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Which two countries jointly hosted the 2002 FIFA World Cup? | SOCCER;South Korea And Japan Will Share World Cup - The New York Times
The New York Times
Sports |SOCCER;South Korea And Japan Will Share World Cup
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The fierce competition between Japan and South Korea to host soccer's international championship ended with an uneasy solution yesterday, when the contentious nations were chosen as joint hosts of the 2002 World Cup.
Officials of FIFA, soccer's Zurich-based international governing body, must now hammer out the logistical kinks involved in awarding a joint bid to two countries as rivalrous as these two have been. The world's largest single sporting event has never been held in Asia, and it has never had co-hosts.
The decision came after Japan, which had been resisting the idea of sharing the event, sent a letter to FIFA saying it had changed its stance and was willing to join South Korea as co-host.
"It was the appropriate political decision," Alan Rothenberg, president of the United States soccer federation, said in a conference call from Zurich, where FIFA's decision was announced. "If it works, it will be very important for the World Cup to be co-hosted by two countries without a great history of friendship. This proves that sport, and particularly soccer, can make a difference."
Several important questions remain unanswered. Which country will host the championship match? Will both nations receive an automatic qualifying berth that traditionally goes to the host country? Will South Korea share its portion of the tournament with North Korea?
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Response to yesterday's decision was mixed. Koreans, buoyed by streaks of fervent nationalism and three consecutive appearances in the World Cup, seemed generally excited about the chance to host at least a part of the monthlong international championship.
"This is a victory for us and a loss for Japan," Kim Ga-young, an official with Korea's World Cup bidding committee, told the Reuters news agency in Seoul. "The Japanese were all along against the idea of co-hosting, but they accepted it at the last minute. We won."
The two countries have been traditional enemies and distant friends since Japan's 35-year occupation of the Korean peninsula, which ended after World War II.
"I am a rather conservative man, and it will take me a couple of days to decide whether I am happy with this decision or not," Chung Mong-joon, a South Korean vice president of FIFA, told reporters in Zurich. "I hope I am happy."
Reaction was more subdued and disappointed in Japan, which had resisted the idea of serving as a co-host. Japan was the favored choice of FIFA's autocratic leader, Joao Havelange of Brazil, who lost a political fight against his European counterparts on the soccer body's executive committee.
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"This is the worst-case scenario," Kenji Mori, managing director of Japan's professional J League, told Reuters in Tokyo, while one of the league's coaches, Yasuhiko Okudera, said, "It's going to be terrible, but we have to think positive."
Officially, government leaders in Japan and South Korea said they hope the joint bid will encourage friendly relations as well as exciting soccer.
"I express deep respect for the FIFA executive committee members' decision to let the two countries co-host the event in order to promote harmony in the world soccer community and South Korea-Japan bilateral relations," Korean President Kim Young-sam said in a statement.
Harmony, however, will have to await the answering of several logistical questions. Japan and Korea spent tens of millions of dollars in a bidding war to secure the 2002 World Cup. And until the sites of the important games, such as the opening and closing matches, are determined, the zealous bidding will continue.
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Chung, the South Korean vice president of FIFA, suggested that Korea and Japan might meet in a playoff to determine which country gets an automatic bid to the World Cup. But that may prove unworkable, given that one of the countries might have to host the World Cup without a chance to cheer on the home team.
Chung would not say whether North Korea would be asked to assist in serving as host, but he expressed hope that the World Cup would be a "catalyst" for reunification.
FIFA came to a much easier decision yesterday in awarding the 1999 women's World Cup to the United States. The only other contenders, Chile and Australia, never submitted formal bids.
The 16-team, 17-day tournament will be played at five sites to be determined along the East Coast. The United States won the first women's world championship in 1991, then finished third last year. The American women are a favorite to win the gold medal at the Atlanta Olympics.
| History of Japan–Korea relations |
Maslak is the commercial district of which European city? | South Korea and Japan, 2002: World Cup Football Host
Home > Events > Football > Football World Cup > Hosts > Sth Korea & Japan
South Korea and Japan, 2002
Initially in the bidding process for the 2002 World Cup, South Korea and Japan were competitors. However, just before the vote they agreed with FIFA to co-host the event. Unfortunately the rivalry and distance between the two countries led to organizational and logistical problems.
Trivia
In the lead-up to 2002 World Cup finals, Senegalese midfielder Khalilou Fadiga was accused of stealing a necklace from a jewelry shop in Korea. Fortunately, Fadiga was released without any charge. The Korean police dropped charges at the request of the shop owner. The necklace, worth US$240, was later displayed in the shop window and called 'Fadiga's necklace'. Fadiga played in the opening match of the 2002 finals five days after the incident.
In the 2002 finals, the Cameroon players were disallowed to wear sleeveless shirts. FIFA considered Cameroon's sleeveless shirts to be vest but not shirts which a player is required to wear under the FIFA Laws of the Game. Earlier, Cameroon wore the sleeveless shirts throughout the 2002 African Nations Cup and won the title.
The quickest yellow card shown to a substitute in the history of World Cup finals was awarded to Korean forward Cha Doo-Ri during his two-minute's play in a First Round match against Poland on 4 June 2002. Cha Doo-Ri was booked only after 20 seconds after coming in as a substitute during injury time.
Before returning home after the 2002 finals, the Senegalese team visited Taiwan, for diplomatic reasons. Senegal is one of the 28 countries in the world which recognize Taiwan as a nation. During a red-carpet reception at the Taiwanese president's office, some players wore shorts and sandals. A scheduled friendly match between these two nations was canceled because many Senegalese players did not want to play. Thirty-seven call girls were said to have entered the players' hotel rooms during their two-day visit.
USA's star striker Landon Donovan, the day after their defeat to Germany in the 2002 quarter finals, played in a USA League match. Strange but true, the USA League did not have a break when the USA national team were playing in the 2002 finals. Due to time difference, Donovan could manage to play for his club San Jose in USA on Saturday 22 June 2002 after playing in the quarter finals in Korea on Friday 21 June.
Ronaldo changed his hair style after Brazil beat England in the 2002 quarter finals so as to look more different from his teammate Roberto Carlos. He wanted to have a new look because his son Ronald had wrongly recognized Roberto Carlos as Ronaldo - their toddler son kissed the TV screen shouting 'daddy' when Roberto Carlos appeared on TV during the quarter final match.
The Fastest goal ever in a World Cup match was by Turkey's Hakan Sükür after only 11 seconds against South Korea in 2002.
On the same day when the two strongest teams in the world played in the 2002 Final in Japan, a specially-arranged match between Bhutan and Montserrat - the two weakest teams in the world, was played in Bhutan. Montserrat, ranked 203rd, and Bhutan, ranked 202nd, were the lowest ranked countries in the world. It took the players five days for the trip from the Caribbean island of Montserrat to the Himalayan kingdom of Bhutan. Bhutan won 'The Other Final' on 30 June 2002, 4-0 in front of a crowd of 15,000 which was more than double the population of Montserrat. After the match, the players got together and watched the 'real' World Cup final on television.
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The Sheffield Shield is competed for in which sport? | Sheffield Shield - A Cricket Article
Sheffield Shield
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The Sheffield Shield got recognized in 1892-93 and is considered as the foremost domestic cricket competition held in Australia. There are around six teams who play these series of 4-day matches annually with every other team. Points are awarded for each team after each win or lose and then top winners would play against each other in the fifth day final match.
The final match is played at home ground which finishes at the end of the routine season competition. And, if the final is tied, then the top ranked team wins the Sheffield Shield. This four day version of domestic cricket match in Australia attracts crowds from around the world and involves states like New South Wales, Tasmania, South Australia, Queensland, Western Australia and such states.
History of the Shield
To trace back to the history of the Shield, it can be rather interesting to know that it was in 1891-92, that the shield came into existence. The Earl of Sheffield had come to Australia and as the promoter of the English team led by W.G. Grace, scheduled the tour having almost three tests played successively in Melbourne, Sydney and in Adelaide. At the end of the outstanding tour, Lord Sheffield donated 150 pounds to the association of New South Wales Cricket team for the purpose of funding a trophy for the annual tournament held in Australia. There were in general three colonies, the New South Wales, South Australia and Victoria, which were already playing with each other for the matches.
The summer of 1892-93 seasons saw the commencement of the new tournaments where the three teams competed with each other in each season for the Sheffield Shield, named after its benefactor. There was a competition held as to who would make a better shield and Philip Blashki, a Polish settler won this competition and designed the 43 x 30 inch of silver shield trophy. The competition consequently commenced fifteen years after the first test match of Australia.
In 1999, the Australian Cricket Board, which is at present, known by the name, Cricket Australia, announced 4 year aid deal that included renaming of the Sheffield Shield to the Pura Milk Cup and then to Pura Cup for next season. The name, Pura is kept after a brand name, Pura of National Foods. With this aid, there was increase in the whole prize money to 220,000 dollars, with winners getting 75,000 dollars and the runners up getting 45,000 dollars at the most.
Player of the year
At the end of the each season, the player of the year award is declared and from 1976, it has been awarded to any best performance of the player/s of the season as per the panel of judge’s discussion. Mathew Elliott, South Australian and Victoria batsman had won the award most of the times and also have been awarded Player of the year on three separate occasions in 1994-95, in 1998-99 and in 2003-04 respectively.
Pura Cup season winners of 2008-09
The first season of the Pura Cup was played between Victoria, South Australia and New South Wales in 1892-93. At this season, Victoria won the shield, and South Australia came second with New South Wales at the third place.
The winner of the Pura Cup season of 2008 – 09 was Victoria, with Second and Third position runner ups being Queensland and South Australia. Tasmania, Western Australia and New South Wales came as fourth, fifth and sixth positions.
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| Cricket |
In mathematics, whose theorem states that the square on the hypotenuse of a right-angled triangle is equal in area to the sum of the squares on the other two sides? | A brief history of cricket : Cricket
by BasedStatsey
It's 1877, and the touring English side is about to play their first Test match against Australia. On a whim, both captains agree to codify the rules for the sport of cricket. A match will not continue indefinately until there is a winner, but will instead go for 40 overs - 20 overs per side.
This radical concept was new, but both captains agreed, that they would be the new rules of the sport.
The tour was a resounding success, with good crowds attending, with many spruiking the faster, exciting nature of the game, with the result all over in about 3 hours.
15 years later, at the conclusion of the tour 1892 tour, Lord Sheffield donated £150 to the New South Wales Cricket Association to fund a trophy for an annual tournament of intercolonial cricket in Australia. The three colonies of New South Wales, Victoria and South Australia were already playing each other in ad hoc matches of the three hour game, which now was the only way the game was played. The new tournament commenced in the summer of 1892/93, mandating home and away fixtures between each colony each season. The three teams competed for the Sheffield Shield.
This competition was a resounding success, and as the years went by Queensland, and Western Australia were added. The crowds boomed with attendances rivalling that of the newly formed Victorian Football League. People couldn't get enough of cricket. This 3-hour bat and ball sport was proving to be incredibly popular. Soon, it was mooted that new teams be added from the existing states to develop into a club competiton similar to the Summer to what the VFL was to the Winter.
As the years went by, the tours by the English team would still be made, but they were less frequent as the English had their own successful club competiton back home which was proving to be just as popular as the Australian version. Tours were still made, but the focus of the summer, was on the domestic competition, with international matches being enourmous events, but but not the backbone of the Summer.
By the 1930's the Sheffield Shield had 3 teams from Victoria, 4 from NSW, and one each from Qld, SA and WA.
Due to the exciting nature of the game, the United States had started to play it on the East Coast due to the British Colonial influence. Someone had tried to start a sport called "baseball" there in the late 1890's but cricket was proving too popular. Canada was a similar story with the locals loving the game of cricket.
As the years went by, more and more countries started playing cricket. By the start of the 1970's more than 60 countries were regular particiapants with strong local leagues.
Fast forward to 2010, and the Sheffield Sheild is in its 119th season. There are 16 teams, with two from WA, two from SA, 3 from Melbourne, one from Geelong, 3 from Sydney, one from Newcastle, two from Brisbane, one from North Queensland, and one from Tasmania. The season goes from October through to March with each side playing 30 matches (playing each team twice) with the top 6 contesting the finals series, with the two Grand Finalists making the Champions League.
About 70 other countries have similarly strong leagues, with the American league comprising 32 teams, and being the dominant summer sport in the USA. One of the biggest issues of the day is many of Australia's better players leave the country to pursue lucrative club careers in India, America, and even Europe. A limit of how many "foreign" players can play for a club side in a different country is introduced to keep leagues like the Australian league strong.
Once every four years, a World Cup is held. Every Summer the best of the Australian cricketers come home to particpate in World Cup Qualifying matches, with these matches being held in between the domestic matches, with the big World Cup tournament itself being held in a different country once every 4 years. England are not the only touring side anymore. In fact, it is not surprising for Australia, in any given Summer of World Cup qualifying to play teams from South America and Europe. The World Cup itself it the 2nd biggest event in the world behind the Soccer World Cup.
A lucrative Champions League tournament is held annually also, which generates massive amounts of money, with the top teams in the various World Club competitions participating.
The head of the ICC in 2010-11, John Smith sits down to with the rest of the executives to discuss the future of cricket, after the season has just ended. It is April 1st, and now that March was over, the MCG is to be used for the AFL for the next 6 months. The sport of cricket was so popular around the world, that they were all pretty content with the status of things. One of the younger executives suggested an idea:
Young Executive: "How about we introduce a new form of the game"
Smith: "That an intriguing idea. Personally I'm a traditionalist, and I like the traditional and only form of the sport. But what is your idea?"
Young Executive: "Well, what if we introduced a longer form of the game?"
Smith: "Longer? The game goes for three hours already. Name a sport that goes longer? A game of American Football maybe but that's it. The sport is long enough as it is"
Young Executive: "Well, what I was thinking, was what if both teams had TWO innings"
Smith: "What's the point of that?"
