdeveloped in various parts of Europe concurrently, particularly in Italy, as evidenced by works by Giovanni Battista Sammartini ; Vienna, notably by Georg Christoph Wagenseil and Georg Matthias Monn ; London, notably by Johann Christian Bach and Carl Friedrich Abel ; North Germany, where a group of early symphonists included Carl Philipp Emanuel Bach ; and Mannheim, Germany, where early symphonies were written by Johann Stamitz most especially. At this time the symphony was a structure still under development, and repeated experimentation was expanding the complexity of this relatively new musical form. Symphonies composed in the eighteenth century until the 1770s are referred to as “preclassical” and their composers as “preclassical symphonists”. [4]
Why did the symphony grow in prominence? In the Baroque period, secular music for the first time became more prominent than sacred music. New musical forms such as the sinfonia-as-proto-symphony registered this change wherein the concert hall, rather than the church, became the premier venue for which to compose music. The first collections of concert symphonies (still referred to as sinfonias) were published in various places in Europe, such as London, between 1740 and 1750. [5]
Growth of the new musical form was also linked to the expansion of the concept of the orchestra itself. The court orchestras during the Baroque period expanded in size to comprise up to twenty players representing various families of musical instruments, particularly strings, woodwinds, and keyboard instruments. Whereas in 1700 most orchestras were private and supported by royalty, by the end of the eighteenth century orchestras for public concerts had become increasingly common, and symphonies were written to fulfill the demand for orchestral concert music.
Most preclassical symphonies consisted of three movements. Although some composers such as Monn had been experimenting with the four-movement symphony as early as 1740, four-movement symphonies did not become the norm until around 1770, the time of the birth of the "mature classic symphony". [6]
The mature classic symphony (1770s - 1800)
The symphony continued to grow in importance, complexity and scale during the eighteenth century. Over 16,000 symphonies were composed in this century, the majority of them during the years 1750 - 1770 by composers completely forgotten today. [7] In the period 1750 - 1770 the typical performance time of a symphony was anywhere from ten to twenty minutes. [8] For most of the eighteenth century up to the late 1770s, symphonies, when played in private settings, were generally considered background music for such social activities as card playing and socializing. Nor were symphonies the central feature of a public concert program; rather, symphonies were typically scheduled at the beginning or end of a program, when the comings and goings of audience members were most voluble and intrusive. “Music was probably not ignored on such occasions so much as paid intermittent attention,” writes music scholar Richard Will. [9]
In the second half of the eighteenth century, Franz Joseph Haydn wrote at least 104 symphonies, many of which experimented with the form (some have six movements, for example), and Wolfgang Amadeus Mozart wrote about 41 symphonies (the first at eight years old). [10] Haydn was the transitional point from the preclassical symphony to what is referred to as the mature classic symphony. The fourteen symphonies Haydn composed between 1757 and 1761 exemplify many characteristics of the preclassical symphony, but in some ways they are already looking forward to the mature classic symphony, which Haydn (with his symphonies 42 - 56) and Mozart (including symphonies 25 and 29) arrived at by the mid 1770s. [11] Haydn and Mozart are considered the most celebrated composers of the Classical symphony.
The strict terminology “symphony” arrived only after Haydn and Mozart had begun their symphonic labors; as late as 1766 symphonies could be advertised to the public (in London and in Holland, for example) not as symphonies but as “overtures”. By 1770, however, a program for a concert given by Mozart in Mantua uses the word “symphony”. [12] In the last quarter of the eighteenth century the term “symphony” became firmly established, so that, for example, by 1805 Beethoven would identify his Third Symphony on the title page as "Sinfonie". [13]
Flowering at the time of the “Age of Reason”, the classical symphony was marked by overall balance and intricate design in which structural symmetry was a general characteristic of each movement. (See, for example, the sonata-form , minuet , trio , and rondo .) The overall structure of the Classical symphony was typically in four movements and conformed to this pattern: (1) fast, (2) slow, (3) moderately fast, (4) quite fast. [14] The eighteenth century orchestra performing a classical symphony required no conductor, as the musicians were guided by the concertmaster (usually the first violinist) and the basso-continuo player. [15] The Classical symphony was also, compared to symphonies of subsequent centuries, "short and sweet": virtually all of Haydn’s symphonies each take no longer than 25 minutes to play, and Mozart’s take no more than 30 minutes.
The mature symphonies of Haydn and Mozart took on new importance for listeners, who began to pay close attention to the music, as Mozart described in a letter of 3 July 1778. [16] Symphonies began to occupy the central position in the programs of public concerts during the 1780s. [17] In his lifetime Haydn achieved great fame throughout Europe for his symphonies, many of which were published in various European capital cities, but only three of Mozart’s symphonies were published in Mozart’s lifetime. [18]
Music scholars generally rate the late symphonies of both Haydn (his twelve London symphonies 1791 - 1795) and Mozart (his last four symphonies, including the Prague and the Jupiter) as the highest achievements of the mature classic symphony, which is sometimes referred to as the "Viennese Classical symphony".
Beethoven's symphonies (1800 - 1823)
Although Ludwig van Beethoven wrote only nine symphonies, in the process he single-handedly expanded the structure of the symphonic form. Whereas Beethoven’s first two symphonies reflect closely the established style of the mature classic symphony, his Third Symphony, the Eroica (1804), was groundbreaking in terms of performance time, complexity of orchestration, andin the words of one music scholar contemporary with Beethovenits “colossal ideas”. [19] In Beethoven’s symphonies from the Eroica onward, range and density of sound, rhythm, tempo, dynamics, and thematic development all are experimented with, in the process advancing the scope and expression of the concept of the symphony. For his Fifth Symphony Beethoven expanded the size of the orchestra by adding new instruments, including the trombone, piccolo, and contrabassoon. [20] His Ninth Symphony (1823) was yet grander still: not only was it the longest symphony ever written at the time (it takes over an hour to perform), but it also featured the inclusion of human voices in the fourth movement. Beethoven’s Ninth Symphony occupies a privileged position in the history of the symphony, equivalent in stature to the Mona Lisa among paintings; it is a one-of-a-kind phenomenon.
In fact, Beethoven’s achievement in the symphony transcends the category of the symphony. The four-note motif that begins Beethoven’s Fifth Symphony, three quick G’s and a long E-flat, is perhaps the most famous musical phrase in classical music history. The Ninth Symphony occupies an honored position not only in the history of the symphony but also in the history of classical music itself. In recent years, Beethoven's Ninth has been played in world capitals to mark events of great significance. For example, the newly reunified city of Berlin celebrated the Fall of the Berlin Wall with a performance of the Ninth Symphony six weeks later on Christmas Day 1989 in the Schauspielhaus [21] ; and the BBC Proms revised its programme of 15 September 2001 ("The Last Night of the Proms") to include the choral finale from the Ninth Symphony to mark the tragic events of September 11, 2001. [22]
Beethoven's achievement was also revolutionary in terms of the public reception of the genre of the symphony. With the advent of his masterworks, symphonies became and would remain the central feature of orchestra concert programs around the world, as they remain. Moreover, unlike any of the symphonists preceding him, Beethoven achieved the singular accomplishment of having his complete set of symphonies published in his lifetime. [23]
Beethoven’s symphonies were marked by what is generally referred to as “personal expression”, and acted as the passageway from the intellectual mature classic symphony to the emotional, lyrical, dramatic symphonies of the Romantic period of the nineteenth century.
The Romantic period (19th century)
After Beethoven, the symphony, in the hands of some composers, remained less a formal exercise and more a subjective expression of the composer’s inner experience. Two branches led from the pioneering work of Beethoven: symphonies written within the genre of the mature classic symphony, and those written within the genre of the expansive and expressive symphony. This latter branch would eventually characterize the main direction of the twentieth century symphony.
During the years 1813 - 1825, Franz Schubert composed nine symphonies, most of which recall the Haydn and Mozart of the Classical symphony. [24] His Eighth Symphony (Unfinished, 1822), however, is a major development in the history of the nineteenth century symphony, in terms of its innovations in scoring and its basis in lyric (i.e., emotional) experience. (Various music scholars describe this symphony’s “poetic eloquence”, “creative orchestration”, “tragically pungent spell”, “profound and tender feeling”, and “majestic inspiration”.) [25] Just as celebrated is Schubert's ninth symphony, The Great (1825), which has been described as “the last great Classical symphony”. [26] Felix Mendelssohn composed five symphonies between the years 1824 - 1832, which are closer in style to Mozart and the Classical symphony than Beethoven and the Romantic symphony. Robert Schumann composed four symphonies between the years 1841 - 1853, and while they are marked by some noteworthy experimentation, his symphonies generally reflect the style and structure of the Classical symphony.
Hector Berlioz ’s Symphonie fantastique (1830), subtitled “Episode in the Life of an Artist”, is an example of a “program symphony”, in which the musical piece has a thematic structure expressed by the composer (like Beethoven’s Sixth Symphony, the Pastoral). The symphony “tells a story” rather than communicating abstract musical ideas. Charles Gounod remarked (aptly describing the ultimate history of the genre of the symphony), “With Berlioz all impressions, all sensations, whether joyful or sad, are expressed in extremes, at the point of delirium.” [27] Franz Liszt ’s Faust Symphony (1854) and Dante Symphony (1856) are also program symphonies recalling more the expressive content of Beethoven than the consistent formal structure of the Classical symphony.
Synthesizing the two branches, Johannes Brahms composed four symphonies between 1876 and 1885, and he is generally described as the greatest composer of symphonies in the nineteenth century. Significant influences on Brahms’s symphonies included both Schubert and Liszt [28] , but it was Beethoven whom Brahms described as “that giant whose steps I always hear behind me.” [29] Brahms's symphonies wed the compositional complexity of the Classical symphony with the highly expressive emotional scope of the Romantic symphony.
Other high points of the nineteenth century expressive symphony include Pyotr Illyich Tchaikovsky , who composed six symphonies between 1866 and 1893; Anton Bruckner , who composed nine symphonies during 1865 - 1896 that especially recall Beethoven in their grandiose structures, [30] ; and Antonin Dvořák , who composed nine symphonies between 1865 and 1893 that reflect the influence of Beethoven, Schubert and Brahms.
A variation on the “program symphony” was the “symphonic poem” or “tone poem”, a symphonic work not specifically classified as a symphony; the most famous composer of tone poems, which are typically in one movement, is probably Richard Strauss (e.g., Thus spake Zarathustra), whose symphonic work has been described as one of the last breaths of the Romantic age.
In the expressive symphony pioneered by Beethoven, the dynamic range of the various moods is more dramatically pronounced than in the Classical symphony: the joy is more boisterous, the lyrical more tender, the alarm more strident, the melancholy more depressive. The most prominent twentieth century symphonies would continue in this "dramatic" vein.
The twentieth century
After Beethoven, there was a line of thought that argued that the genre of the symphony had reached a sort of end with Beethoven. For example, the Grove Dictionary of Music of 1889 wrote, "it might seem almost superfluous to trace the history of Symphony further after Beethoven.” In the same vein, Richard Wagner in his essay Opera and Drama (1852) alluded to Beethoven’s Ninth Symphony as “the very last work of its kind”. [31] Obviously, however, the genre of the symphony persisted throughout the nineteenth century, and still remained a prominent subject in the twentieth.
The genre of the symphony was largely an Austro-German phenomenon for most of its history (Berlioz, for example, was one of the very few Frenchmen composing symphonies in the nineteenth century). The “great symphonic tradition” as it were was passed primarily to the Russians of the twentieth century (of whom Dmitri Shostakovich is the most highly regarded). However, in the twentieth century, the symphony, for the first time, became a major worldwide phenomenon, with composers across the globe trying their hand at the genre which some nineteenth century commentators had called "dead" or "defunct".
Although some major orchestral composers of the twentieth century (such as Claude Debussy and Béla Bartók) never wrote a single symphony, there were many composers, in Europe and Russia as well as in Great Britain and America, who kept the idea of the symphony alive. Some of the most prominent composers who can be described as following in the tradition and spirit of the European symphony include: [32]
Alfred Schnittke (Russia), eight symphonies, 1972-1994
A full list of twentieth century composers of symphonies would consist of hundreds of names; yet no new symphony after Beethoven has gained the stature that his Ninth has, though almost two hundred years have now passed since it was written.
In the twentieth century (and beyond), the overall structure of the symphony remained as flexible as it had ever been. Symphonies, although generally structured in four movements, can, in fact, be structured according to the wishes of the composer. For example, Beethoven’s Sixth Symphony is in five movements, Mahler’s Eighth is in two movements, Shostakovich’s Fourteenth is in eleven movements, and Schnittke’s Fourth is structured as one movement. Symphonies can start or end fast or slow, and can consist, if the composer wishes, of all fast movements or all slow movements. The average performance time for a nineteenth and twentieth century symphony is around 35 to 40 minutes, but many symphonies (including all of Mahler's and many of Shostakovich’s) take over 50 minutes to perform. Some twentieth century symphonies hark back to the "program symphony" (e.g., Vaughan Williams's Sinfonia Antarctica), while others recall the manner of Haydn (e.g. Stravinsky's Symphony in C); some were written for children (Prokofiev’s Seventh Symphony) [33] , while others are more dark and troubled and "internal" than ever before, often representative of the disjointed, moment-by-moment shifting states of mind of the composer. At the end of the third movement of his Symphony No. 10, Shostakovich goes so far as to encode his initials in the melody (the sequence D, E-flat, C, B, in German notation, is represented as D, S, C, H). The slow movement of a symphony (specifically, the adagio) achieved new depths of gloom and mournfulness in the twentieth century, such as in Shostakovich’s Symphony No. 15 and Schnittke’s Symphony No. 6.