Young Executive: "For the novelty and excitement. And teams don't bat for 20 overs, they can just bat on and on and on...a whole day will go for 6 hours, so they could bat for two days, 12 hours, in theory."
Laughter circulates around the room
Smith: "Are you serious, young fella? And how long does the match go for?"
Young Executive: "For 5 days"
Smith: "Hahahaha.... Oh my God, you're actually serious? 30 friggin hours? But what if the match isn't decided in 5 days?"
Young Executive: "Well, we simply call it a no result. No one wins or loses"
Smith: "So, it's like a tie?"
Young Executive: "Well, not really. A tie is when scores are level. It's just a no result. I estimate a no-result might happen about one-third of the time"
Smith: "Look, I'm sorry, but is this some kind of joke? Sounds like a good way to make sure people don't turn up. Havn't you noticed that people turn up to our sport? Why would we change that. We have the best game in the world."
Young Executive: "Do you know what date it is, sir?"
Smith: "Yes, it's April the firs...oh wait... you got me! haha"
Young Executive: "April Fools! You didn't think I was serious did you! I'd have to be a moron to suggest such a preposterous idea!"
The board of the ICC had a few laughs then got back to the business of governing the World's second biggest sport, behind Soccer.
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An apple seed contains which poisonous substance? | Are Apple Seeds Poisonous?
Are Apple Seeds Poisonous?
Are Apple Seeds Poisonous?
Cyanide in Apple Seeds
Apple seeds contain amygdalin, which decomposes into toxic benzaldehyde and prussic acid (hydrogen cyanide. However, humans are able to detoxify small amounts of these chemicals. Image Source/Getty Images
Updated October 24, 2016.
Question: Do Apple Seeds Contain Poison?
Apples, along with cherries, peaches and almonds, are members of the rose family. The seeds of apples and these other fruits contain natural chemicals that are toxic to some animals. Are they poisonous to humans? Here's a look at the toxicity of apple seeds.
Toxicity of Apple Seeds
Apple seeds do contain a small amount of cyanide , which is a lethal poison, but you are protected from the toxin by the hard seed coating. If you eat whole apple seeds, they pass through your digestive system relatively untouched. If you chew the seeds thoroughly, you will be exposed to the chemicals inside the seeds, but the dose of toxins in an apple is small enough that your body can easily detoxify it.
How Many Apple Seeds Does It Take to Kill You?
Cyanide is deadly at a dose of about 1 milligram per kilogram of body weight. On average, an apple seed contains 0.49 mg of cyanogenic compounds. The number of seeds per apple varies, but an apple with 8 seeds therefore contains about 3.92 milligrams of cyanide.
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Test Your General Science Knowledge
A person weighing 70 kilograms would needs to eat 143 seeds to reach the lethal dose, or about 18 whole apples.
Reference: Juniper BE, Mabberley DJ (2006). The Story of the Apple. Timber Press. p. 20. ISBN 0881927848.
| Cyanide |
Kopi Luwak coffee beans, the most expensive in the world, come from the dung of which animal, after it has partially digested the berries which contain the beans? | Top 10 Poisonous Foods We Love To Eat - Listverse
Top 10 Poisonous Foods We Love To Eat
Jamie Frater
January 6, 2009
Everyday we chow down on food produced from plants that carry deadly poisons. Most of the time we don’t need to be concerned with this as the mass production of fruit and vegetables ensures that we are usually safe, but from time to time people accidentally kill themselves by unwittingly eating the wrong part of a plant. In order to ensure that this never happens to you, I have put together a list of the most commonly seen poisons that we come in to contact with in our kitchens.
10
Mushrooms
We have all heard of toadstools – and know that they are poisonous, but what many people don’t know is that a toadstool is actually a mushroom, not a separate type of plant. Toadstool is slang for “poisonous mushroom”. While there are some useful signs that a mushroom is poisonous, they are not consistent and all mushrooms of unknown origin should be considered dangerous to eat. Some of the things you can look for to try to determine whether a mushroom is poisonous are: it should have a flat cap with no bumps, it should have pink or black gills (poisonous mushrooms often have white gills), and the gills should stay attached to the cap (not the stalk) if you pull it off. But remember, while this is generally true of many types of mushroom, it is not always true.
Not all mushrooms are dangerous; some are actually delicious. Grow your own with a Back To The Roots Mushroom Kit at Amazon.com!
9
Pufferfish
A few days ago we had a list of embarrassing deaths, one of which included death by eating the liver of a fugu (pufferfish). The fugu is so poisonous that in Japan, fugu chefs are trained specially for the job and are tested before being a given certificates of practice. The training takes two or three years. In order to pass, the chef must answer a written test then give a demonstration of his cutting abilities. The final part of the test involves the chef eating the pieces of fugu that he has cut. Only 30% of apprentices pass the test – which is not to say that the rest die by eating their fugu – they can fail in earlier parts of the test. Only the flesh of the fugu is consumed as it is less likely to have high amounts of poison (which causes a slight tingling sensation in the mouth). Fugu is the only food officially illegal for the Emperor of Japan to eat – for his safety. Rather than including a photograph of a pufferfish, I have used a youtube clip showing a chef preparing the fugu – it is quite extraordinary.
8
Elderberry
Elderberry trees are very attractive and quite large. They are covered with thousands of tiny flowers which have a delicate scent. The flowers are used mainly for making elderflower liqueur and soda. Sometimes the flowers are eaten after being battered and deep fried. But beneath the pretty surface lurks danger! The roots and some other parts of the elderberry tree are highly poisonous and will cause severe stomach problems. So next time you decide to pick some elderberry flowers for eating, be sure to eat just the flowers.
7
Castor Oil
Castor oil, the bane of many of our childhoods, is regularly added to candies, chocolate, and other foods. Furthermore, many people still consume a small amount daily or force it on their unwilling children. Fortunately the castor oil we buy is carefully prepared, because the castor bean is so deadly, that it takes just one bean to kill a human, and four to kill a horse. The poison is ricin, which is so toxic that workers who collect the seeds have strict safety guidelines to prevent accidental death. Despite this, many people working in the fields gathering the seeds suffer terrible side-effects.
Grow your own castor plant! Buy Giant Zanzibar Castor Seeds at Amazon.com!
6
Almonds
Almonds are one of the most useful and wonderful of seeds (it is not a nut as many people would have you believe). It has a unique taste and its excellent suitability for use in cooking have made it one of the most popular ingredients in pastry kitchens for centuries. The most flavorsome almonds are bitter almonds (as opposed to “sweet” almonds). They have the strongest scent and are the most popular in many countries. But there is one problem: they are full of cyanide. Before consumption, bitter almonds must be processed to remove the poison. Despite this requirement, some countries make the sale of bitter almonds illegal (New Zealand regretfully is one of them). As an alternative, you can use the pip from an apricot stone which has a similar flavor and poison content. Heating destroys the poison. In fact, you may not know that it is now illegal in the USA to sell raw almonds – all almonds sold are now heat-treated to remove traces of poison and bacteria.
5
Cherries
Cherries are a very popular fruit – used in cooking, liqueur production, or eaten raw. They are from the same family as plums, apricots, and peaches. All of the previously mentioned fruits contain highly poisonous compounds in their leaves and seeds. Almonds are also a member of this family but they are the only fruit which is harvested especially for its seeds. When the seeds of cherries are crushed, chewed, or even slightly injured, they produce prussic acid (hydrogen cyanide). Next time you are eating cherries, remember not to suck on or chew the pip.
4
Apples
Like the previous two items, apple seeds also contain cyanide – but obviously in much smaller doses. Apple seeds are very often eaten accidentally but you would need to chew and consume a fairly high number to get sick. There are not enough seeds in one apple to kill, but it is absolutely possible to eat enough to die. I recommend avoiding apple eating competitions! Incidentally, if you want to eat an apple and find a worm in it (and hopefully not half a worm), you can drop it in a bowl of salt water which will kill the worm.
3
Rhubarb
Rhubarb is a very underrated plant – it produces some of the nicest tasting puddings and is incredibly easy to grow at home. Rhubarb is something of a wonder plant – in addition to an unknown poison in its leaves, they also contain a corrosive acid. If you mix the leaves with water and soda, it becomes even more potent. The stems are edible (and incredibly tasty) and the roots have been used for over 5,000 years as a laxitive and poop-softener.
2
Tomatoes
First off, a little interesting trivia: in the US, thanks to a US Supreme Court decision in 1893, tomatoes are vegetables. In the rest of the world they are considered to be fruit (or more accurately, a berry). The reason for this decision was a tax on vegetables but not fruit. You may also be interested to know that technically, a tomato is an ovary. The leaves and stems of the tomato plant contain a chemical called “Glycoalkaloid” which causes extreme nervousness and stomach upsets. Despite this, they can be used in cooking to enhance flavor, but they must be removed before eating. Cooking in this way does not allow enough poison to seep out but can make a huge difference in taste. Finally, to enhance the flavor of tomatoes, sprinkle a little sugar on them. Now we just need to work out whether they are “toe-mah-toes” or “toe-may-toes”.
1
Potatoes
Potatoes have appeared in our history books since their introduction to Europe in the 16th century. Unfortunately they appear largely due to crop failure and severe famine, but they will be forever the central vegetable of most western families daily diet. Potatoes (like tomatoes) contain poison in the stems and leaves – and even in the potato itself if left to turn green (the green is due to a high concentration of the glycoalkaloid poison). Potato poisoning is rare, but it does happen from time to time. Death normally comes after a period of weakness and confusion, followed by a coma. The majority of cases of death by potato in the last fifty years in the USA have been the result of eating green potatoes or drinking potato leaf tea.
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Which English monarch was killed at the Battle of Bosworth in 1485? | King Richard III: Battle of Bosworth descendants meet - BBC News
BBC News
King Richard III: Battle of Bosworth descendants meet
25 March 2015
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Image copyright Getty Images
Image caption Richard, the last English king to die in battle, was killed at Bosworth Field in 1485
Descendants of some 20 families who fought at the Battle of Bosworth, that ended the reign of Richard III, have met for the first time.
Researchers who identified the king using DNA from his distant family used the same techniques to find descendants of those who fought in the battle.
They met family members directly related to the last Plantagenet king at a reception in Leicester.
Some have flown from Australia, South Africa and Canada for the occasion.
Richard, the last English king to die in battle, was killed at Bosworth Field in 1485 , at the end of the Wars of the Roses.
The pro-vice chancellor at the University of Leicester, Prof Kevin Schürer, who conducted the research, said it was "challenging" but had "thrown up some interesting stories".
Image copyright Rex Harris
Image caption A stained glass window at Malvern Priory depicts Sir Reynold Bray, who is credited with finding Richard's golden crown on a hawthorn bush at Bosworth
Among those identified by Prof Schürer are relatives whose ancestors include:
Marmaduke Constable who survived at Bosworth and later fought in the Battle of Flodden, aged 71, but died after swallowing a frog while drinking a glass of water.
Sir John Babington of Dethick, Derbyshire who had been Sheriff of Derby and Nottingham and is reported to have fought for King Richard's cause.
Samuel Spriggs a Leicestershire man who accompanied Richard to battle and is reputed to have been made an esquire of his body.
John Hardwick who knew the local terrain and advised Henry of Richmond on the best battle positions, thus being credited as "the architect of Richard's defeat".
Sir Reynold Bray from Worcester who is credited with having found Richard's golden crown on a hawthorn bush on the Bosworth battlefield and handing it to Lord Stanley who placed it on Henry's head.
Simon Digby from Leicester who was knighted and given the manor of Coleshill, Warwickshire for his part in the battle.
Thomas Iden who fought for the Lancastrian cause and subsequently served as the Sheriff of Kent in 1500.
Prof Schürer said: "The stories are a mixture of continuity and change, with a fair measure of fame and glory thrown in.
"The inter-relation between some of the families from Bosworth is another interesting feature - in some regards it truly was a battle of cousins.
"Bringing together these families for the first time in over 500 years will be a remarkable event."
King Richard's reburial ceremony will be held at Leicester Cathedral on Thursday, led by the Archbishop of Canterbury, Justin Welby.
| Richard III of England |
Habib Bourguiba became the first President of which North African country in 1957? | King Richard III killed by blows to skull - BBC News
BBC News
King Richard III killed by blows to skull
17 September 2014
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Image copyright University of Leicester
Image caption Forensic teams studied the skeleton to determine the nature of the injuries and weapons that were used
King Richard III was probably killed by two blows to the head during a "sustained attack", according to new scientific research.
The English king was killed at the Battle of Bosworth on 22 August, 1485.
Forensic teams at the University of Leicester have now revealed he suffered at least 11 injuries, some possibly inflicted after death.
CT scans were used on his 500-year-old skeleton to help determine his injuries and the medieval weapons used.
His remains were found under a car park in Leicester in 2012.
The results of forensic analysis, published in The Lancet, show he had nine wounds to the skull and two to the postcranial skeleton.
Researchers said three of these "had the potential to cause death quickly".
INTERACTIVE
Large skull wound
×
Injury inflicted by large-bladed weapon, possibly a sword or halberd (axe-headed pole). Experts have concluded that either of the two injuries to the back of his skull, could have killed Richard III. The wounds suggest he was not wearing a helmet and it seems likely he was kneeling down with his head bent at the time of the injury.
Small skull wound
×
Wound caused by sword tip or top spike of a halberd (axe-headed pole). The wound penetrated through the bone and brain, about 105mm ( just over 4 inches). Experts have concluded either of the large skull wounds could have killed Richard III.
Dagger wound
×
Richard III was possibly kneeling as the wound was inflicted from above, by a weapon like a dagger. Any other type of weapon, like a war hammer or a halberd, would have been delivered with more force, causing greater damage to the skull. This injury would not have been immediately fatal.
Sarah Hainsworth, study author and professor of materials engineering, said: "Richard's injuries represent a sustained attack or an attack by several assailants with weapons from the later medieval period.
"Wounds to the skull suggest he was not wearing a helmet, and the absence of defensive wounds on his arms and hands indicate he was still armoured at the time of his death."
Guy Rutty, from the East Midlands pathology unit, said the two fatal injuries to the skull were likely to have been caused by a sword, a staff weapon such as halberd or bill, or the tip of an edged weapon.
He said: "Richard's head injuries are consistent with some near-contemporary accounts of the battle, which suggest Richard abandoned his horse after it became stuck in a mire and was killed while fighting his enemies."
Who was Richard III?
Image caption Richard III's appearance has been determined by DNA tests
Richard was born in 1452 at Fotheringhay Castle in Northamptonshire
His coronation took place in Westminster Abbey in 1483
Richard had one of the shortest reigns in British history - 26 months
He was the last English king to die in battle, killed at Bosworth in 1485
Investigators said they believed damage to the pelvis was caused by a thin dagger stabbed into the buttocks. While this injury could in theory have caused fatal bleeding, it was unlikely to have been the cause of death as Richard's armour would have protected this part of the body.
They suggested this wound, along with another to a rib, was likely to have been inflicted after death, possibly when the body was slung over a horse.
Researchers said there could have been more wounds to soft tissue which left no trace on the skeleton.
King Richard's skeleton is due to be reinterred at Leicester Cathedral in March.
Image copyright The Lancet
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Shantung is a type of which fabric? | Glossary of Fabric Terms - Fabric - Store
A manufactured fiber, its major properties include a soft, wool-like hand, machine washable and dryable and excellent color retention.
Alpaca
A natural hair fiber obtained from the Alpaca sheep, a domesticated member of the llama family.
Angora
The hair of the Angora goat. Also known as Angora mohair. Angora may also apply to the fur of the Angora rabbit.
Antique Satin
A reversible satin-weave fabric with satin floats on the technical face and surface slubs on the technical back created by using slub-filling yarns. It is usually used with the technical back as the right side for drapery fabrics and often made of a blend of fibers.
Batik
A method of dyeing fabric where some areas are covered with wax or pastes made of glues or starches to make designs by keeping dyes from penetrating in pattern areas. Multicolored and blended effects are obtained by repeating the dyeing process several times, with the initial pattern of wax boiled off and another design applied before dyeing again in a new color.
A lightweight, plain weave fabric, semi-sheer and usually made of cotton or cotton blends. Appropriate for heirloom sewing, baby clothes and lingerie.
Bedford Cord
A cord cotton-like fabric with raised ridges in the lengthwise direction. Since the fabric has a high strength and a high durability, it is often used for upholstery and work clothes.
A fabric with a crosswise rib made from textile fibers (as rayon, nylon, cotton, or wool) often in combination.
Boiled Wool
Felted knitted wool, it offers the flexibility of a knit with great warmth. Create your own by washing double the needed amount of 100% wool jersey in hot water and drying in a hot dryer. Expect 50% shrinkage. Appropriate for jackets, vests and stuffed animals.
Blackout
A type of fabric that is commonly used for drapery, this fabric has the distinctive quality of blocking light, and comes in two forms: 2-pass and 3-pass. Two-pass has two “passes” of foam on a fabric, which means the black layer of foam will be visible. 3-pass has two layers of white and one layer of black foam. Three-pass can also be used as an upholstery fabric, as the black layer is not visible. Blackout fabrics can also be insulating and noise-dampening.
Buckram
A very stiff cotton fabric that is been soaked in a substance to fill in the gaps between the fibers. The fiber is usually cotton and is finished with starch and resin. Buckram fabric is most commonly used as the supporting material inside of baseball caps. It is also used in lady's hats, costumes, belts, and handbags.
A loosely constructed, heavy weight, plain weave fabric. It has a rough hand. Appropriate for draperies and decorative items.
Burn-out Velvet
Created from two different fibers, the velvet is removed with chemicals in a pattern leaving the backing fabric intact. Appropriate for more unconstructed and loosely fit garments.
Chenille
The French word for caterpillar, this soft fabric is created by placing short pieces of yarns between core yarns and twisting the yarn together to make a fabric. This fabric is commonly used for baby items and in home décor fabrics.
Chantilly lace
This lace has a net background, and the pattern is created by embroidering with thread and ribbon to create floral designs. The pattern has areas of design that are very dense, and the pattern is often outlined with heavier cords or threads.
Charm Quilt
A quilt made of many, many small patches (traditionally 2" or so) where each piece is a different fabric. The pattern is usually a one-patch design and often involves swaps and trades with friends to gather many fabrics.
Charmuese
A luxurious, supple silky fabric with a shiny satin face and a dull back. Generally either silk, rayon ,or polyester. Suitable for blouses, fuller pants and lingerie.
Cotton
a white vegetable fiber grown in warmer climates in many parts of the world, has been used to produce many types of fabric for hundreds of years. Cotton fabric feels good against the skin regardless of the temperature or the humidity and is therefore in great demand by the consumer.
Used to describe all kinds of fabrics--wool, cotton, silk, rayon, synthetics and blends-that have a crinkle, crimped or grained surface.
Crepe Charmeuse
A smooth, soft luster fabric of grenadine silk warp and filling, with latter given crepe twist. It has the body and drape of satin and is used for dresses and eveningwear.
Crepe de Chine
Silk crepe de chine has a slightly crinkly surface create with highly twisted fibers. It comes in three weights: 2 ply, appropriate for blouses and lingerie; 3 ply, appropriate for dresses, fuller pants and dresses; and 4 ply, most luxurious and best for trousers and jackets.
Crepe-back Satin
A satin fabric in which highly twisted yarns are used in the filling direction. The floating yarns are made with low twist and may be of either high or low luster. If the crepe effect is the right side of the fabric, the fabric is called satin-back crepe.
Crewel
A true crewel fabric is embroidered with crewel yarn (a loosely twisted, two-ply wool) on a plain weave fabric. Traditional crewel fabrics are hand-woven and embroidered in India. The design motif for crewel work is typically outlines of flowers, vines, and leaves, in one or many colors. Modern weaving technology and inventive designers create traditional "crewel" looks with weave effects alone, without the use of embroidery.
Crocheted
Denim
A twill weave cotton fabric made with different colored yarns in the warp and the weft. Due to the twill construction, one color predominates on the fabric surface. Suitable for pants, jackets and skirts. Pre-wash and dry 100% cotton denim at least twice to eliminate shrinkage and color bleeding.
Dimity
A lightweight and sheer cotton fabric that features a raised texture. Usually seen in light colors, but occasionally printed as well. Dimity fabric is commonly used in window treatments, draperies, and heirloom projects.
A decorative weave, characterized by small figures, usually geometric, that are woven into the fabric structure.
Doeskin
Generally applied to fabric with a low nap that is brushed in one direction to create a soft suede-like hand on the fabric front. Great for tops, pants and fuller skirts.
A lightweight, sheer cotton or cotton blend fabric with a small dot flock-like pattern either printed on the surface of the fabric, or woven into the fabric. End-uses for this fabric include blouses, dresses, baby clothes, and curtains.
Double Cloth
A fabric construction, in which two fabrics are woven on the loom at the same time, one on top of the other. In the weaving process, the two layers of woven fabric are held together using binder threads. The woven patterns in each layer of fabric can be similar or completely different.
A weft knit fabric in which two layers of loops are formed that cannot be separated. A double knit machine, which has two complete sets of needles, is required for this construction.
Double Rub
Double rubs measure a fabric’s abrasion resistance, determined by the Wyzenbeek test. Each “rub” is one back and forth pass over a stretched piece of fabric by a mechanical arm. The test is run until the fabric shows noticeable wear. Consider the double rub count when purchasing upholstery fabric for a high-traffic area in your home.
Drill
Strong, medium- to heavyweight, warp-faced, twill-weave fabric. It is usually a 2/1 left-handed twill and piece dyed.
A sheer, open-weave fabric usually cotton or silk. It is suitable for blouses, dresses and curtains.
Georgette
A drapey woven fabric created from highly twisted yarns creating a pebbly texture. It is semi-sheer and suitable for blouses, full pants and flowing dresses.
A medium weight, plain weave fabric with a plaid or check pattern. End-uses include dresses, shirts, and curtains.
Gossamer
Very soft, gauzelike veiling originally of silk.
Grois Point
A fabric which features large points of yarn on the surface of the fabric.
Grosgrain
A tightly woven, firm, warp-faced fabric with heavy, round filling ribs created by a high-warp count and coarse filling yarns. Grosgrain can be woven as a narrow-ribbon or a fullwidth fabric.
A fabric, usually handwoven which has been tie-dyed in the yarns prior to weaving. The pattern can range from simple little dots to intricate double ikats.
Interlining
An insulation, padding, or stiffening fabric, either sewn to the wrong side of the lining or the inner side of the outer shell fabric. The interlining is used primarily to provide warmth in coats, jackets, and outerwear.
Also known as T-shirt knit. It usually has stretch across the grain. Great for tops, skirts and lightweight pants.
Irish Poplin
There are two types of Irish poplin: (1) Originally a fabric constructed with silk warp and wool filling in plain weave with fine rib. (2) Fine linen or cotton shirting also made in Ireland. Sometimes used for neckwear.
Knit Fabric
Fabrics made from only one set of yarns, all running in the same direction. Some knits have their yarns running along the length of the fabric, while others have their yarns running across the width of the fabric. Knit fabrics are held together by looping the yarns around each other. Knitting creates ridges in the resulting fabric. Wales are the ridges that run lengthwise in the fabric; courses run crosswise.
Knit-de-knit
A type of yarn texturizing in which a crimped yarn is made by knitting the yarn into a fabric, and then heat-setting the fabric. The yarn is then unraveled from the fabric and used in this permanently crinkled form.
Napped
Napped fabric has a surface texture with an added visual appeal, and is frequently featured in flannel, corduroy, velvet, and satin. The napped texture creates soft, heavy, and warm qualities, making it perfect for shirting, sleepwear, and baby blankets. Double napped fabrics are brushed on both sides, while single-napped is only brushed on one side. When sewing with fabrics with a distinct nap, be sure to allow for extra fabric, and lay all of your pattern pieces going in the same direction.
Refers to any open-construction fabric whether it is created by weaving, knitting, knotting, or another method.
Noil
Noil is a short fiber that is left over when combing longer fibers during textile production. Silk noil fabric is created from taking the leftover noils from spinning silk to create an overall raw silk fabric that features a gentle drape, slightly nubby, uneven texture, and dull surface. Noil fabric is perfect for creating loose-fitting jackets, skirts, dresses, and home décor accents.
Ottoman
A heavy, plain weave fabric with wide, flat crosswise ribs that are larger and higher than in faille. It sometimes comes with alternating narrow and wide ribs. When made of narrow ribs only, it is called soleil. Warp may be silk or manmade fiber; filling may be cotton, silk, wool, or manmade fiber. Used for dress coats, suits, and trimmings.
Outdoor
Outdoor fabric is used to recover cushions, pillows, create awnings, and more for spaces exposed to nature’s elements like the sun and rain. Created with polyester or acrylic fibers, outdoor fabric is durable, soil and stain resistant, and can be cleaned by wiping with a damp rag.
Panel
A panel is a cotton print that can be used for anything from quilt projects to aprons, doll clothes, or soft books. Most commonly used in quilting, panels feature a large design that is often featured in the center of a quilt, making it perfect for themed projects. Some panels also feature instructions and cut-outs for projects like an apron or book.
Panné Satin
Lightweight silk or manmade fiber satin fabric with very high luster achieved with aid of heavy roll pressure. Crushes easily. Used for eveningwear.
Panné Velvet
A lustrous, lightweight velvet fabric, in which the pile has been flattened in one direction. Has good stretch across the grain. Appropriate for tops and dresses.
A soft fabric with a brushed texture similar to the skin of a peach on one side, with a good amount of drape. Peachskin is often used to create blouses, skirts, and dresses with a lining.
Peau de Soie
A heavy twill weave drapeable satin fabric, made of silk or a manufactured fiber, and used for bridal gowns and eveningwear.
Pima Cotton A type of cotton plant developed in the Southwestern USA from a cross between Egyptian and Uplands cotton which is longer in fiber length and more lustrous than most American cottons. It is used to weave some of the popular quilting fabrics which have a silk-like hand.
Plissé
A lightweight, plain weave, fabric, made from cotton, rayon, or acetate, and characterized by a puckered striped effect, usually in the warp direction. The crinkled effect is created through the application of a caustic soda solution, which shrinks the fabric in the areas of the fabric where it is applied. Plissé is similar in appearance to seersucker. End-uses include dresses, shirtings, pajamas, and bedspreads.
Plush
A compactly woven fabric with warp pile higher than that of velvet. Made of cotton, wool, silk, or manmade fiber, often woven as double face fabric and then sheared apart. Higher pile gives bristly texture. Usually piece-dyed but may be printed. Used for coats, upholstery.
Pointelle
Unclipped, looped pile, 100% cotton terry cloth is highly absorbent. French Terry has a looped reverse and a knit-like face.
Ticking
A variety of fabrics are known as "ticking." The main weave is a closely-woven, thick yarn twill. Spaced, colored, and natural or white yarns repeated in the warp, and all natural or white in the filling, forming a stripe. Several color combinations used, as blue and white, brown and white, red and white. Heavy warp-face sateens as well as heavy sheetings are printed and sold as ticking. Jacquard damask ticking woven in damask effects also sold for this purpose as well as other fabrics, such as drills.
Toile
A type of decorating pattern consisting of a white or off-white background on which a repeated pattern depicting a fairly complex scene, generally of a pastoral theme such as (for example) a couple having a picnic by a lake. The pattern portion consists of a single colour, most often black, dark red, or blue. Greens and magenta toile patterns are less common but not unheard of.
Wool is naturally stain and wrinkle resistant. It can absorb up to 40% of it’s weight in moisture without feeling damp. Wool comes in many forms including crepe, challis, gabardine, merino, melton, jersey and worsted wool suitings.