Just as music scholar Gerald Abraham refers to a European symphonic “line” from Schubert to Mahler [34] , so Alexander Ivashkin, world renowned cellist and music scholar, has written: “With Schnittke’s music we are possibly standing at the end of the great symphonic route from Mahler to Shostakovich.” [35]
Naming of symphonies
A symphony is generally referred to simply by its number, as “Symphony No. –”, but some symphonies have also been given names or subtitles by their composers, or nicknames by others, such as Haydn’s Symphony No. 94, the Surprise Symphony; Mozart’s Symphony No. 41, Jupiter; Schumann’s Third, Rheinische Symphonie; Mahler’s Second, Resurrection; Dvořák’s Ninth, From the New World; Shostakovich’s Seventh, Leningrad; and Schnittke’s Second, St. Florian. The name doesn’t take the place of the primary designation, i.e. “Symphony No. – ”, but stands alongside it. Some symphonies have only names, as with Liszt's Faust and Dante Symphonies, or Beethoven's Battle Symphony, which stands apart from his numbered ones.
The music of symphonies has entered popular culture, in everything from film scores to adaptations such as the disco hit A Fifth of Beethoven. As such, the public tends to remember a subtitle or nickname better than the formal title. Schubert's aforementioned Eighth Symphony is generally referred to as the Unfinished Symphony, while the fourth movement of Beethoven's Ninth Symphony is known by English speakers as the Ode to Joy, after the Goethe text which features in it.
Notes
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Which film star began life as Issur Danielovitch? | Kirk Douglas - Biography - IMDb
Kirk Douglas
Biography
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Jump to: Overview (3) | Mini Bio (2) | Spouse (2) | Trade Mark (3) | Trivia (84) | Personal Quotes (39) | Salary (6)
Overview (3)
5' 9" (1.75 m)
Mini Bio (2)
Cleft-chinned, steely-eyed and virile star of international cinema who rose from being "the ragman's son" (the name of his best-selling 1988 autobiography) to become a bona fide superstar, Kirk Douglas, also known as Issur Danielovitch Demsky, was born in Amsterdam, New York, in 1916. His parents, Bryna (Sanglel) and Herschel Danielovitch, were Jewish immigrants from Chavusy, Mahilyow Voblast (now in Belarus). Although growing up in a poor ghetto, Douglas was a fine student and a keen athlete and wrestled competitively during his time at St. Lawrence University. However, he soon identified an acting scholarship as a way out of his meager existence, and was sufficiently talented to gain entry into the American Academy of Dramatic Arts. He only appeared in a handful of minor Broadway productions before joining the US Navy in 1941, and then after the end of hostilities in 1945, returned to the theater and some radio work. On the insistence of ex-classmate Lauren Bacall movie producer Hal B. Wallis screen-tested Douglas and cast him in the lead role in The Strange Love of Martha Ivers (1946). His performance received rave reviews and further work quickly followed, including an appearance in the low-key drama I Walk Alone (1948), the first time he worked alongside fellow future screen legend Burt Lancaster . Such was the strong chemistry between the two that they appeared in seven films together, including the dynamic western Gunfight at the O.K. Corral (1957), the John Frankenheimer political thriller Seven Days in May (1964) and their final pairing in the gangster comedy Tough Guys (1986). Douglas once said about his good friend: "I've finally gotten away from Burt Lancaster. My luck has changed for the better. I've got nice-looking girls in my films now".
After appearing in "I Walk Alone", Douglas scored his first Oscar nomination playing the untrustworthy and opportunistic boxer Midge Kelly in the gripping Champion (1949). The quality of his work continued to garner the attention of critics and he was again nominated for Oscars for his role as a film producer in The Bad and the Beautiful (1952) and as tortured painter Vincent van Gogh in Lust for Life (1956), both directed by Vincente Minnelli . In 1955 Douglas launched his own production company, Bryna Productions, the company behind two pivotal film roles in his career. The first was as French army officer Col. Dax in director Stanley Kubrick 's brilliant anti-war epic Paths of Glory (1957). Douglas reunited with Kubrick for yet another epic, the magnificent Spartacus (1960). The film also marked a key turning point in the life of screenwriter Dalton Trumbo , who had been blacklisted during the McCarthy "Red Scare" hysteria in the 1950s. At Douglas' insistence Trumbo was given on-screen credit for his contributions, which began the dissolution of the infamous blacklisting policies begun almost a decade previously that had destroyed so many careers and lives.
Douglas remained busy throughout the 1960s, starring in many films,. He played a rebellious modern-day cowboy in Lonely Are the Brave (1962), acted alongside John Wayne in the World War II story In Harm's Way (1965), again with The Duke in a drama about the Israeli fight for independence, Cast a Giant Shadow (1966), and once more with Wayne in the tongue-in-cheek western The War Wagon (1967). Additionally, in 1963 he starred in an onstage production of Ken Kesey 's "One Flew Over The Cuckoo's Nest", but despite his keen interest, no Hollywood studio could be convinced to bring the story to the screen. However, the rights remained with the Douglas clan, and Kirk's talented son Michael Douglas finally filmed the tale in 1975, starring Jack Nicholson . Into the 1970s Douglas wasn't as busy as previous years; however, he starred in some unusual vehicles, including alongside a young Arnold Schwarzenegger in the loopy western comedy The Villain (1979), then with Farrah Fawcett in the sci-fi thriller Saturn 3 (1980) and then he traveled to Australia for the horse opera/drama The Man from Snowy River (1982).
Unknown to many, Kirk has long been involved in humanitarian causes and has been a Goodwill Ambassador for the US State Department since 1963. His efforts were rewarded in 1981 with the Presidential Medal of Freedom, and in 1983 with the Jefferson Award. Furthermore, the French honored him with the Chevalier of the Legion of Honor. More recognition followed for his work with the American Cinema Award (1987), the German Golden Kamera Award (1987), The National Board of Reviews Career Achievement Award (1989), an honorary Academy Award (1995), Recipient of the American Film Institute's Lifetime Achievement Award (1999) and the UCLA Medal of Honor (2002). Despite a helicopter crash and a stroke suffered in the 1990s, he remains active and continues to appear in front of the camera.
- IMDb Mini Biography By: firehouse44
Kirk Douglas is an American actor, producer, director, and author. After an impoverished childhood with immigrant parents and six sisters, he had his film debut in The Strange Love of Martha Ivers (1946) with Barbara Stanwyck. Douglas soon developed into a leading box-office star throughout the 1950s and 1960s, known for serious dramas, including westerns and war movies. During a sixty-year acting career, he has appeared in over 90 movies, and in 1960 was responsible for helping to end the Hollywood Blacklist.
In 1949, after a lead role as an unscrupulous boxing hero in Champion, for which he was nominated as Best Actor, Douglas became a star. His style of acting relied on expressing great concentration, realism, and powerful emotions, and he subsequently gravitated toward roles requiring strong characters. Among his early films were Young Man with a Horn, playing opposite Lauren Bacall (1950), Billy Wilder's controversial Ace in the Hole (1951), and Detective Story (1951). He received a second Oscar nomination for his dramatic role in The Bad and the Beautiful (1952), where he played opposite Lana Turner. His powerful acting performance as Vincent van Gogh in Lust for Life (1956) is considered one of his finest roles. He is among the last surviving stars from the Golden Age of Hollywood.
In 1955, he established Bryna Productions, which began producing films as varied as Paths of Glory (1957) and Spartacus (1960). In those two films, he starred and collaborated with then relatively unknown director, Stanley Kubrick. Douglas helped break the Hollywood blacklist by having Dalton Trumbo write Spartacus with an official on-screen credit, although Trumbo's family claims he overstated his role. He produced and starred in Lonely Are the Brave (1962), considered a cult classic, and Seven Days in May (1964), opposite Burt Lancaster, with whom he made seven films. In 1963, he starred in the Broadway play One Flew Over the Cuckoo's Nest, a story he purchased, which he later gave to his son Michael Douglas, who turned it into an Oscar-winning film.
As an actor and philanthropist, Douglas has received three Academy Award nominations, an Oscar for Lifetime Achievement, and the Medal of Freedom. As an author, he has written ten novels and memoirs. Currently, he is No. 17 on the American Film Institute's list of the greatest male screen legends of classic Hollywood cinema, and the highest-ranked living person on the list. After barely surviving a helicopter crash in 1991 and then suffering a stroke in 1996, he has focused on renewing his spiritual and religious life. He lives with producer Anne Buydens, his wife of over 60 years.
- IMDb Mini Biography By: Pedro Borges
Spouse (2)
Gravelly voice
Dimpled chin
Frequently played manipulative, angry and often cruel leading characters that bordered on unsympathetic but were always compelling
Trivia (84)
Ranked #53 in Empire (UK) magazine's "The Top 100 Movie Stars of All Time" list, October 1997.
Born Issur Danielovitch (also reported as Issur Danielovitch Demsky) to father Jacob Danielovitch, and mother Bryna, from Russia, who came to America in 1912.
Suffered a stroke in January 1996 that made it very difficult for him to talk. Speech therapy over the years greatly alleviated the problem.
Received the Presidential Medal of Freedom from President Jimmy Carter on 17th January 1981. This is the highest US honor a civilian can receive.
Earned $50,000 for saying the only English word at the end of a 1980s Japanese TV commercial: "Coffee".
Speaks German (fluently, but not accent-free) and also French.
He survived a helicopter crash on February 23, 1991, in which two fellow occupants were killed. He was left with a debilitating back injury.
Kirk has celebrated his Bar Mitzvah twice. Firstly, the typical 13 years of age, and secondly when he was 83 years old.
President Class Of 1939, St. Lawrence University, Canton, New York. Graduated with a degree in English.
Received a UCLA Medal of honor 14 June 2002 from the University of California, Los Angeles, during school's graduation ceremony for theater, film and television students. Previous recipients include former US Presidents Jimmy Carter and Bill Clinton , former Israeli Prime Minister Shimon Peres , and actors Laurence Olivier and Carol Burnett .
Granddaughter Carys Zeta Douglas born April 21, 2003.
Inducted into the Hall of Great Western Performers of the National Cowboy and Western Heritage Museum in 1984.
Father-in-law of Catherine Zeta-Jones .
Was originally cast to play Col. Sam Trautman in First Blood (1982), but walked out on the project. Douglas wanted substantial changes made to the script, specifically that John Rambo die at the hands of Trautman, like the character did in the novel. The writers held their ground and refused. Richard Crenna was eventually cast in the role.
He was voted the 36th Greatest Movie Star of all time by Entertainment Weekly.
He wore lifts in many of his films, which made him appear about 5' 11" or 6 feet on screen. Once, as a prank, Burt Lancaster found Douglas's lifts on a film set and hid them from him, which allegedly infuriated the shorter actor.
Douglas had a fully Jewish upbringing, but did not practice extensively as an adult. This changed when, on his 83rd birthday, he had a second Bar Mitzvah, reaffirming his faith and causing him to practice again.
Was named #17 greatest actor on The 50 Greatest Screen Legends list by the American Film Institute.
Had a pacemaker fitted after collapsing in a restaurant in August 1986.
President of jury at the Cannes Film Festival in 1980.
Member of the jury at the Cannes Film Festival in 1970.
He and Burt Lancaster acted together in 7 movies: Victory at Entebbe (1976), Tough Guys (1986), Seven Days in May (1964), The List of Adrian Messenger (1963), I Walk Alone (1948), Gunfight at the O.K. Corral (1957) and The Devil's Disciple (1959).
He had both knees replaced in 2005, against the advice of his doctors. The operation was a success.
After his son Michael Douglas was fired from the stage production of the play "Summer Tree", Kirk bought the stage and film rights to the story and gave it to Michael to star in.
Grandfather of 7 children: Cameron Douglas (b. 13 December 1978), Dylan Michael Douglas (b. 8 August 2000), Carys Zeta Douglas (b. 20 April 2003) (children of his son Michael Douglas ), Kelsey (b. 1992), Tyler (b. 1996), Ryan (b. 2000) and Jason (b. 2003) (children of his son Peter Douglas )
Former father-in-law of Diandra Douglas .
Appeared in a stage production of "One Flew Over the Cuckoo's Nest" and later bought the film rights. He didn't make a movie of it and eventually turned the rights over to his son Michael Douglas , who was able to secure financing and produce the film, One Flew Over the Cuckoo's Nest (1975).
If he had not heeded wife Anne Douglas 's advice, he would have been on producer Michael Todd 's private plane in 1958 when it crashed and killed all on-board. Todd's wife Elizabeth Taylor was also scheduled to be on the plane but canceled due to a bad cold.
Met his German wife-to-be, Anne Douglas , when she applied for a job as his assistant on the French location shoot for the movie Act of Love (1953).
He was awarded the American National Medal of Arts in 2001 from the National Endowment of the Arts.
He lived in Palm Springs, CA, for more than 40 years. In October 2005 the city honored him by naming a lushly-landscaped drive "Kirk Douglas Way". It winds around part of Palm Springs International Airport. A lavish ceremony and party was given by the Palm Springs International Film Society and International Film Festival and was attended by the actor, his wife Anne Douglas and their three surviving sons. His son Joel, also a Palm Springs resident, was responsible for the campaign.
Gave up his two- to three-pack-a-day cigarette habit in 1950. His father later died from lung cancer in 1955, at the age of 72.