Wool Crepe
A lightweight worsted fabric with a more or less crinkly appearance, obtained by using warp yarns that are tightly twisted in alternate directions. The term is often applied to lightweight worsted fabrics for women's wear that have little or no crepe surface.
Woven Fabric
Fabrics composed of two sets of yarns. One set of yarns, the warp, runs along the length of the fabric. The other set of yarns, the fill or weft, is perpendicular to the warp. Woven fabrics are held together by weaving the warp and the fill yarns over and under each other.
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Which Charles Dickens novel was set during the Gordon riots? | Shantung Fabric | Fashion Fabrics
Shantung Fabric
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Shantung Fabric
Shantung fabric by the yard and at a discount. Silk shantung, upholstery and drapery shantung. This is a shantung fabric store where you can buy all kinds of shantung fabrics.
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Golden Beige Silk Shantung Solid beige with golden undertones and a beautiful sheen. A dress weight woven pure silk fabric with a smooth hand/feel. Suitable for dresses, skirts and lightweight dressy slacks/suits. Hand wash or dry clean for best results. Compare to $25.00/yd
Solid beige with golden undertones and a beautiful sheen. A dress weight woven pure silk fabric with a smooth hand/feel. Suitable for dresses, skirts and lightweight dressy slacks/suits. Hand wash or dry clean for best results. Compare to $25.00/yd [ more ]
Item Number: 47197
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Bronze Satin Back Shantung A dress weight rayon matte shantung with a silky satin back that has a hammered look. Excellent drape. Use for special occasion apparel and dresses. Hand wash cold or dry clean. Compare to $12.00/yd
A dress weight rayon matte shantung with a silky satin back that has a hammered look. Excellent drape. Use for special occasion apparel and dresses. Hand wash cold or dry clean. Compare to $12.00/yd [ more ]
Item Number: 46712
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Gunmetal Grey Satin Stripe Shantung Medium weight silk and rayon blend fabric with a unique textured surface and a tone on tone vertical satin stripe with a high sheen. Drapes in folds. Can be used for apparel such as tailored suits or also home décor applications. Hand wash cold or dry clean for best results.Compare to $25.00/yd
Medium weight silk and rayon blend fabric with a unique textured surface and a tone on tone vertical satin stripe with a high sheen. Drapes in folds. Can be used for apparel such as tailored suits or also home décor applications. Hand wash cold or dry clean for best results.Compare to $25.00/yd [ more ]
Item Number: 46707
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Brushed Gold Satin Stripe Shantung Medium weight silk and rayon blend fabric with a unique textured surface and a tone on tone vertical satin stripe with a high sheen. Drapes in folds. Can be used for apparel such as tailored suits or also home décor applications. Hand wash cold or dry clean for best results.Compare to $25.00/yd
Medium weight silk and rayon blend fabric with a unique textured surface and a tone on tone vertical satin stripe with a high sheen. Drapes in folds. Can be used for apparel such as tailored suits or also home décor applications. Hand wash cold or dry clean for best results.Compare to $25.00/yd [ more ]
Item Number: 46716
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Green Blue Silk Shantung Jacquard A dress weight woven silk fabric with a jacquard diamond and vine design. Beautiful shimmer and iridescent sheen. Crisp hand similar to taffeta. Suitable for apparel such as dresses and special occasion suits. Could also be used as lightweight window panels. Hand wash cold or dry clean.Compare to $30.00/yd
A dress weight woven silk fabric with a jacquard diamond and vine design. Beautiful shimmer and iridescent sheen. Crisp hand similar to taffeta. Suitable for apparel such as dresses and special occasion suits. Could also be used as lightweight window panels. Hand wash cold or dry clean.Compare to $30.00/yd [ more ]
Item Number: 46734
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Persimmon Orange Silk Shantung Jacquard A dress weight woven silk fabric with a jacquard diamond and vine design. Beautiful shimmer and iridescent sheen. Crisp hand similar to taffeta. Suitable for apparel such as dresses and special occasion suits. Could also be used as lightweight window panels. Hand wash cold or dry clean.Compare to $30.00/yd
A dress weight woven silk fabric with a jacquard diamond and vine design. Beautiful shimmer and iridescent sheen. Crisp hand similar to taffeta. Suitable for apparel such as dresses and special occasion suits. Could also be used as lightweight window panels. Hand wash cold or dry clean.Compare to $30.00/yd [ more ]
Item Number: 46733
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Olive/Gold Silk Shantung Jacquard A dress weight woven silk fabric with a jacquard diamond and vine design. Beautiful shimmer and iridescent sheen. Crisp hand similar to taffeta. Suitable for apparel such as dresses and special occasion suits. Could also be used as lightweight window panels. Hand wash cold or dry clean.Compare to $30.00/yd
A dress weight woven silk fabric with a jacquard diamond and vine design. Beautiful shimmer and iridescent sheen. Crisp hand similar to taffeta. Suitable for apparel such as dresses and special occasion suits. Could also be used as lightweight window panels. Hand wash cold or dry clean.Compare to $30.00/yd [ more ]
Item Number: 46732
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Orange/Purple Silk Shantung Jacquard A dress weight woven silk fabric with a jacquard diamond and vine design. Beautiful shimmer and iridescent sheen. Crisp hand similar to taffeta. Suitable for apparel such as dresses and special occasion suits. Could also be used as lightweight window panels. Hand wash cold or dry clean.Compare to $30.00/yd
A dress weight woven silk fabric with a jacquard diamond and vine design. Beautiful shimmer and iridescent sheen. Crisp hand similar to taffeta. Suitable for apparel such as dresses and special occasion suits. Could also be used as lightweight window panels. Hand wash cold or dry clean.Compare to $30.00/yd [ more ]
Item Number: 46731
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Green/Beige Silk Shantung Jacquard A dress weight woven silk fabric with a jacquard diamond and vine design. Beautiful shimmer and iridescent sheen. Crisp hand similar to taffeta. Suitable for apparel such as dresses and special occasion suits. Could also be used as lightweight window panels. Hand wash cold or dry clean.Compare to $30.00/yd
A dress weight woven silk fabric with a jacquard diamond and vine design. Beautiful shimmer and iridescent sheen. Crisp hand similar to taffeta. Suitable for apparel such as dresses and special occasion suits. Could also be used as lightweight window panels. Hand wash cold or dry clean.Compare to $30.00/yd [ more ]
Item Number: 46730
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Brushed Brass Silk Shantung Jacquard A dress weight woven silk fabric with a tone on tone jacquard diamond and vine design. Beautiful shimmer and iridescent sheen. Crisp hand similar to taffeta. Suitable for apparel such as dresses and special occasion suits. Could also be used as lightweight window panels. Hand wash cold or dry clean.Compare to $30.00/yd
A dress weight woven silk fabric with a tone on tone jacquard diamond and vine design. Beautiful shimmer and iridescent sheen. Crisp hand similar to taffeta. Suitable for apparel such as dresses and special occasion suits. Could also be used as lightweight window panels. Hand wash cold or dry clean.Compare to $30.00/yd [ more ]
Item Number: 46711
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Silver Sage Silk Shantung Jacquard A dress weight woven silk fabric with a tone on tone jacquard diamond and vine design. Beautiful shimmer and iridescent silver and sage green sheen. Crisp hand similar to taffeta. Suitable for apparel such as dresses and special occasion suits. Could also be used as lightweight window panels. Hand wash cold or dry clean.Compare to $30.00/yd
A dress weight woven silk fabric with a tone on tone jacquard diamond and vine design. Beautiful shimmer and iridescent silver and sage green sheen. Crisp hand similar to taffeta. Suitable for apparel such as dresses and special occasion suits. Could also be used as lightweight window panels. Hand wash cold or dry clean.Compare to $30.00/yd [ more ]
Item Number: 46710
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Copper Silk Shantung Jacquard A dress weight woven silk fabric with a tone on tone jacquard diamond and vine design. Beautiful shimmer and iridescent sheen. Crisp hand similar to taffeta. Suitable for apparel such as dresses and special occasion suits. Could also be used as lightweight window panels. Hand wash cold or dry clean.Compare to $30.00/yd
A dress weight woven silk fabric with a tone on tone jacquard diamond and vine design. Beautiful shimmer and iridescent sheen. Crisp hand similar to taffeta. Suitable for apparel such as dresses and special occasion suits. Could also be used as lightweight window panels. Hand wash cold or dry clean.Compare to $30.00/yd [ more ]
Item Number: 46706
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Antique Gold Silk Shantung Jacquard A dress weight woven silk fabric with a tone on tone jacquard diamond and vine design. Beautiful shimmer and iridescent sheen. Crisp hand similar to taffeta. Suitable for apparel such as dresses and special occasion suits. Could also be used as lightweight window panels. Hand wash cold or dry clean.Compare to $30.00/yd
A dress weight woven silk fabric with a tone on tone jacquard diamond and vine design. Beautiful shimmer and iridescent sheen. Crisp hand similar to taffeta. Suitable for apparel such as dresses and special occasion suits. Could also be used as lightweight window panels. Hand wash cold or dry clean.Compare to $30.00/yd [ more ]
Item Number: 46709
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Garnet Red Silk Shantung Jacquard A dress weight woven silk fabric with a tone on tone jacquard diamond and vine design. Beautiful shimmer and sheen. Crisp hand similar to taffeta. Suitable for apparel such as dresses and special occasion suits. Could also be used as lightweight window panels. Hand wash cold or dry clean.Compare to $30.00/yd
A dress weight woven silk fabric with a tone on tone jacquard diamond and vine design. Beautiful shimmer and sheen. Crisp hand similar to taffeta. Suitable for apparel such as dresses and special occasion suits. Could also be used as lightweight window panels. Hand wash cold or dry clean.Compare to $30.00/yd [ more ]
Item Number: 46708
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Salmon Orange Silk Shantung Jacquard A dress weight woven silk fabric with a tone on tone jacquard diamond and vine design. Beautiful shimmer and sheen. Crisp hand similar to taffeta. Suitable for apparel such as dresses and special occasion suits. Could also be used as lightweight window panels. Hand wash cold or dry clean.Compare to $30.00/yd
A dress weight woven silk fabric with a tone on tone jacquard diamond and vine design. Beautiful shimmer and sheen. Crisp hand similar to taffeta. Suitable for apparel such as dresses and special occasion suits. Could also be used as lightweight window panels. Hand wash cold or dry clean.Compare to $30.00/yd [ more ]
Item Number: 46714
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In the human body, what does dermal relate to? | Integumentary System
Integumentary System
Home > Integumentary System
Integumentary System
The integumentary system is an organ system consisting of the skin, hair, nails, and exocrine glands. The skin is only a few millimeters thick yet is by far the largest organ in the body. The average person’s skin weighs 10 pounds and has a surface area of almost 20 square feet. Skin forms the body’s outer covering and forms a barrier to protect the body from chemicals, disease, UV light, and physical damage. Hair and nails extend from the skin to reinforce the skin and protect it from environmental...
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Full Integumentary System Description
[Continued from above] . . . damage. The exocrine glands of the integumentary system produce sweat, oil, and wax to cool, protect, and moisturize the skin’s surface.
Anatomy of the Integumentary System
Epidermis
The epidermis is the most superficial layer of the skin that covers almost the entire body surface. The epidermis rests upon and protects the deeper and thicker dermis layer of the skin. Structurally, the epidermis is only about a tenth of a millimeter thick but is made of 40 to 50 rows of stacked squamous epithelial cells. The epidermis is an avascular region of the body, meaning that it does not contain any blood or blood vessels. The cells of the epidermis receive all of their nutrients via diffusion of fluids from the dermis .
The epidermis is made of several specialized types of cells. Almost 90% of the epidermis is made of cells known as keratinocytes. Keratinocytes develop from stem cells at the base of the epidermis and begin to produce and store the protein keratin. Keratin makes the keratinocytes very tough, scaly and water-resistant. At about 8% of epidermal cells, melanocytes form the second most numerous cell type in the epidermis. Melanocytes produce the pigment melanin to protect the skin from ultraviolet radiation and sunburn. Langerhans cells are the third most common cells in the epidermis and make up just over 1% of all epidermal cells. Langerhans cells’ role is to detect and fight pathogens that attempt to enter the body through the skin. Finally, Merkel cells make up less than 1% of all epidermal cells but have the important function of sensing touch. Merkel cells form a disk along the deepest edge of the epidermis where they connect to nerve endings in the dermis to sense light touch.
The epidermis in most of the body is arranged into 4 distinct layers. In the palmar surface of the hands and plantar surface of the feet, the skin is thicker than in the rest of the body and there is a fifth layer of epidermis. The deepest region of the epidermis is the stratum basale, which contains the stem cells that reproduce to form all of the other cells of the epidermis. The cells of the stratum basale include cuboidal keratinocytes, melanocytes, and Merkel cells. Superficial to stratum basale is the stratum spinosum layer where Langerhans cells are found along with many rows of spiny keratinocytes. The spines found here are cellular projections called desmosomes that form between keratinocytes to hold them together and resist friction. Just superficial to the stratum spinosum is the stratum granulosum, where keratinocytes begin to produce waxy lamellar granules to waterproof the skin. The keratinocytes in the stratum granulosum are so far removed from the dermis that they begin to die from lack of nutrients. In the thick skin of the hands and feet, there is a layer of skin superficial to the stratum granulosum known as the stratum lucidum. The stratum lucidum is made of several rows of clear, dead keratinocytes that protect the underlying layers. The outermost layer of skin is the stratum corneum. The stratum corneum is made of many rows of flattened, dead keratinocytes that protect the underlying layers. Dead keratinocytes are constantly being shed from the surface of the stratum corneum and being replaced by cells arriving from the deeper layers.
Dermis
The dermis is the deep layer of the skin found under the epidermis. The dermis is mostly made of dense irregular connective tissue along with nervous tissue, blood, and blood vessels. The dermis is much thicker than the epidermis and gives the skin its strength and elasticity. Within the dermis there are two distinct regions: the papillary layer and the reticular layer.