In 1955 he was among the first actors to set up a personal production company, Bryna Productions, after the first name of his mother.
He and his wife Anne Douglas renewed their wedding vows in California around the 50th anniversary of their 1954 marriage. They reaffirmed their vows before 300 friends and family members at the famous Greystone Estate in Beverly Hills. Guests included Dan Aykroyd , Lauren Bacall , Nancy Reagan and Tony Curtis . Douglas walked into the traditional Jewish ceremony to the tune of "I'm In The Mood For Love" and later sang a tune he'd written for the occasion, "Please Stay In Love With Me".
Attended the state funeral of former President Ronald Reagan , with Charlton Heston , Tom Selleck and California Governor Arnold Schwarzenegger , on June 11, 2004.
Helped break the Hollywood blacklist by hiring Dalton Trumbo , a member of the "Hollywood Ten", to write the screenplay for Spartacus (1960). Despite widespread criticism from many in the industry, including John Wayne and Hedda Hopper , Douglas refused to back down and Trumbo received screen credit under his own name. When presenting Douglas with an honorary Oscar for lifetime achievement at The 68th Annual Academy Awards (1996), Steven Spielberg publicly thanked Douglas for his courage. However, Otto Preminger had already broken the blacklist by hiring Trumbo for Exodus (1960). Trumbo's family publicly said that Douglas greatly exaggerated his role in breaking the blacklist.
Attended the premiere of Basic Instinct (1992), which starred his son, Michael Douglas .
Fell out with his close friend, former President Jimmy Carter , over Carter's 2006 book "Palestine: Peace Not Apartheid".
His idol was President Harry S. Truman .
Confirmed his retirement from acting after making Illusion (2004), although he did act in one more film, Empire State Building Murders (2008), and has had numerous appearances (as himself) on entertainment and gossip programs, and in documentaries.
While filming The War Wagon (1967) in September 1966, Douglas enraged his co-star John Wayne by recording a television advertisement for Edmund G. Brown , the Democratic Governor of California, after Wayne had recorded an advertisement for Republican challenger Ronald Reagan .
Admitted he made The Big Trees (1952) for nothing just to get out of his contract with Warner Bros. He later said, "It was a terrible movie.".
In his last book, "Let's Face It: 90 Years of Living, Loving and Learning", he expressed regret at turning down William Holden 's Oscar-winning role in Stalag 17 (1953), Stephen Boyd 's role in The Fall of the Roman Empire (1964), and Lee Marvin 's Oscar-winning role in Cat Ballou (1965).
He was a close friend of Jack Valenti .
He was originally cast in John Wayne 's role in Sands of Iwo Jima (1949), but pulled out in order to make Champion (1949).
His star on the Hollywood Walk of Fame is at 6263 Hollywood Blvd.
Is an avid user of the Internet and is registered with MySpace.
Best of friends with Karl Malden (who was also very close with his son Michael Douglas , with whom he co-starred on The Streets of San Francisco (1972)). After Malden died in 2009, Douglas remarked that their acquaintance was the longest he had with anyone in his life, lasting 70 years.
Made his stage debut in 1942.
He was not close friends with Burt Lancaster as was often perceived. The closeness of their friendship was largely fabricated by the publicity-wise Douglas, while, in reality, they were very competitive with each other and sometimes privately expressed a mutual personal disdain despite a mutual respect for their acting talents.
Speaks French.
Co-hosted (with Cass Elliot ) the release party for folk-rocker Donovan 's 1969 "Barabajagal" album, posing for photos with Donovan and Elliot. He described Donovan as "not just a gentleman, but a gentle man".
His acting mentor was Gary Cooper .
Release of his book, "Let's Face It: 90 Years of Living, Loving and Learning" in 2007, at the age of 91. [2007]
Release of his book, "The Gift" in 1992. [1992]
Release of his book, "Climbing the Mountain: My Search for Meaning", in 1997, at the age of 81. [1997]
Release of his book, "The Ragman's Son: An Autobiography" published in 1988, and which was also a tribute to his father, who had died in 1950. The book spent many weeks on the New York Times bestseller's list, including several weeks at number one. [1988]
Release of his book, "Last Tango in Brooklyn," published in 1984. [1994]
Release of his book, "My Stroke of Luck," published in 2002. [2002]
Release of his book, "Dance with the Devil," published in 1990. [1990]
Lonely Are the Brave (1962) is his personal favourite film.
He rejected a key role in The Great Sinner (1949) to star in Champion (1949). He was replaced by Melvyn Douglas .
According to Burt Lancaster in 1987 at the American Academy of Dramatic Arts tribute to Douglas: "Kirk would be the first person to tell you he's a very difficult man." After a pause he added, " And I would be the second.".
Douglas' father changed the family name from Danielovich to Demsky.
Broadway play. Succeeded Richard Widmark in "Trio.". [1945]
Hedda Hopper told him after he became a star with Champion (1949), "Now that you're a big hit, you've become a real S.O.B." Douglas replied," You're wrong. I was always an S.O.B. You just never noticed before.".
Hal B. Wallis tested him for a role in what would be his film debut in The Strange Love of Martha Ivers (1946) after a recommendation by friend Lauren Bacall .
Douglas wrote his autobiography without the help of a ghostwriter - very unusual for a Hollywood bio.
Was signed to play Gabey in On the Town (1949) but had to be replaced because he suffered from a case of psychosomatic laryngitis.
He got out of his contract with Warner Bros. by offering to star in any picture they chose for no salary. The picture was The Big Trees (1952).
Broadway play. "The Wind Is Ninety" as the Unkown Soldier of World War I. Directed by Ralph Nelson. (6/21/1945). [1945]
Broadway play "Raincheck for Joe" closed during rehearsals. [1945]
When he was contacted by MGM to replace Ricardo Montalban in The Story of Three Loves (1953) because of his box-office power, he refused until he discussed it with Montalban, who was in training for the role. Although Montalban felt appreciative of Douglas' concern for him, he understood Metro's position and surrendered the role.
After winning a scholarship to the American Academy of Dramatic Arts, he found work as a waiter at Schraft's on 86th Treet and Broadway. Among the other aspiring actors working there was John Forsythe.
Douglas claims that painter Marc Chagall asked the actor to play him in a filmography, but the actor turned him down after the rigors of playing painter Vincent Van Gogh in Lust for Life (1956).
Although he played Ernest Borgnine 's son in The Vikings (1958), he was six weeks his senior in real life.
Cowboy Stan Polson, owner of the Apple Valley Stables, taught Kirk Douglas how to ride a horse for Douglas's role in his first western, "Along the Great Divide".
Is portrayed by Dean O'Gorman in Trumbo (2015).
Publicly called for more gun control in the United States in June 2013.
His claim to have broken the blacklist by hiring Dalton Trumbo to write the screenplay for Spartacus (1960) was publicly disputed by Trumbo's son and daughter, as well as the film's producer Edward Lewis and Howard Fast 's children.
Douglas claimed to be 5'11" at his peak. However he was well known for wearing lifts and many sources say his peak height was 5'8".
He released this statement for the release of Trumbo (2015): "As actors it is easy for us to play the hero. We get to fight the bad guys and stand up for justice. In real life, the choices are not always so clear. The Hollywood Blacklist, recreated powerfully on screen in Trumbo, was a time I remember well. The choices were hard. The consequences were painful and very real. During the blacklist, I had friends who went into exile when no one would hire them; actors who committed suicide in despair. My young co-star in Detective Story (1951), Lee Grant , was unable to work for twelve years after she refused to testify against her husband before the House Un-American Activities Committee. I was threatened that using a Blacklisted writer for Spartacus (1960) - my friend Dalton Trumbo - would mark me as a "Commie-lover" and end my career. There are times when one has to stand up for principle. I am so proud of my fellow actors who use their public influence to speak out against injustice. At 98 years old, I have learned one lesson from history: It very often repeats itself. I hope that Trumbo, a fine film, will remind all of us that the Blacklist was a terrible time in our country, but that we must learn from it so that it will never happen again.".
Personal Quotes (39)
I've finally gotten away from Burt Lancaster . My luck has changed for the better. I've got nice-looking girls in my films now.
Virtue is not photogenic. What is it to be a nice guy? To be nothing, that's what. A big fat zero with a smile for everybody.
I've made a career of playing sons of bitches.
In order to achieve anything you must be brave enough to fail.
I came from abject poverty. There was nowhere to go but up.
Making movies is a form of narcissism.
People are always talking about the old days. They say that the old movies were better, that the old actors were so great. But I don't think so. All I can say about the old days is that they have passed.
I have always told my sons that they didn't have my advantages of being born into abject poverty.
I think half the success in life comes from first trying to find out what you really want to do. And then going ahead and doing it.
Life is like a B-picture script! It is that corny. If I had my life story offered to me to film, I'd turn it down.
If you want to know about a man you can find out an awful lot by looking at who he married.
My kids never had the advantage I had. I was born poor.
I want my sons to surpass me, because that's a form of immortality.
If the good guy gets the girl, it's rated PG; If the bad guy gets the girl, it's rated R; and if everybody gets the girl, it's rated X.
[December 9, 2006] My name is Kirk Douglas. You may know me. If you don't . . . Google me. I was a movie star and I'm Michael Douglas ' dad, Catherine Zeta-Jones ' father-in-law, and the grandparents of their two children. Today I celebrate my 90th birthday. I have a message to convey to America's young people. A 90th birthday is special. In my case, this birthday is not only special but miraculous. I survived World War II, a helicopter crash, a stroke, and two new knees. It's a tradition that when a "birthday boy" stands over his cake he makes a silent wish for his life and then blows out the candles. I have followed that tradition for 89 years but on my 90th birthday, I have decided to rebel. Instead of making a silent wish for myself, I want to make a loud wish for The World. Let's face it: The World is in a mess and you are inheriting it. Generation Y, you are on the cusp. You are the group facing many problems: abject poverty, global warming, genocide, AIDS and suicide bombers, to name a few. These problems exist and the world is silent. We have done very little to solve these problems. Now we leave it to you. You have to fix it because the situation is intolerable. You need to rebel, to speak up, write, vote, and care about people and the world you live in. We live in the best country in the world. I know. My parents were Russian immigrants. America is a country where EVERYONE, regardless of race, creed, or age has a chance. I had that chance. You are the generation that is most impacted and the generation that can make a difference. I love this country because I came from a life of poverty. I was able to work my way through college and go into acting, the field that I love. There is no guarantee in this country that you will be successful. But you always have a chance. Nothing should interfere with it. You have to make sure that nothing stands in the way. When I blow out my candles - 90! . . . it will take a long time . . . but I'll be thinking of you.
I did four movies with [ John Wayne ]. We were a strange combination. He was a Republican and I was a Democrat. We argued all the time.
[on Michael Moore 's interview with Charlton Heston in Bowling for Columbine (2002)] I cannot forgive the way he treated Charlton Heston . Even if I don't agree with much of Heston's politics, Chuck is a gentleman. He agreed to have an interview with Moore, and Moore took advantage of the situation and made Chuck look foolish. He had been invited to Heston's home and he was treated with courtesy. I winced when I saw the expression on Chuck's face change as he realized that he had been duped. And yet he remained a gentleman and dismissed the interloper with grace.
[on John Wayne ] John Wayne was a star because he always played John Wayne. Frankly, he wasn't an excellent actor, but good heavens, what a star! It wasn't John Wayne who served the roles; the roles served John Wayne.
[on Linda Darnell ] Linda Darnell is the most unspoilt star on the screen -- and also the most beautiful.
[on Doris Day ] That face she shows the world -- smiling, only talking good, happy, tuned into God -- as far as I'm concerned, that's just a mask. I haven't a clue as to what's underneath. Doris is just about the remotest person I know.
I've always believed virtue is not photogenic, and I think I've always been attracted to a part, uh, I'd rather play the *evil* character, most of the time, than the nice fella. And I think it really *bothered* my mother, because she would tell people, "You know, my son's not like that, he's really a nice boy!"
It isn't a manly profession. It's a childish profession. You couldn't be a complete, grown-up adult and be an actor . . . I mean, if I were a sophisticated adult, how could I say, "Here I am, fighting evil, represented by Yul Brynner "? You have to have a childish part of you! It's true! You know, I watch as my kids have grown up, I've watched, them, you know. Children are natural actors; they pretend they're cops and robbers, and I think all actors retain a certain amount of that within themselves. They have to, or they can't function as actors. And that's why they become self-deprecating. They think, well, it's not
Senator McCarthy was an awful man who was finding Communists all over the country. He blacklisted the writers who wouldn't obey his edict. The heads of the studios were hypocrites who went along with it. My company produced Spartacus, written by Dalton Trumbo , a blacklisted writer, under the name Sam Jackson. Too many people were using false names back then. I was embarrassed. I was young enough to be impulsive, so even though I was warned against it, I used his real name on the screen.
[on the death of Tony Curtis ]: Tony Curtis was one of the best-looking guys in Hollywood. He was often described as beautiful, but he was also a fine actor. I worked with Tony in The Vikings (1958) and in Spartacus (1960), and we were friends for a long time. What I will miss most about him is his sense of humor. It was always fun to be with him.
You have to leave your country to get a perspective, to see what makes America great. Now I can say that nowhere in the world is there a match for what we have in Hollywood.
When you become a star, you don't change. Everyone else does.
[on Paths of Glory (1957)] A truly great film with a truly great theme: the insanity and brutality of war. As I predicted, it made no money.
[asked who his favorite director was] I would NEVER do that. I've enjoyed working with Wilder, Wyler, Mankiewicz. Hawks, Kazan. I did three films with Minelli and got nominated for two of them - but I could never name just one director.
[2011, on Anne Hathaway ] She's gorgeous! Wow! Where were you when I was making pictures?
[to ABILITY Magazine] You see, when a person becomes disabled, often their family starts thinking, "Oh dear, don't move, let me get that for you". Once I told my wife that I thought I wanted breakfast in bed the next morning, she said the old joke, "If you want breakfast in bed, sleep in the kitchen."
I can't tell you how many times someone has said, "I've heard you're such an S.O.B.I'll say, 'Who said that?' Ninety percent of the time, it;s someone with whom I've never worked.
[In his autobiography] I think that... I am unfairly given credit for Michael's talents, as if he had only my genes. Diana is a talented actress, and Michael has inherited from both of us. My wife and I see Diana and her husband, Bill Darrid, often... and have a pleasant relationship with them
Why is it that often the people you do the most for resent you the most? Maybe you remind them of their weaknesses. The hell with them!
I'm too old to change. Like Popeye, "I yam what I yam." Love me or hate me, just don't be indifferent.
I've never tried to win popularity contests. I've always been blunt - never hesitated about expressing myself.
Let's face it - the world is a mess and he young people will inherit this mess. We should do all we can to help deal with it. That's why I wrote the book "Let's Face It" and dedicated to the young people. I try, with humor, to help them navigate through what lies ahead. But the reality is, he problems they face are not very funny.
We are the strongest country in the world. We are the richest. We must take self-inventory. We must look less into the stars and planets in the heavens and more into ourselves. What can we do to make our country better? To earn back the respect we used to have?
[The Mike Wallace Interview, 1957] Well then you don't understand what acting really is. And of course, that would be quite a long conversation to go into. I mean acting is an interpretive art. I mean you may hear Heifetz play the violin. He didn't write the piece, but oh, how he plays it. That's what's wonderful. That's what an actor tries to do. He may not have written the piece, but what he wants to do is interpret it.
(In answer to MIke Wallace's statement; "but you're reading somebody else's words. Somebody else is telling you what to do, where to go, how to stand, what to say.")
I often played the good cowboy on screen, riding in to save the day. Now, everybody thinks he is a cowboy too. That frightens me. We have become a cowboy country with too many guns. I cannot understand the people who are against some form of gun control. They should be the first to welcome a message on making it more difficult to get a gun. Many of them seem to propose more guns being available to everybody. Why? Are they interested in making more money for the gun manufacturers? Are they politicians who just want to oppose the president in anything he endorses? It's incomprehensible to me. (2013)
Salary (6)
| Kirk Douglas |
Which character was once played by Ken Morley in Coronation Street? | Actor Kirk Douglas. Biography and Filmography Kirk Douglas. Buy movies Kirk Douglas
9 December 1916 Amsterdam, New York, USA
Height:
5' 9" (1.75 m)
Cleft-chinned, steely-eyed and virile star of international cinema who rose from being "the ragman's son" (the name give to his best-selling 1988 autobiography) of Russian-Jewish ancestry to become a bona fide superstar, Kirk Douglas, also known as Issur Danielovitch Demsky, was born in Amsterdam, New York, in 1916. Although growing up in a poor ghetto, Douglas was a fine student and a keen athlete and wrestled competitively during his time at St. Lawrence University. However, he soon identified an acting scholarship as a way out of his meager existence, and was sufficiently talented to gain entry into the American Academy of Dramatic Arts. He only appeared in a handful of minor Broadway productions before joining the US Navy in 1941, and then after the end of hostilities in 1945, returned to the theater and some radio work. On the insistence of ex-classmate Lauren Bacall movie producer Hal B. Wallis screen-tested Douglas and cast him in the lead role in The Strange Love of Martha Ivers (1946). His performance received rave reviews and further work quickly followed, including an appearance in the low-key drama I Walk Alone (1948), the first time he worked alongside fellow future screen legend Burt Lancaster. Such was the strong chemistry between the two that they appeared in seven films together, including the dynamic western Gunfight at the O.K. Corral (1957), the John Frankenheimer political thriller Seven Days in May (1964) and their final pairing in the gangster comedy Tough Guys (1986). Douglas once said about his… Show more »
Cleft-chinned, steely-eyed and virile star of international cinema who rose from being "the ragman's son" (the name give to his best-selling 1988 autobiography) of Russian-Jewish ancestry to become a bona fide superstar, Kirk Douglas, also known as Issur Danielovitch Demsky, was born in Amsterdam, New York, in 1916. Although growing up in a poor ghetto, Douglas was a fine student and a keen athlete and wrestled competitively during his time at St. Lawrence University. However, he soon identified an acting scholarship as a way out of his meager existence, and was sufficiently talented to gain entry into the American Academy of Dramatic Arts. He only appeared in a handful of minor Broadway productions before joining the US Navy in 1941, and then after the end of hostilities in 1945, returned to the theater and some radio work. On the insistence of ex-classmate Lauren Bacall movie producer Hal B. Wallis screen-tested Douglas and cast him in the lead role in The Strange Love of Martha Ivers (1946). His performance received rave reviews and further work quickly followed, including an appearance in the low-key drama I Walk Alone (1948), the first time he worked alongside fellow future screen legend Burt Lancaster. Such was the strong chemistry between the two that they appeared in seven films together, including the dynamic western Gunfight at the O.K. Corral (1957), the John Frankenheimer political thriller Seven Days in May (1964) and their final pairing in the gangster comedy Tough Guys (1986). Douglas once said about his good friend: "I've finally gotten away from Burt Lancaster. My luck has changed for the better. I've got nice-looking girls in my films now".After appearing in "I Walk Alone", Douglas scored his first Oscar nomination playing the untrustworthy and opportunistic boxer Midge Kelly in the gripping Champion (1949). The quality of his work continued to garner the attention of critics and he was again nominated for Oscars for his role as a film producer in The Bad and the Beautiful (1952) and as tortured painter Vincent van Gogh in Lust for Life (1956), both directed by Vincente Minnelli. In 1955 Douglas launched his own production company, Bryna Productions, the company behind two pivotal film roles in his career. The first was as French army officer Col. Dax in director Stanley Kubrick's brilliant anti-war epic Paths of Glory (1957). Douglas reunited with Kubrick for yet another epic, the magnificent Spartacus (1960). The film also marked a key turning point in the life of screenwriter Dalton Trumbo, who had been blacklisted during the McCarthy "Red Scare" hysteria in the 1950s. At Douglas' insistence Trumbo was given on-screen credit for his contributions, which began the dissolution of the infamous blacklisting policies begun almost a decade previously that had destroyed so many careers and lives.Douglas remained busy throughout the 1960s, starring in many films,. He played a rebellious modern-day cowboy in Lonely Are the Brave (1962), acted alongside John Wayne in the World War II story In Harm's Way (1965), again with The Duke in a drama about the Israeli fight for independence, Cast a Giant Shadow (1966), and once more with Wayne in the tongue-in-cheek western The War Wagon (1967). Additionally, in 1963 he starred in an onstage production of Ken Kesey's "One Flew Over The Cuckoo's Nest", but despite his keen interest, no Hollywood studio could be convinced to bring the story to the screen. However, the rights remained with the Douglas clan, and Kirk's talented son Michael Douglas finally filmed the tale in 1975, starring Jack Nicholson. Into the 1970s Douglas wasn't as busy as previous years; however, he starred in some unusual vehicles, including alongside a young Arnold Schwarzenegger in the loopy western comedy The Villain (1979), then with Farrah Fawcett in the sci-fi thriller Saturn 3 (1980) and then he traveled to Australia for the horse opera/drama The Man from Snowy River (1982).Unknown to many, Kirk has long been involved in humanitarian causes and has been a Goodwill Ambassador for the US State Department since 1963. His efforts were rewarded in 1981 with the Presidential Medal of Freedom, and in 1983 with the Jefferson Award. Furthermore, the French honored him with the Chevalier of the Legion of Honor. More recognition followed for his work with the American Cinema Award (1987), the German Golden Kamera Award (1987), The National Board of Reviews Career Achievement Award (1989), an honorary Academy Award (1995), Recipient of the American Film Institute's Lifetime Achievement Award (1999) and the UCLA Medal of Honor (2002). Despite a helicopter crash and a stroke suffered in the 1990s, he remains active and continues to appear in front of the camera.
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What was the name of the princess in The Sleeping Beauty? | Sleeping Beauty | Disney Princess Wiki | Fandom powered by Wikia
Budget
$8.5 million USD
Sleeping Beauty is the 1959 full length animated feature production from Walt Disney Studios. It is the third film to feature and official Disney princess.
Contents
[ show ]
Summary
When Maleficent curses Princess Aurora at birth, the three good fairies hide her, but the faintest hops is that, "with true love's kiss, the spell shall break."
Princess Aurora is named after the Roman goddess of the dawn "because she fills her father and mother's lives with sunshine." While still an infant, She is betrothed to the equally-young Prince Phillip (their parents want to unite their respective kingdoms under a marriage between Aurora and Phillip ). At her christening, the good fairies Flora (dressed in red), Fauna (in green) and Merryweather (in blue) arrive to bless her. Flora gives her the gift of beauty, which is described in a song as "gold of sunshine in her hair" and "lips that shame the red, red rose." Fauna gives her the gift of song. At this point, Maleficent, the film's villain and mistress of all evil, appears on the scene. Claiming to be upset at not being invited to Aurora's christening ceremony, she curses the princess to die when she pricks her finger on a spinning wheel's spindle before the sun sets on her sixteenth birthday. Fortunately, Merryweather has not yet blessed Aurora, so she uses her blessing to change Maleficent's curse, so Aurora will not die when she pricks her finger; instead, she will fall asleep until she is awakened by True Love's Kiss. Knowing Maleficent is extremely powerful and will stop at nothing to see her curse fulfilled, the three good fairies take Aurora to live with them in the woods, where they can keep her safe from any harm until she turns sixteen and the curse is made void. To fully protect her, they even change her name to Briar Rose to conceal her true identity.
Rose grows into a very beautiful woman, with sunshine golden blonde hair, rose-red lips, violet eyes, and a beautiful singing voice. She is raised in a cottage in the forest by the three fairies, whom she believes are her aunts. One day, while out picking berries, she sings to entertain her animal friends; her angelic voice gains the attention of Prince Phillip, who had grown into a handsome young man and is out riding in the woods. When they meet, they instantly fall in love. Realizing that she has to return home, Aurora flees from Phillip without ever learning his name. Despite promising to meet him again, she is unable to return, as her "aunts" choose that time to reveal the truth of her birth to her and to tell her that she is betrothed to a prince named Phillip. They then take Rose to her parents.
Meanwhile, Phillip returns home telling his father about a peasant girl he met and wishes to marry in spite of his prearranged marriage to Princess Aurora. King Hubert tries to convince Phillip to marry the princess instead of a peasant girl, but fails.
The good fairies and Aurora return to the castle. Unfortunately, Maleficent uses her magic to lure Aurora away from her chambers and up into the tallest tower of the castle, where a spinning wheel awaits her. Fascinated by the wheel, she touches the spindle, pricking her finger. As had been foretold by the curse, Aurora is put under a sleeping spell. The good fairies place Aurora on her bed with a red rose in her hand, and cause a deep sleep to fall over the entire kingdom until they can find a way to break the curse. They realize the answer is Phillip, but he has been kidnapped by Maleficent to prevent him from kissing Aurora and waking her up. The three good fairies sneak into Maleficent's lair, aid the prince in escaping and explain to him the story of Maleficent's curse. Armed with a magic sword and shield, Phillip battles Maleficent when the sorceress turns herself into a gigantic fire-breathing dragon. He flings the sword, plunging it into the dragon's heart and killing her. Phillip climbs into Aurora's chamber, and removes the curse with a kiss.
As the film ends, the two royals arrive at the ballroom, where Aurora is happily reunited with her parents. Then, Aurora dances together with Phillip, happy to each learn that their betrothed and their beloved are one and the same.