The papillary layer is the superficial layer of the dermis that borders on the epidermis. The papillary layer contains many finger-like extensions called dermal papillae that protrude superficially towards the epidermis. The dermal papillae increase the surface area of the dermis and contain many nerves and blood vessels that are projected toward the surface of the skin. Blood flowing through the dermal papillae provide nutrients and oxygen for the cells of the epidermis. The nerves of the dermal papillae are used to feel touch, pain, and temperature through the cells of the epidermis.
The deeper layer of the dermis, the reticular layer, is the thicker and tougher part of the dermis. The reticular layer is made of dense irregular connective tissue that contains many tough collagen and stretchy elastin fibers running in all directions to provide strength and elasticity to the skin. The reticular layer also contains blood vessels to support the skin cells and nerve tissue to sense pressure and pain in the skin.
Hypodermis
Deep to the dermis is a layer of loose connective tissues known as the hypodermis, subcutis, or subcutaneous tissue. The hypodermis serves as the flexible connection between the skin and the underlying muscles and bones as well as a fat storage area. Areolar connective tissue in the hypodermis contains elastin and collagen fibers loosely arranged to allow the skin to stretch and move independently of its underlying structures. Fatty adipose tissue in the hypodermis stores energy in the form of triglycerides. Adipose also helps to insulate the body by trapping body heat produced by the underlying muscles.
Hair
Hair is an accessory organ of the skin made of columns of tightly packed dead keratinocytes found in most regions of the body. The few hairless parts of the body include the palmar surface of the hands, plantar surface of the feet, lips , labia minora , and glans penis . Hair helps to protect the body from UV radiation by preventing sunlight from striking the skin. Hair also insulates the body by trapping warm air around the skin.
The structure of hair can be broken down into 3 major parts: the follicle, root, and shaft. The hair follicle is a depression of epidermal cells deep into the dermis. Stem cells in the follicle reproduce to form the keratinocytes that eventually form the hair while melanocytes produce pigment that gives the hair its color. Within the follicle is the hair root, the portion of the hair below the skin’s surface. As the follicle produces new hair, the cells in the root push up to the surface until they exit the skin. The hair shaft consists of the part of the hair that is found outside of the skin.
The hair shaft and root are made of 3 distinct layers of cells: the cuticle, cortex, and medulla. The cuticle is the outermost layer made of keratinocytes. The keratinocytes of the cuticle are stacked on top of each other like shingles so that the outer tip of each cell points away from the body. Under the cuticle are the cells of the cortex that form the majority of the hair’s width. The spindle-shaped and tightly packed cortex cells contain pigments that give the hair its color. The innermost layer of the hair, the medulla, is not present in all hairs. When present, the medulla usually contains highly pigmented cells full of keratin. When the medulla is absent, the cortex continues through the middle of the hair.
Nails
Nails are accessory organs of the skin made of sheets of hardened keratinocytes and found on the distal ends of the fingers and toes. Fingernails and toenails reinforce and protect the end of the digits and are used for scraping and manipulating small objects. There are 3 main parts of a nail: the root, body, and free edge. The nail root is the portion of the nail found under the surface of the skin. The nail body is the visible external portion of the nail. The free edge is the distal end portion of the nail that has grown beyond the end of the finger or toe.
Nails grow from a deep layer of epidermal tissue known as the nail matrix, which surrounds the nail root. The stem cells of the nail matrix reproduce to form keratinocytes, which in turn produce keratin protein and pack into tough sheets of hardened cells. The sheets of keratinocytes form the hard nail root that slowly grows out of the skin and forms the nail body as it reaches the skin’s surface. The cells of the nail root and nail body are pushed toward the distal end of the finger or toe by new cells being formed in the nail matrix. Under the nail body is a layer of epidermis and dermis known as the nail bed. The nail bed is pink in color due to the presence of capillaries that support the cells of the nail body. The proximal end of the nail near the root forms a whitish crescent shape known as the lunula where a small amount of nail matrix is visible through the nail body. Around the proximal and lateral edges of the nail is the eponychium , a layer of epithelium that overlaps and covers the edge of the nail body. The eponychium helps to seal the edges of the nail to prevent infection of the underlying tissues.
Sudoriferous Glands
Sudoriferous glands are exocrine glands found in the dermis of the skin and commonly known as sweat glands. There are 2 major types of sudoriferous glands: eccrine sweat glands and apocrine sweat glands. Eccrine sweat glands are found in almost every region of the skin and produce a secretion of water and sodium chloride. Eccrine sweat is delivered via a duct to the surface of the skin and is used to lower the body’s temperature through evaporative cooling.
Apocrine sweat glands are found in mainly in the axillary and pubic regions of the body. The ducts of apocrine sweat glands extend into the follicles of hairs so that the sweat produced by these glands exits the body along the surface of the hair shaft. Apocrine sweat glands are inactive until puberty, at which point they produce a thick, oily liquid that is consumed by bacteria living on the skin. The digestion of apocrine sweat by bacteria produces body odor.
Sebaceous Glands
Sebaceous glands are exocrine glands found in the dermis of the skin that produce an oily secretion known as sebum. Sebaceous glands are found in every part of the skin except for the thick skin of the palms of the hands and soles of the feet. Sebum is produced in the sebaceous glands and carried through ducts to the surface of the skin or to hair follicles. Sebum acts to waterproof and increase the elasticity of the skin. Sebum also lubricates and protects the cuticles of hairs as they pass through the follicles to the exterior of the body.
Ceruminous Glands
Ceruminous glands are special exocrine glands found only in the dermis of the ear canals. Ceruminous glands produce a waxy secretion known as cerumen to protect the ear canals and lubricate the eardrum . Cerumen protects the ears by trapping foreign material such as dust and airborne pathogens that enter the ear canal . Cerumen is made continuously and slowly pushes older cerumen outward toward the exterior of the ear canal where it falls out of the ear or is manually removed.
Physiology of the Integumentary System
Keratinization
Keratinization, also known as cornification, is the process of keratin accumulating within keratinocytes. Keratinocytes begin their life as offspring of the stem cells of the stratum basale. Young keratinocytes have a cuboidal shape and contain almost no keratin protein at all. As the stem cells multiply, they push older keratinocytes towards the surface of the skin and into the superficial layers of the epidermis. By the time keratinocytes reach the stratum spinosum, they have begun to accumulate a significant amount of keratin and have become harder, flatter, and more water resistant. As the keratinocytes reach the stratum granulosum, they have become much flatter and are almost completely filled with keratin. At this point the cells are so far removed from the nutrients that diffuse from the blood vessels in the dermis that the cells go through the process of apoptosis. Apoptosis is programmed cell death where the cell digests its own nucleus and organelles, leaving only a tough, keratin-filled shell behind. Dead keratinocytes moving into the stratum lucidum and stratum corneum are very flat, hard, and tightly packed so as to form a keratin barrier to protect the underlying tissues.
Temperature Homeostasis
Being the body’s outermost organ, the skin is able to regulate the body’s temperature by controlling how the body interacts with its environment. In the case of the body entering a state of hyperthermia, the skin is able to reduce body temperature through sweating and vasodilation. Sweat produced by sudoriferous glands delivers water to the surface of the body where it begins to evaporate. The evaporation of sweat absorbs heat and cools the body’s surface. Vasodilation is the process through which smooth muscle lining the blood vessels in the dermis relax and allow more blood to enter the skin. Blood transports heat through the body, pulling heat away from the body’s core and depositing it in the skin where it can radiate out of the body and into the external environment.
In the case of the body entering a state of hypothermia, the skin is able to raise body temperature through the contraction of arrector pili muscles and through vasoconstriction. The follicles of hairs have small bundles of smooth muscle attached to their base called arrector pili muscles. The arrector pili form goose bumps by contracting to move the hair follicle and lifting the hair shaft upright from the surface of the skin. This movement results in more air being trapped under the hairs to insulate the surface of the body. Vasoconstriction is the process of smooth muscles in the walls of blood vessels in the dermis contracting to reduce the flood of blood to the skin. Vasoconstriction permits the skin to cool while blood stays in the body’s core to maintain heat and circulation in the vital organs.
Vitamin D Synthesis
Vitamin D, an essential vitamin necessary for the absorption of calcium from food, is produced by ultraviolet (UV) light striking the skin. The stratum basale and stratum spinosum layers of the epidermis contain a sterol molecule known as 7-dehydrocholesterol. When UV light present in sunlight or tanning bed lights strikes the skin, it penetrates through the outer layers of the epidermis and strikes some of the molecules of 7-dehydrocholesterol, converting it into vitamin D3. Vitamin D3 is converted in the kidneys into calcitriol, the active form of vitamin D.
Protection
The skin provides protection to its underlying tissues from pathogens, mechanical damage, and UV light. Pathogens, such as viruses and bacteria, are unable to enter the body through unbroken skin due to the outermost layers of epidermis containing an unending supply of tough, dead keratinocytes. This protection explains the necessity of cleaning and covering cuts and scrapes with bandages to prevent infection. Minor mechanical damage from rough or sharp objects is mostly absorbed by the skin before it can damage the underlying tissues. Epidermal cells reproduce constantly to quickly repair any damage to the skin. Melanocytes in the epidermis produce the pigment melanin, which absorbs UV light before it can pass through the skin. UV light can cause cells to become cancerous if not blocked from entering the body.
Skin Color
Human skin color is controlled by the interaction of 3 pigments: melanin, carotene, and hemoglobin. Melanin is a brown or black pigment produced by melanocytes to protect the skin from UV radiation. Melanin gives skin its tan or brown coloration and provides the color of brown or black hair. Melanin production increases as the skin is exposed to higher levels of UV light resulting in tanning of the skin. Carotene is another pigment present in the skin that produces a yellow or orange cast to the skin and is most noticeable in people with low levels of melanin. Hemoglobin is another pigment most noticeable in people with little melanin. Hemoglobin is the red pigment found in red blood cells, but can be seen through the layers of the skin as a light red or pink color. Hemoglobin is most noticeable in skin coloration during times of vasodilation when the capillaries of the dermis are open to carry more blood to the skin’s surface.
Cutaneous Sensation
The skin allows the body to sense its external environment by picking up signals for touch, pressure, vibration, temperature, and pain. Merkel disks in the epidermis connect to nerve cells in the dermis to detect shapes and textures of objects contacting the skin. Corpuscles of touch are structures found in the dermal papillae of the dermis that also detect touch by objects contacting the skin. Lamellar corpuscles found deep in the dermis sense pressure and vibration of the skin. Throughout the dermis there are many free nerve endings that are simply neurons with their dendrites spread throughout the dermis. Free nerve endings may be sensitive to pain, warmth, or cold. The density of these sensory receptors in the skin varies throughout the body, resulting in some regions of the body being more sensitive to touch, temperature, or pain than other regions.
Excretion
In addition to secreting sweat to cool the body, eccrine sudoriferous glands of the skin also excrete waste products out of the body. Sweat produced by eccrine sudoriferous glands normally contains mostly water with many electrolytes and a few other trace chemicals. The most common electrolytes found in sweat are sodium and chloride, but potassium, calcium, and magnesium ions may be excreted as well. When these electrolytes reach high levels in the blood, their presence in sweat also increases, helping to reduce their presence within the body. In addition to electrolytes, sweat contains and helps to excrete small amounts of metabolic waste products such as lactic acid, urea, uric acid, and ammonia. Finally, eccrine sudoriferous glands can help to excrete alcohol from the body of someone who has been drinking alcoholic beverages. Alcohol causes vasodilation in the dermis, leading to increased perspiration as more blood reaches sweat glands. The alcohol in the blood is absorbed by the cells of the sweat glands, causing it to be excreted along with the other components of sweat.
Prepared by Tim Taylor, Anatomy and Physiology Instructor
| Skin (Japanese band) |
Billy (Blue) Cannon, Wind and Ira Bean are characters in which US tv series? | ATSDR - Organ Systems and the Chemicals that Affect Them - Dermal (Skin)
Toxicological and Health Professionals
Dermal (Skin)
The skin that covers your body is called the dermal system. The skin is the barrier that protects the body from hazardous substances in the environment. Also, skin helps keep the body from losing electrolytes and fluids. Skin is the body's largest organ. It is made up of several parts: the epidermis, dermis, hypodermis, and hair, hair follicles, nails, sebaceous and sweat glands, and other skin structures.
Click on a substance to go to the health effects chapter in the toxicological profile. Then, search on any target organ system to find the health effects information on that system.
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Ricki Lake played the character Tracy Turnblad in which 1988 film? | Hairspray (1988) - IMDb
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A 'pleasantly plump' teenager teaches 1962 Baltimore a thing or two about integration after landing a spot on a local TV dance show.
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Storyline
'Pleasantly Plump' teenager Tracy Turnblad achieves her dream of becoming a regular on the Corny Collins Dance Show. Now a teen hero, she starts using her fame to speak out for the causes she believes in, most of all integration. In doing so, she earns the wrath of the show's former star, Amber Von Tussle, as well as Amber's manipulative, pro-segregation parents. The rivalry comes to a head as Amber and Tracy vie for the title of Miss Auto Show 1963. Written by Jean-Marc Rocher <[email protected]>
The world was in a mess... but their hair was perfect!! See more »
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26 February 1988 (USA) See more »
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Did You Know?
Trivia
The principal's office that Tracy Turnblad was sent to was a real principal's office. See more »
Goofs
When the two kids in the red car pull to the curb, two boys in blue pants walk by twice. See more »
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Crazy Credits
During the ending credits, there are footsteps moving to the beat of the song playing in the background. See more »
Connections
(Marietta, GA, USA) – See all my reviews
After an abomination like 'Pink Flamingos' it was a surprise for me to learn that this guy had talent. Like Spike Lee or Oliver Stone, you've got to admit that John Waters, like him or not, is a born moviemaker. Also like those two (and ultimately all great directors) he knows how to speak with his own voice and translate his vision to the screen.
His writing is most impressive here as he manages to point up the evils of racism and segregation while not abandoning his wacked-out comedic style. And his eye for period detail is uncanny (as long as the period wasn't too long ago!) 'Hairspray' is great entertainment, fun to watch and edifying, too. Who would have thought that?
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| Hairspray |
Which date is Groundhog Day in the USA? | WHO'S THE HAIR APPARENT? - Today's News: Our Take | TVGuide.com
WHO'S THE HAIR APPARENT?
by TV Guide News | Jan 26, 2006 3:00 AM EST
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New Line Cinema is launching a nationwide casting call to fill the lead role of Tracy Turnblad in its film version of the Broadway adaptation of the 1988 film Hairspray, Variety reports. (Ricki Lake played the tempestuous teen on the big screen, while Stacked's Marissa Jaret Winokur originated the stage portrayal.) As for some of the other major characters, the studio is in talks with John Travolta, Billy Crystal and Queen Latifah to play Edna Turnblad, Wilbur Turnblad and Motormouth Maybelle, respectively. I'd love to see Travolta keep his Battlefield Earth dreadlocks.
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Helminthology is the study of which creatures? | Helminthology | Article about Helminthology by The Free Dictionary
Helminthology | Article about Helminthology by The Free Dictionary
http://encyclopedia2.thefreedictionary.com/Helminthology
Related to Helminthology: parasitology , Helminths
Helminthology
the scientific study of parasitic worms and helminthiases—the diseases that they cause in man, animals, and plants. As part of the complex of parasitological sciences, helminthology is closely associated at the same time with many other biological sciences (chiefly zoology), medicine, veterinary science, and plant pathology. It deals with a variety of problems, theoretical as well as practical. The main theoretical problems include elucidation of the ways in which parasitism originates in helminths, study of the historical development of helminths, and investigation of the nature of the interrelations between helminths and the hosts that they parasitize. Practical problems include the detailed study of all the pathologomorphological and pathologo-physiological processes involved in the infestation of man and useful animals and plants with various helminths, in order to find the most effective methods of diagnosing, preventing, and treating helminthiases.
The main branches of helminthology are general helminthology (study of the fauna, morphology, taxonomy, biological cycles, and physiology of helminths); medical helminthology (human helminthiases and methods of controlling them); veterinary helminthology (helminthiases of domestic and game animals and methods of controlling them); and agronomical helminthology or plant helminthology (study of the effect of helminths on plants and methods of controlling plant helminthiases).
The earliest information on parasitic worms dates far back into antiquity, but helminthology as a science did not begin to develop until the second half of the 18th century. The pioneer in this field is generally thought to be the German scientist K. A. Rudolphi, who was the first to collect parasitic worms and write a major monograph about them. The works of other scientists appeared at about the same time. They were devoted to the morphology, species composition, and position of helminths in the zoological system. The subsequent period in the history of helminthology (second half of the 19th and first half of the 20th centuries) was characterized by a steadily increasing number of works in the zoogeography and classification of different groups of parasitic worms and by broad experimental research aimed at uncovering the complex life cycles of helminths (for example, the works of the Danish zoologist J. Steenstrup, the German researchers G. Küchenmeister, R. Leuckart, and M. Braun, the French scientist A. Railliet, the Russian zoologist N. A. Kholodkovskii, and the Swiss helminthologist O. Forman).
Present-day helminthologists make extensive use of methods based on advances in chemistry and physics. This has made it possible to gain more insight into the morphological and physiological changes that take place in helminths in the various stages of individual development (ontogeny), to study the mechanisms of their adaptation to changing environmental conditions, and to elucidate more fully the various aspects of the relationship between parasite and host. Research on these matters is responsible for the characteristics of modern helminthology.
Research on helminthology is most vigorously pursued in the USSR, where the world’s largest school of helminthologists is found. It is concerned with the main branches of helminthology—general, medical, and veterinary—and it also deals with plant helminthology. The founder and director of the school of Soviet helminthologists was K. I. Skriabin, and E. N. Pavlovskii and V. A. Dogel’ made an important contribution to the development of helminthology in the USSR. B. E. Bykhovskii made a thorough study of flatworms. Highly qualified Soviet specialists are at work in general, medical, veterinary, and agronomical helminthology. The All-Union Society of Helminthologists, which is part of the Academy of Sciences of the USSR (AN SSSR), was founded in 1940. Among the scientific research organizations that were established are the Academician K. I. Skriabin All-Union Institute of Helminthology, which coordinates work on veterinary and agronomical helminthology; and the Helminthology Division of the E. I. Martsinovskii Institute of Medical Parasitology and Tropical Medicine, which coordinates work on medical parasitology. In addition, there is the Helminthology Laboratory of the AN SSSR, which coordinates research in general helminthology. More than 300 helminthologjcal expeditions worked in all the natural regions of the USSR to determine the species composition of helminths of man and animals and to discover the nidi of dangerous parasites. The result was a fairly complete study of the helminth fauna. Major helminthological works describing the world’s helminth fauna were written, including the series of monographs by K. I. Skriabin and his students on trematodes (22 volumes), cestodes (seven volumes), nematodes (22 volumes), and acanthocephalans (two volumes).
In his efforts to improve the health of human beings and domestic animals, K. I. Skriabin advanced the principle of devastation—that is, a set of scientifically sound measures directed at the total destruction of some of the most pathogenic species of helminths. Soviet helminthologists are pursuing a fundamentally new policy that is based on therapeutic measures combined with preventive dehelmin-thization of the environment in order to destroy helminths in all stages of development and to improve radically the health of both human beings and domestic animals. The fight against helminthiases in the USSR is regulated by legislation and included in the state economic plan. Significant research in the field of helminthology is being conducted in the USA (A. Foster, H. W. Manter, and R. Rausch), Canada (T. W. Cameron), Mexico (C. E. Coballero), Brazil (L. Travassos), Great Britain (R. T. Leiper), France (R. Dolfus and A. Chabo), Poland (W. Stefański and W. Michailow), Czechoslovakia (J. Hovorka and B. Rišavi), India (G. Tapar), and Japan (S. Yamaguti).
The results of scientific and practical work on helminthology are presented in parasitological journals (Parazitologiia [Parasitology] has been published in the USSR since 1967), thematic collections, and specialized journals. The latter include Helminthologia (Bratislava, since 1959, an international journal with K. I. Skriabin as editor in chief), Journal of Helminthology (London, since 1923, organ of the London Institute of Hygiene and Tropical Medicine), Helminthologi-cal Abstracts (St. Albans, since 1932, organ of the World Helminthological Bureau, Great Britain), Indian Journal of Helminthology (Lucknow, since 1948, organ of the Indian Society of Helminthologists), and Proceedings of the Helminthological Society of Washington (Washington,
D.C.
| Worm (disambiguation) |
Nairobi is the capital of which country? | Helminthology | List of High Impact Articles | PPts | Journals | Videos
Helminthology is the study of parasitic worms. Helminthes are eukaryotic multicellular animals that usually have digestive, circulatory, nervous, excretory and reproductive systems. Worms with bilateral symmetry and tail.
Related Journals of Helminthology
Veterinary Science & Technology, Veterinary Science & Medical Diagnosis, International Journal of Plant, Animal and Environmental Sciences, Journal of Helminthology, Neotropical Helminthology, International Journal of Helminthology.
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What is the sediment at the bottom of a wine barrel called after fermentation? | Sediment – What Is That Dirt In My Wine? | The Purple Café & Wine Bar Blog
Sediment – What Is That Dirt In My Wine?
Posted on December 4, 2009 by Purple Cafe
In a nutshell…sediment is the term commonly used to describe the left over “lees” or “dregs” in a bottle of wine. It is composed of residual yeast, grape seeds, and other particles that settle to the bottom of a vat of wine after fermentation and aging. Filtering the wines will take out almost all sediment, though these days, winemakers are leaving the wine unfiltered, believing it will increase depth and flavor. The lees produced during wine production are packed full of antioxidants. The lees of red wines consist of tannins and plant pigments precipitated around crystals of potassium tartrate.
To remove sediment before serving wine, simply decant the wine by pouring it slowly from the bottle into a decanter. Stop pouring when you start to see the wine sediment enter the neck of the bottle, and then allow the wine in the decanter to air out a little bit before pouring it into glasses.
Bottom line; do not be afraid of those particles in the bottom of your glass. They are all natural and healthy (especially if you don’t mind chewing your wine a bit). And, if you find yourself with leftover wine with plenty of sediment, add it to your bath water as it is a natural skin softener.
| Lees |
Which singer plays Chicago police officer Sharon Pogue in the 2001 film ‘Angel Eyes’? | Wine Sediment Filter Trick: Video | Wine Folly
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Hi I’m Madeline and this is wine folly
Today we’re going to be discussing what wine sediment is, and how you can remove it so you can enjoy your wine sediment free!
Sediment in wine occurs as a winemaker’s decision to leave a wine unfiltered in order to maintain a richer texture and quality in the wine. This can happen in red and white wines and it can be one of several things
The first thing it can be is Lees, lees are basically dead yeast bits that float around in your wine. your wine is made from yeast so those guys hang out and they die and it’s kinda funky. the majority of the lees do get strained off of most wines and they are left at the bottom of the barrel so that’s not usually a concern
The second thing is could be is proteins. those are very very fine and can actually make your wine cloudy. A lot of wines that are cloudy have proteins hanging out in them. Those are more difficult to remove and that’s not what we’ll be doing today.
The Last thing it can be, is it can be Potassium Bitartate. Which is something that precipitates through the wine as the wine is made, it’s a by-product of winemaking and it’s Cream of Tartar. Same thing.
Oh! and the Other thing it could be is actually tannins, little pips, skins, grape bits. That happens a lot in red wines that are made with the grapes and skins to extract more color into the wine. And so the winemakers will leave that in the wine.
This is probably what’s happening in this wine. This is a red wine from Italy. A lot of Old World Wines tend to be unfiltered. This is just a stylistic choice.
The best way to remove it is to actually leave it standing upright over a day and then patiently… You pull out a decanter… which you’ll then have to clean afterward…and you’ll pour out the majority of the bottle into the decanter and leave the little bits and skins at the bottom of the bottle.
I’m super impatient and I want my wine now. So! I’m going to use the ghetto method. My favorite thing to use is my tea strainer which I just put up on the edge of the glass. It’s relatively fine, not super fine but I think the important thing is that you get the bits and skins. You leave those from the inside of your glass, because those are bitter, they have a strange texture and they’ll ruin the wine experience.
So all you do is take your filter, pour some wine out and there! Filtered wine. Pretty simple right? No stuff!
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Abdul Aziz Ibn Saud was the first king of which Asian state? | King Abdul Aziz Al Saud, Saudi Arabia
Born in the city of Riyadh, King Abdul Aziz Ibn Abdul Rahman Ibn Faisal Al Saud was brought up under the stringent care of his father. A group of contemporary scholars were assembled to teach him the fundamentals of Islam. He soon began to show an impressive array of qualities and talents, including shrewdness, courage, farsightedness and horsemanship. He was able to grasp both current and historical events. In 1891 and barely 12 years old, he traveled with his father, Imam Abdul Rahman Ibn Faisal Ibn Turki, to Kuwait. In ten years there, he acquired the necessary qualities of leadership and statesmanship. Consequently, hedecided to restore the rule of his forefathers, whatever the obstacles. A new epoch was launched when Abdul Aziz left Kuwait for Riyadh leading a small army of 60 men. This turned out to be "the small force that vanquished a big one, by God's Will."
The conquest of Riyadh occurred on the 15th of January, 1902 (5th of Shawal, 1319 H). Yet this was only the beginning of the "Jihad" campaign of King Abdul Aziz. Saddened by disintegration and the state of anarchy, ignorance, poverty and disease in the Arabian peninsula, he resolved to unify the ranks of his nation under the banner "There is no god but Allah and Mohammed is the Messenger of Allah."
King Abdul Aziz Al Saud went on to unify the scattered parts and splintered tribes of the Arabian peninsula. He annexed Al Qasseem in 1904 (1322 H), Al Ahsa in 1913 (1331 H), Asir in 1916 (1334 H) and Hayel in 1921 (1340 H). He conquered Taif, and entered Makkah in 1924 (1343 H). When Jeddah was taken in 1925 (1344 H), the entire Hijaz Region submitted to his rule. Continuing his Jihad for 31 years, Abdul Aziz was gradually able to establish the Kingdom of Saudi Arabia, declaring its founding on the 22nd of September 1932 (21st of Jumad Al Awal 1351 H).
Soon after establishing security in the Kingdom and uniting the peninsula's scattered regions and feuding tribes, King Abdul Aziz began to organize the State. He developed the administrative and organizational systems needed to function properly. He delegated the State's responsibilities and set up an organized government in the Hijaz upon its annexation. In 1926 (1344 H), he established the post of General Prosecutor in Hijaz, which was assumed by his son, Prince Faisal. In 1926 (1345 H) he set up the Saudi Shoura Council, also under the chairmanship of Prince Faisal. On the 30th of September 1931 (19th of Shaaban 1350 H), a special system was instituted: the Council of Deputies came into being under the chairmanship of Prince Faisal Ibn Abdul Aziz.
During these early stages of rule, King Abdul Aziz also established several ministries as an advance administrative organization, departing from the traditional administrative system of the First and Second Saudi States. The modern state established diplomatic relations in accordance with officially recognized political representation, including the appointment of ambassadors.