Plot
After many childless years, King Stefan and Queen Leah happily welcome the birth of their daughter, the Princess Aurora. They proclaim a holiday for their subjects to pay homage to the princess, and at the gathering for her christening she is betrothed to Prince Phillip, the young son of Stefan's friend King Hubert, so that their kingdoms will always be united. Among the guests are three good fairies called Flora, Fauna, and Merryweather, who have come to bless the child with gifts, beauty and song. Before Merryweather is able to give her blessing, the evil fairy Maleficent appears, only to be told she was unwanted. Maleficent turns to leave, but when Queen Leah asks if she's offended, the evil fairy curses the princess, proclaiming that Aurora will grow in grace and beauty, but before the sun sets on her sixteenth birthday, she will prick her finger on the spindle of a spinning wheel and die. Merryweather uses her blessing to alter the curse so that instead of dying, Aurora will fall into a deathlike sleep from which she can only be awakened by true love's kiss. King Stefan, still fearful for his daughter's life, orders all spinning wheels in the kingdom to be burned. The fairies don't believe that will be enough to keep Aurora safe, and so they spirit baby Aurora away to a woodcutter's cottage in the forest until the day of her sixteenth birthday. Years later, Aurora, renamed Briar Rose, has grown into a beautiful teenage girl. On the day of her sixteenth birthday, the three fairies ask Rose to gather berries in the forest so they can prepare a surprise party for her. While singing in the forest, Rose attracts the attention of Prince Phillip, now a handsome young man. They instantly fall in love, unaware of being betrothed years ago. Rose asks Phillip to come to her cottage that evening. While she is out, Flora and Merryweather argue about the color of Aurora's ball gown. They fight, attracting the attention of Maleficent's raven and revealing the location of Aurora. Back at home, the fairies tell Aurora the truth about her heritage, and she can't meet him again. Heartbroken, she leaves the room. Meanwhile, Phillip tells his father of a peasant girl he met and wishes to marry in spite of his prearranged marriage to Princess Aurora. King Hubert fails to convince him otherwise, leaving Hubert in equal disappointment. The fairies take Aurora back to the castle. Maleficent then appears and magically lures Aurora away from the fairies and tricks the princess into touching an enchanted spinning wheel. Aurora pricks her finger, completing the curse. The good fairies place Aurora on a bed in the highest tower and place a powerful spell on all the people in the kingdom, causing them to fall in a deep sleep until the spell on their princess is broken. From King Hubert's conversation with King Stefan, the fairies realize that Prince Phillip is the man with whom Aurora has fallen in love. However, he is kidnapped by Maleficent. She shows Phillip the peasant girl he fell in love with is the now-sleeping princess. She tells him she plans to keep him locked away until he's an old man on the verge of death, then release him to meet his love, who won't have aged a single day. The fairies find and release the prince, arming him with the magical Sword of Truth and the Shield of Virtue. Maleficent tries to stop Phillip with thorns but fails. She then transforms into a gigantic dragon to battle the prince herself. Ultimately, Phillip throws the sword, blessed by the fairies' magic, directly into Maleficent's heart, causing her to fall to her death. Phillip awakens Aurora with a kiss, breaking the spell and wakes everyone in the palace. The royal couple descends to the ballroom, where Aurora is happily reunited with her parents. Flora and Merryweather resume their argument over the color of Aurora's Dress, even changing its color as Aurora wears it while dancing with Phillip. Princess Aurora and Prince Phillip live happily ever after.
Cast
Once Upon a Dream (Reprise)
Trivia
When Maleficent reveals Aurora's body to the good fairies, Aurora is drawn to appear as if her neck was broken. In later shots, her neck is stable.
Briar Rose is another name given to Sleeping Beauty and appears in the German version of the story.
Instead of a certain day, Maleficent's curse has a 16-year time period to be fulfilled.
Although there are no blatantly comical characters in the movie (like the mice in Cinderella) the parents of the Princess Aurora and Prince Phillip serve as mild comic relief. Including parents in the film was also an unusual addition.
Aurora is one of the seven Princesses of Heart in the popular Square Enix game Kingdom Hearts , and Maleficent is a villain in all three Kingdom Hearts games. The good fairies appear in Kingdom Hearts II, giving Sora new clothes.
Aurora's mother, the queen as a character, has no name credited to her. The only version of the story which gives her a name is a 1993 adaptation by A.L. Singer, where she is named Queen Leah.
The movie was quite similar to Rich Animation Studio's animated film "The Swan Princess", which had a princess cursed by a sorcerer (just like Maleficent cursed Aurora). In the end, the princess died temporarily (like Aurora fell in a deep sleep) and a prince saved her by killing the sorcerer, whom had turned into a huge bat (just like Maleficent morphed into a dragon and Prince Phillip killed her and saved the princess with "True Love's Kiss").
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Who was the compere for the first National Lottery draw in 1994? | List of Disney Princesses | Disney Princess Wiki | Fandom powered by Wikia
List of Disney Princesses
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Disney Princess is a media franchise owned by The Walt Disney Company, originally created by Disney Consumer Products chairman Andy Mooney in the late 1990s and officially launched in 2000. The original eight princesses consisted of Snow White , Cinderella , Aurora , Ariel , Belle , Jasmine , Pocahontas , and Mulan. The franchise spotlights a line-up of fictional female heroines who have appeared in Disney animated feature films. The franchise currently includes eleven female protagonists from ten different Walt Disney Animation Studios films and one Pixar film, each of whom is either royal by birth, royal by marriage, or considered a "princess" due to her significant portrayal of heroism.
Most recently, the line-up has expanded to include Tiana , Rapunzel and Merida after the successes of their respective films. Princess Moana from the movie Moana is expected to join the line-up.
The Disney Princesses are featured in a wide variety of merchandise, appearing in anything from various sing-a-long movies, dolls and other toys to bed linens, clothing and toiletries (such as hairbrushes and toothpaste). The Princesses are also prominently featured at the Disney theme parks.
Since 2013, with the exception of those created after the Disney Renaissance, the Princesses have been showcased in their enhanced and modified/redesigned outfits (excluding Ariel and Mulan), instead of the actual garments that they wear in their respective movies.
Contents
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Requirements to be a "Disney Princess"
Each Official Disney Princess must meet the following requirements: A) has a primary role in a Disney animated feature film, B) is human or mostly human-like (e.g. Ariel), and C) does not appear primarily in a sequel. The actual title of Princess (or equivalent) is not necessary, but certainly helps.
Facts pertaining to the original fairy tales upon which the films are based are irrelevant to the versions appearing in the franchise.
The Princesses themselves, despite appearing in separate films, have distinct similarities. Most Princesses have the common ability to communicate with animals (even if the animals do not actually talk back). They are also known for their inner and outer beauty, as well as having beautiful singing voices (the exception to this is Merida , who only sings a song with her mother when she is little). Each Princess (excluding Merida and Elsa ) also has a romance that is resolved by the end of the film; the male counterparts are known as Disney Princes.
The Princesses can also be grouped depending on what era their films debuted. The "original" three ( Snow White , Cinderella and Aurora ), are quiet, classy, graceful and romantic daydreamers; they play more of a "damsel in distress" role and suffer from the actions caused by others. They hold an inner strength through compassion, love, kindness and (particularly with Snow White) a strong sense of resilience.
During the Disney Renaissance Era, which started with The Little Mermaid in 1989 and ended in 2000, the heroines in Disney feature films became more active than reactive and included Ariel , Belle , Jasmine , Pocahontas and Mulan . These women were strong-willed, adventurous, feisty, cunning and determined. They were less interested in finding love and more interested in finding adventure and freedom. The Renaissance Princesses also existed in worlds that were more self-aware of the changing roles of women. For example, in The Little Mermaid, the villainess Ursula assures Ariel that she won't need her voice on land as men prefer silent women; Belle, from Beauty and the Beast , is told by Gaston that "it's not right for a woman to read." And Mulan, who joins an army under the guise of a man, must listen to her peers extol masculine traits, while describing an ideal wife who is pretty, obedient and a good cook.
The latest Princesses were created within the past decade and are more modern. Tiana from The Princess and the Frog is a young woman who doesn't rely on magic and knows that it takes hard work to reach one's goals; Rapunzel from Tangled , however, is more idealistic and isn't afraid to go after what she wants.
Why Some Disney Females are not a "Disney Princess"
Some female protagonists, even those that hold the "princess" title, may not be included in the official line-up for the following reasons: they are not marketable, their film did poorly at the box office (e.g. Kida from Atlantis), they are too young (e.g. Sofia from "Sofia the First".), or she is not human (e.g. Nala from The Lion King ). Or in the case of Anna and Elsa their franchise is so successful that it's not necessary to add them to Disney Princess. Some have made theories and assumptions that the popularity and recognition that both Anna and Elsa have been constantly receiving, would overshadow the rest of the members of the franchise.
Official Princesses
Each of the following 11 women has been certified as an "Official Disney Princess." Some were born into the title (e.g. Aurora , Merida ), some married the son of a king (e.g. Cinderella ), some married a Reigning Prince (e.g. Belle ), and some correspond to an equivalent title (e.g. Chieftain's Daughter and Sultan's Daughter ). So far, the one exception to these rules is Mulan ; she is currently the only Official Disney Princess who neither comes from a royal bloodline nor marries into royalty.
Born into Royalty: Snow White , Aurora , Ariel , Jasmine (as a Sultan's daughter), Rapunzel , and Merida . Pocahontas is considered to be of royal heritage, as she is the daughter of a chief and therefore considered Native American royalty by the English. Elena is also of royal lineage, though she has yet to be officially inducted as a Disney Princesse.
Royal by Marriage: Cinderella , Belle , and Tiana become royalty by marriage.
Not Royal: Mulan is royal by neither birth nor marriage, but is still included in the line-up as she meets other requirements and received grace from the Emperor after saving China.
Regardless of any actual title(s) possessed, each Official Disney Princess is properly addressed (within the franchise) as "Princess ________".
Princess Snow White
Snow White, titular character of the 1937 Disney movie Snow White and the Seven Dwarfs , is a character based on the German fairy tale "Schneewittchen." Snow White has the honor of being the first Princess in the first Disney animated feature, paving the way for all subsequent princesses. Adriana Caselotti provides the voice/singing voice for Snow White. Her true love is the Prince , who is able to wake her from her eternal sleep with true love's kiss. At 14, she is the youngest of the official Disney Princesses.
Princess Cinderella
Cinderella is the main protagonist of her eponymous film and two sequels and is the second Disney Princess. She is based on the European fairy tale of the same name, of which several variations exist. Ilene Woods provides the voice/singing voice for Cinderella (Original Disney version), Jennifer Hale provides the voice of Cinderella in the sequels, Tami Tappan provides Cinderella's singing voice in Cinderella III. Cinderella is the first Disney Princess to have siblings (albeit step-siblings) and is 19 years old. Cinderella is the first Disney Princess who is married into royalty (she marries Prince Charming ).
Princess Aurora
Aurora is the titular protagonist of the film Sleeping Beauty , based on the classic fairy tale involving a beautiful princess, a sleeping enchantment, and a handsome prince. Aurora is sixteen years old. Mary Costa provides the voice/singing voice for Aurora. The original story is much darker than the Disney version. Aurora has the distinction of being both the Princess with the least amount of screen time and singing more of her lines than speaking them. Aurora has the purest pedigree of any Disney Princess, being the first and only child of a king ( King Stefan ) who also presumably marries Prince Phillip , the firstborn son and heir of a king ( King Hubert ).
Princess Ariel
Ariel is the female protagonist of the films The Little Mermaid , The Little Mermaid II (although the title of main female protagonist is shared with Melody) and The Little Mermaid III , as well as The Little Mermaid Television Series . Jodi Benson provides the voice/singing voice of Ariel in all Disney animated appearances. Ariel is the first Disney Princess to have not been born human and is also the first Disney Princess confirmed to have children as she and Eric have a daughter, Melody , in the sequel. She is sixteen years old in the first film and is presumably in her late twenties in the sequel. Ariel's title of Princess comes from her father, King Triton , a title she shares with her six older sisters. She acquires the title of Princess Consort through her marriage to Prince Eric, though it is unclear whether he is a Prince Regnant (most likely), the son of a King, or both.
Princess Belle
Belle is the fifth Disney princess and the main female protagonist of the film Beauty and the Beast and its two sequels. Paige O'Hara provides the voice/singing voice of Belle in all three films. Belle is the first Disney Princess to have an antagonist become her love interest. She is also the first person to have a confirmed country in the movie (France). Belle is seventeen years old and the second Disney Princess to be of common birth. When she marries Prince Adam (a Prince Regnant of his principality), she becomes a Princess Consort.
Princess Jasmine
Jasmine is the main female protagonist of Aladdin , its two sequels, and the television series. Linda Larkin provides Jasmine's voice in all animated iterations of Aladdin, Lea Solanga provides the singing voice for Jasmine in the original Aladdin, Liz Callaway provides the singing voice for Jasmine in the sequels. Jasmine is the daughter (and only child) of the Sultan of Agrabah, the traditional title styled "Shahzadi Sultana" (Princess). When she marries Aladdin , a commoner (the son of the self-styled "King of Thieves" notwithstanding), he gains the title Prince Consort. Upon the death or abdication of her father in favor of Aladdin (as was stated to be the Sultan's wish), Aladdin would become the Sultan of Agrabah and Jasmine would acquire the title of Sultana. She is the first princess to not be the titular character in her film and is the first non-white and the first Middle Eastern/southwest Asian princess.
Princess Pocahontas
Pocahontas is the main protagonist of the film Pocahontas and its sequel, Pocahontas II , and is the first Disney Princess to have been based (loosely) on a real person, instead of a fairy tale. She is a Powhatan Native American, and she is the first Disney Princess to have two "princes" ( John Smith and John Rolfe, though only the former is an official Disney Prince). Pocahontas is the second Princess (after Jasmine) to have her singing voice and speaking voice provided by two different voice actresses. Irene Bedard and Judy Kuhn provide the voice and singing voice of Pocahontas in both movies, respectively. Pocahontas was born as the only child of Chief Powhatan , thus giving her the title of Chieftain's Daughter. Though not royalty, she is accorded the respect of one (i.e. a princess) in the sequel and is officially regarded as a Disney Princess. Her eventual marriage to John Rolfe (a commoner) does not change her status or his.
Princess Mulan
Fa Mulan is the main protagonist in the Disney film Mulan and its sequel Mulan II . She is the first Disney Princess to be based on a legend and the second not to be based on a fairy tale ( Pocahontas ). Ming-Na Wen and Lea Salonga provide the voice and singing voice of Mulan in both films, respectively. Mulan is (to date) the only Disney Princess who does not hold the title of Princess in one form or another. However, she does earn the non-noble title of Imperial Consul. Her eventual marriage to General Li Shang (also non-noble) does not grant her any titles either. Mulan and Shang are the only non-royal Disney couple in the Disney Princess franchise.