King Abdul Aziz Al Saud passed away in the city of Taif, in the Western Region, in 1953 (1372 H). His body was transferred to Riyadh, where he was buried with his Al Saud ancestors.
| Saudi Arabia |
Which tennis player won the 2011 Women’s Wimbledon Championship? | Abdullah bin Abdul Aziz Al Saud
Abdullah bin Abdul Aziz Al Saud
2015 Powerful People List: Dropoff
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#11 Powerful People (2014)
#8 in 2013
King Abdullah of Saudi Arabia died at age 90 in January 2015. His successor is his 79-year-old half-brother, Crown Prince Salman. In addition to previously being one of the world's few remaining absolute monarchs, he was custodian of Islam's two holiest cities and presided over the largest oil producer in the Middle East. Abdullah had been king since 2005 and effectively in charge since his brother Fahd's stroke in 1995.
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Gallipoli is in which European country? | Battle of Gallipoli - World War I - HISTORY.com
Battle of Gallipoli
A+E Networks
Introduction
The Gallipoli Campaign of 1915-16, also known as the Battle of Gallipoli or the Dardanelles Campaign, was an unsuccessful attempt by the Allied Powers to control the sea route from Europe to Russia during World War I. The campaign began with a failed naval attack by British and French ships on the Dardanelles Straits in February-March 1915 and continued with a major land invasion of the Gallipoli Peninsula on April 25, involving British and French troops as well as divisions of the Australian and New Zealand Army Corps (ANZAC). Lack of sufficient intelligence and knowledge of the terrain, along with a fierce Turkish resistance, hampered the success of the invasion. By mid-October, Allied forces had suffered heavy casualties and had made little headway from their initial landing sites. Evacuation began in December 1915, and was completed early the following January.
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Launch of the Gallipoli Campaign
With World War I stalled on the Western Front by 1915, the Allied Powers were debating going on the offensive in another region of the conflict, rather than continuing with attacks in Belgium and France. Early that year, Russia’s Grand Duke Nicholas appealed to Britain for aid in confronting a Turkish invasion in the Caucasus. (The Ottoman Empire had entered World War I on the side of the Central Powers, Germany and Austria-Hungary, by November 1914.) In response, the Allies decided to launch a naval expedition to seize the Dardanelles Straits, a narrow passage connecting the Aegean Sea to the Sea of Marmara in northwestern Turkey. If successful, capture of the straits would allow the Allies to link up with the Russians in the Black Sea, where they could work together to knock Turkey out of the war.
Did You Know?
In May 1915, Britain's First Sea Lord Admiral John Fisher resigned dramatically over the mishandling of the Gallipoli invasion by First Lord of the Admiralty Winston Churchill. His political capital damaged by the debacle, the future prime minister later resigned his own position and accepted a commission to command an infantry battalion in France.
Spearheaded by the first lord of the British Admiralty, Winston Churchill (over the strong opposition of the First Sea Lord Admiral John Fisher, head of the British Navy), the naval attack on the Dardanelles began with a long-range bombardment by British and French battleships on February 19, 1915. Turkish forces abandoned their outer forts but met the approaching Allied minesweepers with heavy fire, stalling the advance. Under tremendous pressure to renew the attack, Admiral Sackville Carden, the British naval commander in the region, suffered a nervous collapse and was replaced by Vice-Admiral Sir John de Robeck. On March 18, 18 Allied battleships entered the straits; Turkish fire, including undetected mines, sank three of the ships and severely damaged three others.
Gallipoli Land Invasion Begins
In the wake of the failed naval attack, preparations began for largescale troop landings on the Gallipoli Peninsula. British War Secretary Lord Kitchener appointed General Ian Hamilton as commander of British forces for the operation; under his command, troops from Australia, New Zealand and the French colonies assembled with British forces on the Greek island of Lemnos. Meanwhile, the Turks boosted their defenses under the command of the German general Liman von Sanders, who began positioning Ottoman troops along the shore where he expected the landings would take place. On April 25, 1915, the Allies launched their invasion of the Gallipoli Peninsula. Despite suffering heavy casualties, they managed to establish two beachheads: at Helles on the peninsula’s southern tip, and at Gaba Tepe on the Aegean coast. (The latter site was later dubbed Anzac Cove, in honor of the Australian and New Zealand troops who fought so valiantly against determined Turkish defenders to establish the beachhead there.)
After the initial landing, the Allies were able to make little progress from their initial landing sites, even as the Turks gathered more and more troops on the peninsula from both the Palestine and Caucasus fronts. In an attempt to break the stalemate, the Allies made another major troop landing on August 6 at Sulva Bay, combined with a northwards advance from Anzac Cove towards the heights at Sari Bair and a diversionary action at Helles. The surprise landings at Sulva Bay proceeded against little opposition, but Allied indecision and delay stalled their progress in all three locations, allowing Ottoman reinforcements to arrive and shore up their defenses.
Decision to Evacuate Gallipoli
With Allied casualties in the Gallipoli Campaign mounting, Hamilton (with Churchill’s support) petitioned Kitchener for 95,000 reinforcements; the war secretary offered barely a quarter of that number. In mid-October, Hamilton argued that a proposed evacuation of the peninsula would cost up to 50 percent casualties; British authorities subsequently recalled him and installed Sir Charles Monro in his place. By early November, Kitchener had visited the region himself and agreed with Monro’s recommendation that the remaining 105,000 Allied troops should be evacuated.
The British government authorized the evacuation to begin from Sulva Bay on December 7; the last troops left Helles on January 9, 1916. In all, some 480,000 Allied forces took part in the Gallipoli Campaign, at a cost of more than 250,000 casualties, including some 46,000 dead. On the Turkish side, the campaign also cost an estimated 250,000 casualties, with 65,000 killed.
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Which English sailor made the first solo voyage around the world by the clipper route? | 40 maps that explain World War I | vox.com
40 maps that explain World War I
by Zack Beauchamp , Timothy B. Lee and Matthew Yglesias on August 4, 2014
One hundred years ago today, on August 4, 1914, German troops began pouring over the border into Belgium, starting the first major battle of World War I. The Great War killed 10 million people, redrew the map of Europe, and marked the rise of the United States as a global power. Here are 40 maps that explain the conflict — why it started, how the Allies won, and why the world has never been the same.
Background
West Point
European alliances in 1914
Immediately prior to the war's outbreak in 1914, Central Europe was dominated by two powerful states: Germany to the north and its weaker cousin, the Austro-Hungarian Empire, to the South. The two countries formed the core of the Central Powers, also known as the Quadruple Alliance because they were joined after war began by Bulgaria and the Ottoman Empire (modern Turkey). The other major pre-war alliance was the Triple Entente, a pact between Russia, Great Britain, and France (called the Allied Powers during the war). These alliances set the stage for a massive war: any dispute between two members of these blocs could pull in all of the others, as the treaties committed these states to defending their allies. And that's exactly what happened.
The unification of the German Empire
Wiggy
The unification of the German Empire
The Franco-Prussian War, 40 years before World War I, birthed the unified German state. Prussia baited the French into launching a war, and then aligned with several small German states to decisively defeat France and seize the economically valuable Alsace-Lorraine province. The unified Germany that emerged from the war instantly became one of the most powerful states in Europe, overturning the continental balance of power. Germany's rising power alarmed Britain and Russia, drawing both countries into closer alignment with their long-time rival, France.
Two wars in the Balkans fail to settle regional rivalries
The Story of the Great War
Two wars in the Balkans fail to settle regional rivalries
The Balkans, the area around the Aegean Sea in the Southeast of Europe, was one of the continent's most volatile regions in 1914. The Balkan states fought two separate wars between 1912 and 1913. Serbia, Greece, and Bulgaria had claimed territory from the embattled Ottoman Empire, but they had also been at each other's throats. The wars expanded Serbia and built an independent Albania, but none of the most important powers were happy. Serbia was furious with Austria-Hungary, which had recently annexed Bosnia. For Austria-Hungary's part, it wanted more vigorous backing from Germany. And Russia was committed to deeper support of Serbia, its client state.
European powers carve up Africa
The Story of the Great War
European powers carve up Africa
From 1881 right up until World War I, European countries competed to colonize as much African land as they could. Britain and France seized the largest parcels of territory during this so-called "scramble for Africa." German leaders concluded that their lack of naval power hampered their ability to compete in the race for colonies, and thus global influence. This was one of several factors that prompted the Kaiser to begin rapidly growing his fleet. That damaged British-German relations, as the great source of British strength was its naval superiority. Germany challenging that seemed like an existential threat. Colonialism, then, helped cause a destabilizing naval arms race between the two powers. And by bringing European problems to Africa, it also set the table for a truly global war.
The German and French war plans emphasized attacks
Tinodela
The German and French war plans emphasized attacks
German and French war planners both believed the war was going to be an offensive one. The German plan, conceived by strategist Alfred von Schlieffen, envisioned a rapid German march primarily through Belgium into French territory. The French strategy, Plan XVII, sent French troops directly across Franco-German border, as well as through Luxemburg and Belgium. This partially explains where the main battle lines were during the war, but according to some historians it means much more than that. A very contentious line of scholarship holds that World War I was caused by these plans, because every state believed that the key to victory was a quick offensive strike and that a war, under those terms, could be won quickly and comparatively cheaply.
Ethno-linguistic map of Austria-Hungary
Public domain map by Andrein
Ethno-linguistic map of Austria-Hungary
The House of Habsburg ruled Austria continuously from the 13th century through to the end of World War One. At various times, their domain included everything from Belgium to Naples to Portugal to Mexico. On the eve of the war, however, their holdings had dwindled to a diverse range of central European territories known as the Austro-Hungarian Empire (or Austria-Hungary for short). This multi-ethnic imperium wasn't well suited to the nationalistic spirit of the times. Serbia wanted to incorporate the empire's Serbian- and Croatian-speaking territories into its own kingdom, a move that Austria-Hungary saw as a fundamental challenge to their core governing ideology: Habsburg dynastic legitimacy trumps ethnic nationalism.
War breaks out
Joss Fong/Vox
Franz Ferdinand is assassinated
Austro-Hungarian Archduke Franz Ferdinand arrived in Sarajevo, then part of the Habsburg dominion, on June 28, 1914. He was joined in the city by seven Serbian terrorists there to kill him, in hopes of removing a prominent moderate from the line of succession and heightening the tensions between Vienna and its South Slavic subjects. The first assassin was standing near a policeman and didn't use his weapon. The second assassin tossed a grenade that injured several people. The motorcade then continued past the other assassins, none of whom acted as they lacked clear shots in the commotion. The assassins believed their plot had failed. Franz Ferdinand ordered his car to turn around so he could visit people injured by the grenade but his driver misunderstood, and continued on the original route where, while attempting to turn around, his car stalled. By chance, Gavrilo Princip had by this time moved over to Franz Joseph Street and he was able to take the fatal shot.
The world mobilizes for war
The Story of the Great War
The world mobilizes for war
The main participants in the war mobilized over the course of about a week. First Austria-Hungary declared war on Serbia after Serbia refused to acceed to Vienna's extensive demands regarding Serbian support for anti-Austrian groups. Then Russia declared war on Austria-Hungary. This required Germany to go to war in defense of its ally. German war planning assumed that any war with Russia would expand to include war with France, and the operational plan called for attacking France first. Thus the main practical step Germany took to defend Austria was to launch a preemptive attack on France and Belgium, neither of whom had officially entered the war yet. The violation of Belgian neutrality brought Britain into the war and it was off to the races. But the literal timing shouldn't confuse you — it had long been French policy to support Serbia against Austria in hopes of initiating a war in which Russia would help France fight Germany, which was far too powerful for France to fight alone.
WWI's first battle: the attack on Liège
The Story of the Great War
WWI's first battle: the attack on Liège
The German war plan called for the swiftest possible capture of Paris, hoping to knock France out of the war before Russia could fully mobilize its large but low-tech military. The fastest route to the French capital happens to run through Belgium, so the first battle of the war was a German attack on the Belgian city of Liège. Belgium was not part of any pre-war alliances and attempted to stay neutral in the war. The attack on Belgium brought the British Empire into the war, with British politicians citing their country's obligation to uphold Belgian neutrality. This was a risky move on Germany's part, but German war-planning long regarded a quick, decisive blow against France as the best possible hope of winning a two-front war. Right from the outset things did not go Germany's way. Liège (and other Belgian towns and fortifications near the Meuse River) fell, but the Belgians' determination to resist in the face of impossible odds did delay Germany's operations against France substantially, giving France and Britain critical extra days to prepare the defense of Paris.
Paris is saved in the Battle of the Marne
West Point
Paris is saved in the Battle of the Marne
In a sense, this September 1914 conflict was the decisive battle of the war. Germany's advance into France was halted by a combined Franco-British army on the outskirts of Paris near the Marne River and the German army was forced to fall back. In these early phases, the war was moving too quickly for the opposing armies to have much in the way of fixed positions, and the hasty defense of the Paris suburbs included reinforcements being sent to the front from the city via a rapidly assembled fleet of urban taxis. The battle was followed by the so-called "race to the sea" in which German and Allied forces tried and failed to outflank each other until the lines reached all the way to the North Sea and no more battles of manouever were possible. The stalemated Western Front with its trench warfare came next. Germany's strategic war plan — knock France out quickly so troops could be sent back east to fight Russia — had essentially failed.
Germany routs Russia in the Battle of Tannenberg
CIA
Germany routs Russia in the Battle of Tannenberg
The German war plan committed the bulk of the Empire's forces to the Western Front, leaving just one German army in the East to face Russia's First and Second Armies. Combined with the defeat at the battle of the Marne, a victory by the numerically superior Russian forces could have crushed the German war effort in its crib. Instead, the Germans were victorious. The Russians scored a tactical victory at Gumbinnen, but instead of pressing the advantage, they waited for the Second Army to arrive. The Germans audaciously moved south to face the Second Army before it could combine its strength with the First. German forces were aided by exceedingly poor Russian communication security — Russian troops hadn't mastered even basic cryptography, so German intelligence was aware of how poorly coordinated the two Russian armies were. Victory at Tannenberg set the stage for a subsequent German victory over the First Army at the Battle of Mausurian Lakes. Those two wins prevented the Russians from taking strategic initiative against Germany in the East.