Princess (Consort) Tiana
Tiana is the main female protagonist in the film The Princess and the Frog . Tiana made history as the first African-American Disney Princess. Anika Noni Rose provides the voice/singing for Tiana. She is the third to be married into her title. Commoner-born, Tiana becomes Princess Consort upon her marriage to Prince Naveen , the eldest son and Heir Apparent of the King of Maldonia . She is the most modern of all princesses due to living in 1920s New Orleans and is the first American and first black princess.
Princess Rapunzel
Rapunzel is the main female protagonist in the film Tangled and the short film Tangled Ever After . Like Aurora , she has golden hair, was born into her title, and was removed from her parent's custody as a baby, only to be reunited in her teens. Mandy Moore provides the voice/singing voice for Rapunzel. She is strong-willed and her preferred weapon is a frying pan. As the only child of the King and Queen of Corona, she eventually marries Eugene " Flynn Rider " Fitzherbert, giving him the title of Prince Consort. Upon the death or abdication of her father, Rapunzel will become Queen Regnant of Corona, while her husband will remain Prince Consort.
Princess Merida
Merida is the main protagonist of the Disney/Pixar film Brave , making her the first Pixar Princess. She is the first princess since Ariel to have red hair: she has long, curly, red hair and blue eyes. Kelly MacDonald and Julie Fowlis provide the voice and singing voice for Merida. Merida is a Princess by blood; firstborn of King Fergus of DunBroch. Her lack of a romantic interest (and lack of any sequels) makes it unlikely that she will rise to rule the kingdom as a Regnant Queen, considering the views of gender equality in the era.
Princesses and "Princesses" Outside of the Lineup
This category includes characters who meet the qualifications for Disney Princess and/or have been included in Disney Princess merchandise, but are not included in the official lineup. These characters stand above those denominated as "Heroines" because heroines do not have any chance of actually joining the franchise.
Princess Anna
Anna is the main protagonist of the Disney film Frozen and is the younger daughter of the King and Queen of Arendelle (a Norwegian Kingdom). Kristen Bell provides the voice/singing voice for Anna. She has long, ginger hair with a white highlight (where Queen Elsa shot her with ice in the head) and blue eyes, and is a free-spirited, fearless, happy-go-lucky, reckless ball of energy who lives by trusting her own feelings. Presumably, she will eventually marry Kristoff and, as a result, grant him the title of Prince Consort. As the next-in-line for the Arendelle throne, she stands to eventually become Queen Regnant in her own right upon the abdication of her sister, Queen Elsa . Anna finds out that she and Elsa have a third sister.
Queen Elsa
Elsa is the current queen of Arendelle. Idina Menzel provides the voice/singing voice for Elsa. She is not a Princess anymore due to her coronation in the movie. She has magical powers to create ice and snow which she tries to hide at the beginning of the movie. After her powers are accidentally revealed, though, she has great difficulty controlling them which leads to Arendelle freezing over and nearly causes her sister's death. However, Anna is saved and Elsa stops the snowstorm around Arendelle and befriends Kristoff , Sven and Olaf. Elsa and Anna later find out that they have a third sister. Anna and Kristoff got married off screen.
Queen Kida
Kidagakash "Kida" Nedakh is the deuteragonist of Atlantis: The Lost Empire and it's direct-to-video sequel, Milo's Return, is a princess and later a queen of Atlantis. Because of her film's box office failure, she hasn't been inducted into the official lineup. She would have been the eldest princess due to her age being 28 in human years and would have also been the first one to become a queen on-screen. She is also considered to be a "forgotten" character by the programmers of Epic Mickey, making a cameo appearance with her mask.
Atta
Atta is the deuteragonist of A Bug's Life and succeeds her mother's throne as queen at the end of the film. Despite Merida making the roster for the lineup even though she is technically a Pixar character before being a Disney character, she is human royalty; Atta's being an insect disqualifies her from the lineup.
Attina , Alana , Adella , Aquata , Arista , and Andrina
Ariel with her Sisters
Attina, Alana, Adella, Aquata, Arista, and Andrina are Ariel's older sisters. They are the daughters of King Triton and Queen Athena , which makes them the princesses of Atlantica. Ariel's sisters appear only briefly in The Little Mermaid and its sequel, but they each have a more prominent role in The Little Mermaid: Ariel's Beginning , as well as the TV series spin-off.
Eilonwy
Eilonwy (Eye-lon-wee) was first introduced as the main female protagonist in The Black Cauldron . Based on Eilonwy from the novels "The Book of Three" and "The Black Cauldron" by Lloyd Alexander. The movie was Disney's first PG-rated movie. Despite being a princess in her own movie, she never became a part of the official Disney Princess franchise. The reasoning was due to the fact that the movie rating was PG and mainly due to the film's lack of success and copyright issues. Being twelve years old, she would have been the youngest Disney Princess had she been inducted into the franchise.
Giselle
Giselle is the main protagonist of the movie Enchanted and a former princess of the Kingdom, Andalasia . Inspired by Disney's own princess franchise. She is both portrayed and voiced by Amy Adams. Though her film was a success and she was initially intended to join the line-up, plans were dropped quickly when the company had realized that they would have to pay royalties to Amy Adams for using her likeness. Additionally, it is her friend, Nancy, who ends up marrying the Prince. If she were to join, Giselle would have been the first official princess to star in a film that was not part of the Disney animation canon.
Megara
Megara (Meg) also more commonly referred to as Meg, is the female tritagonist from Disney's Hercules . She is the love interest of Hercules and is voiced by Susan Egan. She was mainly inspired by the character of Megara from Greek mythology. During D23 Expo 2013, Meg was cited as a Disney Princess and Susan Egan was confirmed to be at the event, which led to rumors that she would be entered into the franchise.
Melody
Melody is the main female protagonist in The Little Mermaid II . She is the daughter of Ariel and Eric and is the first Princess to have only appeared in a Disney sequel. She is not an official Disney Princess because her film was not theatrically released.
Nancy Tremaine
Nancy is a secondary character in the film Enchanted . Although she wasn't announced as a princess, she was the one who ended up marrying Edward at the end of the film. She is not an official Disney Princess because she was only a secondary character in the film.
Sofia
Sofia is the main protagonist of the movie Sofia the First: Once Upon a Princess and the Disney Junior television series Sofia the First . Sofia is a little girl who came into royalty when her mother marries the King of Enchancia. She is voiced by Ariel Winter. Though she is affiliated with Disney Princess franchise in her own show, she is in no way planned to be in the official line-up. This is due to her being from a television show and for the fact that she is too young.
Kneesaa a Jari Kintaka
Kneesaa is a female Ewok who served as the princess of the Bright Tree Village, a daughter of Chief Chirpa and Ra-Lee, and also a younger sister to Asha. She later became the Chieftainess of the Bright Tree Village and Wicket Wystri Warrick's wife. Being a Star Wars character disqualifies her from the roster.
Leia Organa-Solo
Princess Leia is a fictional character in the Star Wars universe. She is also a main protagonist in the original Star Wars trilogy and her position is less descriptive of her family status and more related to her being a figure of authority within the resistance against the Empire (and later she becomes part of the Republic), which disqualifies her from the roster.
Nala
Nala is the main female protagonist in The Lion King and a secondary female protagonist in The Lion King II and The Lion King I 1/2. She is Simba's love interest, and if she were a princess, she would have been the second princess to have children. However, she is not an official Disney Princess because she is a lion.
Vanellope von Schweetz
Vanellope von Schweetz is the main female protagonist of Wreck-It-Ralph. She is the missing princess of the game Sugar Rush. She is not an official Disney Princess because of her young age and her desire to forfeit her title of princess in favor of being named "president of Sugar Rush."
Expected to Join
Moana
Moana is the newest Disney princess. She stars in the new Disney movie Moana , which came out in late in 2016. Hawai'ian actress Auli'i Cravalho voices Moana. Moana embarks through many adventures with Maui, a demigod she befriends. She is the daughter of the chieftain of Motu Nui and is expected to follow his steps as a future chief herself and place a mark of leadership on the highest peak of their island. Though she argues against being called a princess, Maui's logic states that, as she wears a dress and has an animal companion, she must be one.
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From which part of the pig are Bath Chaps made? | Bath chap - definition of Bath chap by The Free Dictionary
Bath chap - definition of Bath chap by The Free Dictionary
http://www.thefreedictionary.com/Bath+chap
n
(Cookery) the lower part of the cheek of a pig, cooked and eaten, usually cold
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A MEATA delicacy known as the Bath chap could become a thing of the past due to red tape.
Red tape may kill off Bath chap
bag But all Before you know it, this encyclopedia of British food, the result of a seven-month tour of Britain for Channel 4, has you desperate for a portion of Bath Chaps (made from pig's cheek), worried about certain foods not having Protected Designation of Origin status and desperate to visit Pete's Eats Cafe in Llanberis, Wales.
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What are you doing if you open with a Ruy Lopez? | What's the best bit of a pig?
What's the best bit of a pig?
22 November 2011 | 0 Comments
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Arguably the backbone of British cookery, here we take a look into the many uses of one of our best loved animals, the pig
I’m a besotted lover of the pig, but shaving the bristles from a pigs head with your wife’s razor doesn’t seem to go down too well. Nor, does leaving its ears in the fridge door, but then a bacon sandwich seems to smooth over even the most intense of arguments.
Historically, this time of year was known as pig sticking time, where the pig that had been fattened up during the year, would be slaughtered for Winter. For the beast to see a family through the bleakness of Winter, the entire animal would need to be put to use, from tight curly tail to blushing pink snout, or nose-to-tail as they say.
Cured
In the days before refrigeration, salting was the only way to keep meat. Pork and salt make a happy couple, more so than any other animal. Even now with ample refrigeration at our fingertips, we have continued to preserve pork with salt in a whole myriad of ways. From hams, gammons and the ubiquitous bacon , it seems our tables feel stark without some tasty salted pig parts.
British breeds
Rare breed pork can make interesting eating. Look out for Tamworth and Gloucester Old Spot, both breeds taste fantastic and are fairly easy to lay your hands on. Choosing outdoor reared pigs is where you’ll find the biggest rewards. “Our pigs live outside and feed on apples and fallen fruit,” explains Beverly Brown of Roundwood Orchard Pig Company . “This makes the meat sweeter.”
It’s worth giving your sausages close attention too as there have been issues with misleading labeling. Most often your safest, and tastiest, bet is to frequent a trustworthy butcher.
The nasty bits
Even the less attractive parts of the butchered pig have seldom been overlooked. Trotters are not only abundant in stocks soups and sauces, but also grace the linens of the world’s finest restaurants. There are even chefs who have become renowned for their pigs trotters .
Brawn, or head cheese, is a jellied terrine made from the boiled meats of a pigs head. Lightly seasoned and spiced. “It’s such an understated dish,” explains Paul Down, Head Chef of The Running Horse in Winchester. “There’s tons of flavour in the pigs head and brawn is a great way to enjoy it.”
Pigs cheeks , unctuous little pillows of tender meat, contain mountains of flavour despite their conservative size. For Bath Chaps the jowl and cheek are taken in one large cut then cured in salt before being boiled and finally rolled. This traditional British preservation of the pigs face can either be sliced finely and eaten like ham, or cut off and fried like bacon. It naturally has a lot of fat and as such, carries a more intense porcine flavour.
The flavours in the fat
One of the remarkable traits of the pig, is its rapid ability to grow. You can have a pig ready for slaughter in as little as twenty weeks, but at the cost of leaner meat. This is one of the many problems with intensive and commercial farming methods. “It’s too fast,” explains Tim Wilson, of The Ginger Pig . “No fat has been laid down and so there is no flavour.”
Lard
Not only a wonderful cooking fat, ideal for shallow frying, lard is also pastry’s best kept secret. Eccles cakes traditionally call for lard in their puff pastry, as does the self explanatory lardy cake. For the flakiest pastry with a well rounded and smooth flavour there is simply no contest, lard is king.
The skin
Crackling is the bit we fight over at Sunday lunch . My dad demanding he has the biggest, most crunchy pieces, but the rest of the table ignoring him. It’s every man for himself round our house. But crackling doesn’t always turn out a crispy success, “It needs to be cooked properly,” tells Pauline Butler of Blytheburgh Free Range Pork . “Choosing pork from pigs that live outdoors and get good exercise is important. They have a more succulent, fuller flavour which comes through to the skin making the crackling even better.”
As we part, we should not forget the pork scratching. Here in the UK we make them like no one else. Complete with stubbly hair, they’re the perfect sidekick to a pint of ale at the end of a long and tiresome day.
So what parts of the pig are you most in love with, do you fight for the crackling, or are there bits of the pig you just aren’t quite ready to face? Let us know.
| i don't know |
What kind of bird is a marabou? | Buying Marabou | Global FlyFisher | In nature the marabou is a stork. In fly tying it's a very versatile and popular type of feathers from other birds than the marabou.
Marabou
Martin Joergensen
Even though the marabou is a large African stork and the marabou feathers indeed used to come from this bird, the marabou feathers of today come almost exclusively from turkeys and chickens.
The marabou stork (Leptoptilos crumeniferus) is actually on the CITES list of protected animals, and feathers from this bird should not be traded or used for fly-tying or anything else.
What we're dealing with in fly-tying is mainly turkey feathers. Chicken feathers can be found, but are not nearly as often labeled marabou.
The main characteristic of the marabou feather is it's fluffiness. The feather is very soft and mobile and has no willingness to"marry" and form a uniform surface like it's known from many other feathers such as body feathers, coverts and wing feathers. It's not spiky or stiff either like hackle, but is a very fluffy, downy and soft feather.
Three basic types
Martin Joergensen
We usually divide marabou into different categories based on shape, size and use.
Blood marabou or blood quill is a short and paintbrush like feather. It's very good for wings and tails but not suited for hackles. You tie in the whole feather and utilize the fact that the barbs end in a parallel bunch in the top of the feather, giving a nice and even edge to the wing or tail. You rarely us the stem, which is often thick.
Marabou plumes are longer feathers with "normal" barbs sticking out perpendicular to the stem. These are not as long as the stem marabou, but longer than the blood feathers. They are mostly used for loose barbs, where you do not use the stem, which can be quite thick. You tie in the loose barbs in bunches or in a loop to form hackle, or use the barbs as dubbing. These are by far the most common marabou feathers.
Stem marabou AKA Woolly Bugger marabou is the longest type of feather, which is well suited for hackling in the traditional manner, where the stem is wrapped around the hook shank. You want these feathers with a long and thin stem and even and uniform barbs of the length you need. Some of these feathers are much too large and coarse to be used on smaller flies, but can be perfect for Intruder style flies and larger saltwater flies while the medium and smaller feathers can be good for bass bugs, Woolly Buggers and many other wet flies.
Bagged marabou
Cat in the bag
Martin Joergensen
The far majority of marabou feathers are sold in bags, and a bag will typically consist of some 20-50 or maybe 100 feathers of varying shape, size and quality. A few manufacturers offer bags with fewer hand sorted feathers, where the feathers in a bag are all of the same type, shape and size. Unless you can clearly see that you have such a hand sorted bag in your hands, you will want to get the bag open and get the feathers out.
This will sometimes reveal a nice selection of uniform feathers, but mostly show the opposite: an amazing array of different feathers from the perfect to pure scraps, only useful for dubbing or maybe cutting off the barbs to tie in in bunches.
The bagged feathers might still be good, but just in need of some sorting, but if the selection is too inconsistent, simply leave it. The problem is that a bag with 50 feathers might contain only a few that are exactly suitable for your needs. You can also opt to buy several such bags and sort the feathers into categories. Marabou is cheap, and if the quality is good, it makes sense to buy a bunch of bags and sort them.
Strung feathers
Strung marabou
Martin Joergensen
You will often find marabou feathers in large paintbrush like bunches called strung marabou. The principle is that the feathers are sewn together at the base and rolled up to form fat bunches. You unroll the bunch and pick the feather you need. The shops will often have done this for you and cut the strips into smaller pieces, which are bagged. A whole roll is large and can contain hundreds if not thousands of feathers.
Strung marabou is often less expensive than the sorted and bagged feathers, and can be a good way of getting a hold of a lot of feathers. But the quality can also be quite inconsistent, and you will want to unpack and unroll the bunch to see what you get. Some strung feathers offer really excellent quality, and especially strung blood feathers of good quality are worth buying. On the other hand: If the price is good, you can buy almost anything with confidence, because mostly you will get a lot of useful marabou for your money.
Chickabou
Chickabou is - as the name implies - from chickens. These feathers were introduced by Whiting Farms many years ago as whole skins, but are also available as loose, bagged feathers.
They come from the lower, rear part of juvenile chickens and are much smaller than the average turkey marabou, but on the other hand very consistent in shape and also available in different barred or grizzly patterns as well as uniform colors, which is almost never the case with turkey feathers.
The size and shape make them perfect for tailing wet flies, baitfish imitations and Woolly Bugger types of flies even in smaller sizes. Buy the whole skins if at all possible. It will not only have a ton of the marabou feathers, but also contain a lot of excellent soft hackle. If you buy in bags, you definitely need to get the feathers out and check them, because even though a bag might seem stuffed with good feathers, the number of even and well formed feathers can be surprisingly low once you look closer.
Chickabou
| Stork |
What name do Salvation Army members give to their places of worship? | Marabou | Definition of Marabou by Merriam-Webster
Definition of marabou
1a : a soft feathery fluffy material prepared from turkey feathers or the coverts of marabous and used especially for trimming women's hats or clothesbmarabou : a large dark gray African stork (Leptoptilos crumeniferus) that has a distensible pouch of pink skin at the front of the neck and feeds especially on carrion —called also marabou stork
2a : silk composed of several twisted threads that is dyed before the sericin has been removedb : a fabric made of this silk
Variants of marabou
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What are formed by the process of ‘orogeny’? | Orogeny - definition of orogeny by The Free Dictionary
Orogeny - definition of orogeny by The Free Dictionary
http://www.thefreedictionary.com/orogeny
(ô-rŏj′ə-nē) also or·o·gen·e·sis (ôr′ə-jĕn′ĭ-sĭs)
n.
The process of mountain formation, especially by a folding and faulting of the earth's crust.
or′o·gen′ic (ôr′ə-jĕn′ĭk) adj.
or′o·gen′i·cal·ly adv.
orogeny
orogenesis
n
(Geological Science) the formation of mountain ranges by intense upward displacement of the earth's crust, usually associated with folding, thrust faulting, and other compressional processes
orogenic, orogenetic adj
the process of mountain formation or upheaval.
[1885–90]
or•o•gen•ic (ˌɔr əˈdʒɛn ɪk, ˌɒr ə-) adj.
orogenesis , orogeny - Orogenesis is the formation of mountains (Greek oros) and orogeny is the process by which mountains are formed.
See also related terms for mountains .
orogeny
A phase of mountain building.
ThesaurusAntonymsRelated WordsSynonymsLegend:
orogeny - the process of mountain formation (especially by the upward displacement of the earth's crust)
geologic process , geological process - (geology) a natural process whereby geological features are modified
Translations
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References in periodicals archive ?
60 Ga magmatism in Estonia, Finland and Lithuania was in accord with one of the major stages of the Gothian orogeny at 1.
Abu Dhabi - Geology
This succession has been deformed into SW-NE trending folds during the Middle Devonian Neoacadian orogeny (van Staal 2007; White et al.
Stratigraphy, provenance, and tectonic setting of the Lumsden Dam and Bluestone Quarry formations (Lower Ordovician), Halifax Group, Nova Scotia, Canada
Orogeny started following Neo--tethyan subsidence [11, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26] towards north and continental edges of these plates reaching the region.
Flora of China, vols. 2-3, Lycopodiaceae through Polypodiaceae
The EMU is known to extend over the entire NW Borneo margin and is probably related to the Sabah Orogeny which marks the cessation of sea-floor spreading in the South China Sea and collision of Dangerous Grounds block with Sabah.
Dedication: the life, career and major achievements of Brian Roy Stuckenberg (1930-2009)
A total aeromagnetic intensity contour map, residual aeromagnetic intensity contour map and structural lineament map of the area being studied were obtained in this work Visual studies of total aeromagnetic intensity contour map and residual aeromagnetic intensity contour map depicted that the southern part of the area underlain by Cretaceous sedimentary rocks (Awgu shale and Lafia formation) had low and smooth magnetic intensity, whereas the northern part underlain by the Pre-Cambrian basement rocks (migmatites, gneisses, Older Granites) and Jurassic younger granites had high and complex magnetic intensity Structural lineament orientation suggested that they were products of Pan-African orogeny (NE-SW, NW-SE and NNE-SSW trends) and pre-Pan-African orogeny (NNW-SSE and E-W trend).
Analysis of aeromagnetic data over Wamba and its adjoining areas in north- central Nigeria
2007); but had a main event during the Alpine Orogeny in the Late Miocence-Plieocene orogenic phase (Hessami et al.
| Mountain |
What do we call the elongated hill in the shape of a half-buried egg formed by glacial ice? | Orogeny
Along the outer edge of most currently active mountain belts is a narrow, deep oceanic trench.
Seismic Activity
Shallow great earthquakes along the inner wall of the trench, then deeper earthquakes along a planar zone dipping beneath the mountain range, reaching depths of up to 700 kilometers.
Why Mountains Form
Mountains form at subduction zones. Shown below is a true-scale cross-section of the Andean subduction zone in northern Chile (roughly 25 S).
The vertical change of 15 kilometers in only a few hundred kilometers distance is the largest elevation change on Earth in such a short distance. Plates consist not only of the crust, but about 150 kilometers of the underlying mantle as well. Collectively the crust and associated mantle are termed the lithosphere. Oceanic crust is typically 5 kilometers thick. The continental crust thickens from its normal 40 kilometers to 70 beneath the high Andes. When the descending slab reaches a depth of about 100 kilometers, it begins to melt, causing, directly or indirectly, many of the events associated with mountain-building.
Why Mountains are High
Mountains are high because orogeny shortens and thickens the crust, and isostasy causes the thicker crust to rise. Some of the processes are shown above:
Even uniform materials, when compressed from one direction, tend to expand in the direction of least resistance.
Layered rocks shorten by folding, but the stack of layers also becomes thicker.
Thrust-faulting thickens the crust by stacking slices of crust atop one another.
Intrusions add volume to the crust.
A great deal of magma never invades the crust but accumulates at its base, a process called underplating.
Where the crust is heated, thermal expansion causes the rocks to become lighter and more buoyant.
Types of Subduction Zones
Present day: Alps, Himalaya, Persian Gulf
Past: Appalachians, Urals
Anatomy of an Orogenic Belt
Shown here is a simple continent-ocean orogenic belt. We can divide an orogenic belt into parallel zones defined by their deformation, lithology, or metamorphism. These zones may approximately coincide with each other but somewhat overlap, so it's necessary to have distinct names for them.
Structural Zones
The Accretionary Prism
Sediment eroded from the orogenic belt accumulates in the trench and is intensely deformed as the plates converge. Like the wedge of earth ahead of a bulldozer, the sediment thickens until it is capable of resisting further deformation.
The Igneous Arc
When the descending plate reaches about 100 kilometers depth, it begins to melt. Magma invades the crust, creating batholiths and a volcanic mountain chain. The intrusions also produce metamorphism, and by making the crust more ductile, make it easier to deform. This is the belt of greatest deformation, metamorphism and igneous activity.
The Foreland
Here, metamorphism is mild but compression of the crust results in folding and thrust-faulting. Often this deformation is "thin-skinned", meaning that rock layers near the surface become detached from deeper layers much the way a carpet wrinkles when a piece of furniture is pushed over it.
This process is called decollement. Usually the layer where separation occurs is made up of weak rocks like salt, gypsum, or shale.
The Craton
This is the stable interior of the continent. It may be thinly mantled with sedimentary rocks or have large areas of ancient igneous and metamorphic rocks.
Lithologic Zones
The Eugeocline
The rocks of the accretionary prism and much of the igneous arc consist of great thicknesses of immature deep water sediment. Often these rocks show evidence of deposition in an unstable setting, such as evidence of turbidity flows or submarine landslides. This sort of deposit is known as flysch. Such rocks are typical of a continental rise or trench setting. Accompanying these rocks are often submarine volcanic rocks, pillow lavas.
The Miogeocline
The rocks of the foreland are typically shallow-water sedimentary rocks typical of a continental shelf, which become thinner toward the interior of the continent. Igneous rocks are uncommon.
As the mountain belt rises, great thicknesses of sandstone and conglomerate are deposited on its flanks and frequently bury much of the foreland. These rocks are typically shallow-water or terrestrial, often red in color, and are called molasse deposits.
The Platform
The stable interior of the continent will often be covered with thin layers of shallow-water or terrestrial sedimentary rocks. This thinly-mantled region, part of the craton, is the platform
The Shield
Areas where ancient crystalline rocks are exposed over wide areas are called shields. Every continent has at least one shield. The shield and adjacent platform together make up the craton. Driving from Green Bay to Wausau takes you from a platform into a shield.
Metamorphic Zones
One of the best indicators of former subduction is the presence of paired metamorphic belts, a belt of typical Greenschist and Amphibolite metamorphism flanked by a belt of Blueschist metamorphism.
Greenschist-Amphibolite Metamorphism
The rising magma from the descending plate heats the crust, resulting in greenschist and amphibolite metamorphism in the igneous arc. At very high temperatures, rocks become very dehydrated; even muscovite mica breaks down to potassium feldspar and amphibole to pyroxene. This sort of metamorphism, called granulite metamorphism, occurs deep in the crust just about everywhere simply due to the normal geothermal gradient. At 25 degrees per kilometer, the temperature at the base of the crust, 40 kilometers deep, is 1000 degrees C. Of course, unusually intense heating can cause it to occur at shallower levels.
Blueschist Metamorphism
At high pressures but low temperatures, rocks are metamorphosed to blueschist grade. The reason temperatures are abnormally low is that the descending slab is still cool and helps keep adjacent rocks cool as well.
Normally sodium is the most predictable major element; it occurs just about exclusively in plagioclase. At high pressure and low temperature, though, albite feldspar breaks down and forms the pyroxene jadeite and amphiboles like glaucophane and aegerine. The amphiboles are bluish, hence the term "blueschist"
It's a bit puzzling that there are very few blueschist rocks older than Mesozoic. Possibly older mountain belts have been eroded to depths where temperatures were too high for blueschist metamorphism. Or perhaps, in most orogenic belts these rocks eventually get heated to greenschist grade, and we only see the places where it hasn't happened yet. Some people have suggested that the geothermal gradient was higher in the past, meaning the deep earth was too hot for blueschist metamorphism.
Eclogite Metamorphism
At about 100 kilometers depth, pyroxene, olivine and plagioclase recrystallize to a denser form to produce sodium-bearing pyroxene and garnet. The result is one of the most beautiful of rocks, eclogite, a mass of light green pyroxene enclosing pink garnets.
Note that the boundary of eclogite metamorphism rises upward within the descending slab. This happens because the rocks are relatively cool. High temperatures inhibit the recrystallization of rocks to denser forms because high temperatures cause materials to expand. Thus eclogite metamorphism occurs at shallower depths in the descending slab. The slab in that area is denser than the surrounding mantle, and its greater density assists it in sinking. This mechanism is called slab pull and is one of the driving mechanisms of plate tectonics.
| i don't know |
What do we call lava while it is still underground? | How is lava formed? | Volcano World | Oregon State University
OREGON STATE UNIVERSITY
First, there is a definition we need to make. Just to keep things straight, geologists use the word "
" for molten rock that is still underground, and the word "lava" once it has erupted onto the surface.
Rocks in the
formation
of the Earth about 4.6 billion years ago. When the Earth formed, material collided at high speeds. These collisions generated heat (try clapping your hands together - they get hot) that heat became trapped in the Earth. There is also heat within the earth produced by radioactive decay of naturally-occurring radioactive elements. It is the same process that allows a nuclear reactor to generate heat, but in the earth, the radioactive material is much less concentrated. However, because the earth is so much bigger than a nuclear power plant it can produce a lot of heat. Rocks are good insulators so the heat has been slow to dissipate.
This heat is enough to partially melt some rocks in the upper mantle, about 50-100 km below the surface. We say partially melt because the rocks don't completely melt. Most rocks are made up of more than one mineral, and these different minerals have different melting temperatures. This means that when the rock starts to melt, some of the minerals get melted to a much greater degree than others. The main reason this is important is that the liquid (magma) that is generated is not just the molten equivalent of the starting rock, but something different.
You could think of making a "rock" out of sugar, butter, and shaved ice. Pretend that they are mixed equally so that your rock is 1/3 sugar, 1/3 butter, and 1/3 shave ice. If you start melting this "rock", however, the "magma" that is generated will be highly concentrated in the things that melt more easily, namely the ice (now water) and butter. There will be a little bit of molten sugar in your magma, but not much, most of it will still be crystalline.
The most common type of magma produced is
| Magma |
What was the name of the local coffee shop in Friends? | Igneous Rocks
Igneous Rocks
Background:
The term igneous comes from the Latin ignis, meaning "fire". Igneous is used to describe rocks that crystallize out of hot molten material in the Earth called magma. When magma pushes up through Earth's crust to the surface, it is called lava. Both magma and lava cool and harden to form igneous rocks.
Lava vs. Magma: Lava erupting from Kilauea in Hawaii (left);
Sketch of magma deep in the earth (right): USGS Images
Intrusive vs. Extrusive
Igneous rocks can be classified into two main categories: intrusive and extrusive. A trick to help kids remember intrusive and extrusive is to think of intrusive -- inside and extrusive -- exit.
Intrusive rocks come from magma. They cool slowly deep in Earth's crust. When magma cools underground, the crust acts like a blanket, insulating it, keeping it warm longer. Because the magma cools slowly, crystals of different minerals have time to grow. The molecules in the magma have time to arrange themselves into crystal formations before the magma hardens. Intrusive rocks have large crystals that can be seen with the naked eye. A common example of an intrusive igneous rock is granite.
Granite: USGS Image
Extrusive igneous rocks come from lava. Lava, at the surface, is exposed to air and water which causes the molten rock to cool rapidly. Solidifying rocks at the surface cool too quickly for large crystals to form. Molecules in the lava do not have time to arrange themselves to form large crystals. Extrusive rocks have crystals that are too small to see without magnification. A common example of an extrusive igneous rock is basalt. Some extrusive rocks, such as obsidian and pumice, cool so rapidly that they completely lack crystal structure and are considered a volcanic glass. Pumice is just like obsidian except it is tiny shards of glass.
Obsidian (note the lack of crystals- the white specks in the bottom specimens are air bubbles): USGS Image
Texture
Within the two main categories of intrusive and extrusive, rock can be classified even further using texture and chemical composition. The word "texture" has nothing to do with how the rock feels. Texture, in geology, is used to describe how the rock looks. The most noticeable textural feature of igneous rocks is grain size. Grain size refers to the size of the individual mineral crystals. As mentioned above, intrusive igneous rocks, such as granite have large, individual crystals visible to the naked eye. The textural term used to describe a rock with large crystals is coarse-grained. In contrast, fine-grained rocks, such as basalt, are igneous rocks that have crystals too fine to see with the naked eye. Under magnification they are still very small but easily identifiable with a few optic tests. Quickly-cooled lavas can contain trapped bubbles of gas, which are called vesicles. The resulting texture is described as vesicular.
Vesicular Basalt: USGS Image
Vesicular Basalt: USGS Image
Chemical Composition
Chemical composition of igneous rock can often be estimated just from looking at the rock. Geologists look at the proportions of light-colored and dark-colored minerals in an igneous rock to estimate the chemical makeup of rock. Light-colored or felsic, minerals have more silica in them. Silica is one of the most abundant elements on Earth and is the chief component of quartz. Felsic minerals are most often colorless, white, gray or pink but can be any number of colors. The dark, or mafic, minerals are richer in iron and magnesium. Mafic minerals are chiefly black, brown, dark gray and sometimes green.
The mineral proportions of the rock are what allows geologists to classify rocks chemically. Depending on the proportion of light minerals to dark minerals, igneous rocks can be broken into four main types: felsic, intermediate, mafic and ultramafic. The following list gives more information about igneous chemical categories. This information is provided for you, the teacher, to better understand igneous rocks.
Sialic rocks are high in silica (65% +). They are usually light-colored. Some examples are: Rhyolite (extrusive) and granite (intrusive).
Intermediate rocks have lower silica content (55-65%). They are darker than felsic rocks but lighter than mafic rocks. Some examples are: Andesite/dacite (extrusive) and diorite/granodiorite (intrusive).
Mafic rocks have low silica content (45-55%). They are usually dark-colored and contain iron and magnesium. Some examples are: Basalt (extrusive) and gabbro (intrusive). Basalt is the rock that is produced at spreading ridges and makes up the sea floor.
Ultramafic rocks have extremely low silica content (less than 45%) and contain large amounts of iron and magnesium. They are usually dark-colored, but high olivine content can lend green shades to the rock. Other rare colors can be found. An example of ultramafic rock is Peridotite (intrusive).
Sedimentary Rocks
Background:
Sedimentary rocks can be broken into two major classifications: clastic and chemical/biochemical. Clastic rocks are formed from solid particles of previous rocks in the form of clay, silt, sand, pebbles, or boulders. Some examples of clastic rocks are sandstone, shale, and siltstones. Chemical/Biochemical rocks are made of sediments that precipitated out of water either chemically or biochemically. Some examples of chemical/biochemical rocks are limestone, chert, and rock salt. These classifications can be simplified into clastic and chemical.
Sedimentary rocks are formed when the clastic or chemical particles stick together by means of a chemical cement or by particles sticking together on their own. Through various physical and chemical means, sediments are hardened and turned into sedimentary rocks, a process known as lithification.
Depositional Environments for Sedimentary Rocks
Sedimentary rocks can be read like a book. Each layer of sedimentary rock is like a chapter in the history of the earth. Remember that sedimentary rocks are always deposited from oldest to youngest, and unless some incredible earth movements (faults and folds) have deformed the sediments, the oldest layer is always going to be on the bottom and the youngest layer is always going to be on the top.
Depositional Environments of Sandstone
As mentioned in the original activity, sand that commonly forms sandstones is found in two very important places: beaches and deserts. So, when geologists see a sandstone, how do they tell whether it was deposited in a beach or desert environment? There are two ways: One way is to look at the layering in the rock to see whether it mimics the pattern of sand dunes alone (desert) or whether there are signs of water deposition, such as preserved ripple marks, flat layers representing the swash zone of a beach (the place where the waves come onto the beach and flatten the sand out) or evidence of waves from large storms moving the sand underwater. Another way to distinguish between desert and beach deposits is to look at the rock above and below the layer you are looking at.
Depositional Environments for Shale
Shale is a rock that comes from relatively deep, calm water. Because shale is made of very small particles (fine sediments), it must be deposited in water that is calm enough to no longer suspend such fine particles. Think of water that can deposit shale as water in a bathtub. When you're really dirty and you take a bath, you scrub all the dirt off and don't realize how dirty you were until after you get out. When you are in the tub, you create enough current in the water to suspend the dirt. Once you get out, however, the current in the water slows and eventually stops, allowing all of the dirt to settle down to the bottom. Shale forms in the same way. Any place the water is calm enough for fine sediments to settle out, you might find a shale.
Depositional Environments for Limestone
One place where limestone deposits are found is in very deep ocean water. Way out in the ocean, where the water is calm and deep, live multitudes of tiny marine animals. These animals use the calcium carbonate in sea water to make their shells. When these animals die, they fall to the sea floor. Over millions of years, the shells accumulate, and are eventually buried, cemented and turned into limestone. It is not common to find large fossils in deep-water limestone. Limestones can also form when the concentration of calcite increases to the point where the molecules start to fall out of the water. Think of chocolate milk. When you put too much chocolate into the milk some falls out. Limestones can also form in this way.
Another environment that creates carbonate deposits is a coral reef. Reefs are composed of almost 100% calcium carbonate. If you see a limestone with fossils that resemble corals or any other reef creature, you can imagine that the environment that deposited that limestone was probably associated with a reef. Reefs commonly reside in shallow marine water and are found only in tropical environments.
Generally, in a typical ocean environment, you'll find sand on and near the beach. Out into the water a ways you'll find mud that could someday become a shale. If you keep moving farther out to sea, you'll find the area where the carbonate marine animals live and die. The type of sedimentary rocks in an area can be used to determine the depth of the water at the time the sediments were deposited.
Depositional Environment for Conglomerate
The last deposit we will consider is conglomerate. Conglomerate rocks can sometimes have spaces between the rocks and other times be filled in with a matrix cement, like concrete. A common place to find conglomerate is near a river. Rivers, because they move at different velocities, are able to transport and deposit rocks of all different sizes. If the river flowed at a constant velocity it would have about the same sized rock throughout. In places along the river the where the rate of flow slows, there you will find rocks surrounded by a matrix mud. Often, when geologists come across a conglomerate, they can assume that there was once a river in that area.
How Do These Environments Fit Together?
In order to complete this activity, you'll need to think about depositional environments in the following manner: Say you come across a layer of conglomerate, and above that layer of conglomerate you find a sandstone, and above that sandstone you find a layer of shale. What would this tell you about past environments? Well, the conglomerate tells you that there was once a river in that place. The sandstone tells you that there was once a beach or a desert in that place. The shale tells you that there was once deep, calm water in that place. So, which scenario makes the most sense? A: First there were rivers, and then those rivers dried up. The climate change was so drastic that as soon as those rivers dried up, a huge desert covered the region. Then, a few million years later, there was suddenly really deep water to deposit the shale. Scenario B: First there were rivers in that place that emptied into a big lake or ocean. The level of the lake or ocean was rising, so eventually the place were the rivers were became a beach. As the level of the water continued to rise, the area was covered by deepening water and the shale was deposited. It seems as though scenario B makes the most sense.
Metamorphic Rocks
Background:
Metamorphic means 'changed'. When a rock has been affected by metamorphic processes it has changed from one kind of rock to another. Metamorphic rocks can begin as igneous, sedimentary or other metamorphic rocks. They form when any kind of rock is exposed to high heat and high pressure over a long period of time. Extreme conditions like these for long periods can develop deep within the crust or where tectonic plates collide.
All metamorphic rocks have one thing in common, time. The longer a rock is exposed to one or all of the metamorphic stresses the more metamorphosed it becomes.
The creation of metamorphic rocks never involves melting the original rock. If these stresses do melt the original rock, an igneous rock is created. Metamorphic rocks change in the solid state by replacement or rearrangement of molecules. These changes are brought about by squishing, folding, and heating without ever melting!
Classifying metamorphic rocks is sometimes more difficult than identifying igneous or sedimentary rocks because of the various results of the varying stresses that affect them. The important thing to remember is the different stresses that can affect any rock can turn it into a metamorphosed rock.
Two easy metamorphic classifications are: foliated and non-foliated. Foliation describes the texture (how the rock looks) of metamorphic rocks. It has to do with the way minerals are aligned in a rock. When rock is subject to extreme pressure grains will squish in the 'Y" plane of the pressure. Elongate or flat grains, such as mica, will align themselves parallel with each other in the 'Y" direction.
When minerals line up parallel to each other, the rock shows a tendency to split along a plane created by those parallel grains. This is called rock cleavage, or slaty cleavage, named for the fine-grained metamorphic rock slate which demonstrates this phenomenon. Sometimes minerals will not only align themselves in parallel directions, but will also segregate into bands of differing composition. This happens when rocks are subjected to the most intense heat and pressure they can stand without melting. A common example of the result of this phenomenon is gneiss. Slate, schist and gneiss are all foliated metamorphic rocks.
You are now going to make a metamorphic chocolate rock. You will place different stresses on chocolate pieces to form a metamorphic chocolate rock. The chocolate pieces represent grains in a rock or more easily visualized, individual grains like sandstone. As different stresses are placed on pieces students can witness or imagine how real rock reacts to the same stresses.
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