The British blockade the German Empire
Hansjörg Kohler
The British blockade the German Empire
This map illustrates the meanderings of the HMS Orvieto, one of the British ships assigned to Northern Patrol — the main naval operation dedicated to enforcing a British blockade of Germany and her allies. The blockade was meant to halt Germany's trade with the Western Hemisphere and it was so successful that it led to very little drama. Exporters in the Americas didn't like the blockage, but they didn't seriously try to challenge it either. And with Britain and France diverting manpower to the war, both major Allied powers started demanding more imports, which created new markets for commodity producers. Unlike 19th-century blockades that were limited to war materiel or cash crops, the British considered everything — including food — to be contraband of war. The blockade severely stressed the Central Powers' economies. Most important, however, was the blockade's interaction with global diplomacy. When the British attempted a similar blockage against Napoleonic France, the United States became embroiled in conflict with Britain leading to the War of 1812. The World War I blockade, by contrast, merely tightened the US-UK commercial relationship: the Wilson administration essentially respected the blockade of Europe while protesting Germany's efforts to use submarines to stymie American trade with Britain.
German submarine warfare, 1915
Avidius via Wikimedia
Austria-Hungary conquers Serbia
The nominal cause of the war was Austria-Hungary's effort to punish Serbia for its sponsorship of anti-Austrian terrorism, and in 1915 the Habsburgs succeeded. The entire grand web of alliances neither deterred an Austrian attack on Serbia nor prevented the Austrians from winning. By the end of the year, the remnants of the Serbian army had retreated into Albania and been evacuated by sea. Allied forces would eventually liberate Serbia in 1918, moving through Greece and Bulgaria. The Serbian state enlarged to incorporate Bosnia-Herzegovenia, Croatia, Slovenia, and Macedonia after the war and became known as Yugoslovia until 1991.
The 12 battles of the Isonzo
Public domain map via wikimedia
The 12 battles of the Isonzo
Italy did not join the war in its first year, and had been allied with Germany and Austria-Hungary during the pre-war years. But Italian nationalists had designs on some Italian-speaking lands still ruled by the Habsburgs as well as elements of the Adriatic coast that had historically been ruled by the Republic of Venice. In the 1915 Treaty of London, the Allies succeeded in tempting Italy to enter the war on their side, promising them healthy slices of Austro-Hungarian territory. The actual fighting on the Italian Front was even more static and futile than the Western Front. So much so that there were 12 different Battles of the Isonzo, fought near a river in contemporary Slovenia. These 12 battles together accounted for half of Italy's total casualties during the war and as illustrated on the map scarcely moved the frontier at all. In essence, Italy's war dead served as a massive diversionary tactic, occupying Austro-Hungarian and German troops who otherwise could have been fighting in Russia or France.
The Gallipoli campaign: the Allies try to invade Turkey
Damien Felton
The Gallipoli campaign: the Allies try to invade Turkey
British forces, with assistance from the French navy, hatched a daring plan for an amphibious assault on the Gallipoli Peninsula in Turkey. Had they succeeded in capturing the peninsula, Allied naval forces could have sailed through the Dardanelles Strait up into the Sea of Marmara and supported an attack on the Ottoman Empire's capital of Istanbul. That would have opened the door to direct Allied communication between the Western and Eastern Fronts. Instead, Turkey kept the Allied troops bottled up and after months of fighting, they retreated. Heavy participation of volunteers from Australia and New Zealand in the campaign makes it an iconic moment in those nations' military histories even as the Turkish victory is celebrated in that country.
Bloody battle at Verdun
Gdr
Bloody battle at Verdun
Verdun was one of the longest and costliest battles of the Western Front, raging from February to December of 1916. About 300,000 people were killed for the sake of moving the front line about 5 miles. At the outset of the battle, German military officials had concluded that they had no way of puncturing Franco-British defenses and winning the war. Their plan, instead, was to take advantage of the fact that the battle lines were on French soil to trick the Allies into defeating themselves. As Western fighting degenerated into a stalemate, the French front lines in the vicinity of Verdun poked awkwardly into German-held territory. The plan was to seize some high ground on the Eastern bank of the Meuse from which Verdun could be shelled. German commanders hoped that rather than retreat from the town, the French would counterattack furiously in a way that allowed German defenses to inflict massive casualties. And, indeed, about 156,000 French soldiers were killed during the fighting. But so were 143,000 German soldiers.
The high point of the Russian war effort
West Point
The high point of the Russian war effort
Under the command of General Alexei Brusilov, Russian forces mounted a broad assault against Austria-Hungary in June 1916. Brusilov's innovative tactics — shorter-than-usual artillery bursts, followed by concentrated attacks by specialized shock troops who aimed to break through enemy lines and force a retreat — allowed Russia to retake a substantial amount of territory previously lost. Habsburg casualties were sufficiently severe as to render Austria-Hungary incapable of mounting further offensive operations without German support. These successes inspired Romania to join the war on the Allied side, but that proved counterproductive. The Romanian military crumbled under joint German-Bulgarian attack, and the Russian advance had to be halted in September to safeguard a new frontier composed of overrun Romanian territory. During the subsequent winter the Czarist regime collapsed and with it all discipline in the Russian military.
The Battle of Jutland: the biggest naval fight of World War I
Grandiose , based on a map from West Point
The Battle of Jutland: the biggest naval fight of World War I
Great Britain was the world's preeminent naval power in the early 20th century, but in the years before World War I, Germany constructed a formidable navy of its own. On May 31, 1916, the two navies had their biggest clash of the war when about 150 British ships confronted almost 100 German ships in the North Sea off the coast of Jutland, Denmark. The Germans knew the entire British fleet was too powerful to challenge directly, but they hoped to lure a portion of the British fleet commanded by Vice Admiral David Beatty into a battle with a larger number of German ships. When Beatty encountered the German fleet, he turned his ships around and raced toward the rest of the British Grand Fleet commanded by Admiral John Jellicoe with the German ships in hot pursuit. The British wound up losing more ships and sailors from these engagements than the Germans did. But those losses weren't sufficient to break the British Navy's hold over the North Sea. Germany avoided this kind of large-scale naval battle for the rest of the war, keeping its surface fleet in safe ports and focusing instead on submarine attacks.
Where the war stood in 1916
The Story of the Great War
German colonies in Southwest Africa and elsewhere come under attack
Soon after war broke out in Europe, Germany's colonies came under attack as well. This map, published in America in 1916, shows the conquest of German South West Africa (modern-day Namibia) by troops from South Africa, which was then a British colony. South African prime minister Louis Botha began mobilizing forces in September 1914; the Germans surrendered in July 1915. Other German colonies fell into Allied hands, too. The Japanese joined the war on the side of the Allies and captured the German-held port of Tsingtao (now the Chinese city of Qingdao) in November 1914. Germany's East African colony was the only major colony to resist Allied control throughout the war, but the territory was still divided among victorious European powers at the end of the war.
Germany's most famous naval raider, the Emden
A History of Sea Power
Germany's most famous naval raider, the Emden
Most of Germany's surface navy spent the early months of the war in safe German ports, but a few ships ventured out to the high seas to wreak havok on Allied shipping. The most famous of these was the Emden, a German cruiser that operated in the Bay of Bengal , which lies between India and Southeast Asia, in the fall of 1914. Under the leadership of Captain Karl von Müller, the Emden captured 21 allied ships, seriously impeding Allied shipping in the area. Müller's most daring raid came on October 28, when he snuck into the allied harbor of Panang (disguising the Emden by adding an extra funnel to its deck) and destroyed two warships — one French and one Russian. Finally, during another Emden raiding expedition on November 9, an Australian warship with more firepower caught up to the Emden and forced her aground. Müller and most of his surviving crew were taken prisoner.
Britain conquers Palestine
The Story of the Great War
Britain conquers Palestine
After the failure of the Gallipoli campaign in 1916, Allied forces regrouped in Egypt and began making plans to take Ottoman-held land in the Levant. This map shows part of that effort, Britain's successful 1917 campaign in Palestine. The British invasion of Palestine would have long-lasting consequences. On November 2, 1917, British Foreign Secretary Arthur Balfour wrote a letter endorsing "the establishment in Palestine of a national home for the Jewish people." Balfour cautioned that "nothing shall be done that may prejudice the civil and religious rights of existing non-Jewish communities in Palestine." In 1922, the League of Nations officially endorsed British administration of Palestine. British policies after World War I helped lay the groundwork for the eventual UN partition of Palestine between Arab and Jewish states — and everything that followed from that.
Lawrence of Arabia and Britain's betrayal of Arab allies
T. E. Lawrence
Lawrence of Arabia and Britain's betrayal of Arab allies
One of the most remarkable figures of World War I was TE Lawrence, whose exploits in the Middle East were immortalized in the 1962 movie Lawrence of Arabia. Before the war, Lawrence was an archeologist, and he got to know the Middle East during expeditions to the region. When war broke out, the British recruited him to help organize an Arab revolt against the Ottoman empire. His pre-war connections made him particularly effective in this role. He fought alongside the Arabs in a series of battles between 1916 and 1918. At the end of the war in November 1918, Lawrence presented this map to his superiors in Britain, showing proposed borders for a postwar Middle East. The British had promised independence to Arab Allies who participated in the rebellion, and Lawrence attended the 1919 Paris Peace Conference to press for these promises to be kept. Instead, the British and French divided Arab territories under the terms of the Sykes–Picot Agreement (discussed below), which they had secretly negotiated in 1916.
Ottoman Turks commit genocide against the Armenians
Arthur Guy Empey, "Over the Top," 1917.
Trench warfare on the Western Front
In most military conflicts throughout history, mobility, boldness, and the advantage of surprise are crucial for victory. But World War I began in an unusual period where defensive technologies were often more effective than offensive ones. As a result, the Western Front devolved into a style of trench warfare that would never again be used on such a large scale — the development of tanks and air power had rendered trench warfare much less effective by World War II. This illustration shows the kind of elaborate trench systems that the French, British, and German armies constructed across hundreds of miles of the Western Front. In front of the trenches was barbed wire, an innovation developed in the American West a few decades earlier. It helped slow advancing troops who tried to charge across the no-man's land between the two sides. Then came two lines of wide trenches where soldiers would keep watch; these were connected by narrower trenches used to rotate soldiers in and out of the front lines. Further back were trenches for communications, first aid, and the storage of supplies. At the very back would be the artillery, guns powerful enough to send massive shells deep into enemy lines. Poor sanitation, constant shelling, and the lack of adequate shelter made life miserable for soldiers who had to endure life in the trenches.
This German supergun could hit a target 80 miles away
The Story of the Great War
This German supergun could hit a target 80 miles away
The early 20th century was an era of rapid progress in military technology, and nowhere was that more evident than in the development of artillery. Both before and during the war, both sides were racing to develop bigger and bigger guns with ever-increasing range. This illustration shows one of the most formidable weapons employed during the war. Introduced in 1918, this German "supergun" could hurl a 100-kilo projectile 80 miles. The Germans used it to shell Paris from their side of the front, which was more than 60 miles away. While this gun was technologically impressive, it proved to have limited military value. The gun's poor accuracy meant that the Germans were hitting random targets in Paris, alarming Parisians but not doing any real damage to the war effort. More important were high-caliber, medium-range artillery pieces that could be used in large numbers to devastate the enemy front lines. By 1918, the German artillery officer Georg Bruchmüller had perfected the art of using highly focused and precisely timed artillery barrages to devastate enemy positions in preparation for a ground offensive by German troops.
The tank makes its debut
Sandmarg
The tank makes its debut
The tank, the brainchild of First Lord of the Admiralty (and future Prime Minister) Winston Churchill, was developed by the British during World War I. British officials were anxious not to tip the enemy off to what they hoped would be a powerful new weapon, so they decided to tell people that the strangely-shaped objects they had concealed under tarps were mobile water recepticles: "tanks." The code name stuck, and we still call them tanks today. This image shows the design of a tank used by the British at the Battle of Cambrai in 1917. While tanks were developed and used in large numbers by the Allies (and to a much lesser extent by the Germans) they were too primitive to be a major factor in the outcome of the war. Tanks were slow and frequently broke down in the middle of battle. It would take further refinements to turn tanks into the formiddable killing machines they would become later in the 20th century.
The 80 victories of the Red Baron
Vox (with help from Google Maps)
The 80 victories of the Red Baron
World War I was the first war to see large-scale use of airplanes. At first, they were primarily used for reconnaissance, but both sides increasingly used them for offensive purposes as well. As airplanes dropped bombs on enemy cities in growing numbers, countries started looking for ways to shoot enemy airplanes out of the sky. A key innovation was the synchronization gear , which allowed pilots to fire a gun through a spinning propeller without damaging the blades. This created a new class of fighter airplanes, and a new class of pilots to fly them. The most famous of these "flying aces" was the German pilot Manfred von Richthofen, known as the Red Baron for the distinctive color of his airplanes. Between 1916 and 1918, he achieved 80 victories over enemy aircraft, the highest of any pilot in the war. The Red Baron became a celebrity on both sides of the front line and his victories provided a boost to German morale. After downing 21 enemy planes in April 1917, he was in a crash in July. He survived, but his injuries forced him to fly fewer missions in the second half of the year. He continued flying in 1918 but was fatally shot down on April 21, 1918.
The French rail network in 1914
The Story of the Great War
Germany resumes submarine warfare against American ships
As 1917 began, Germany was growing increasingly desperate. Britain's blockade of German ports was making it harder and harder for Germany to feed its own people. The German war plan had depended on a quick victory over France, but now the Western Front seemed to be in a perpetual stalemate. So the German high command decided to resume submarine attacks on neutral ships in British waters. Their goal was to so devastate neutral shippers that they would become unwilling to trade with the Allies. Germany hoped that would inflict on Britain the same pain Germany itself had been suffering and force the Allies to come to terms. The Germans knew that this was a risky gamble because it could draw the United States into the war, but they hoped to bring the Allies to their knees before US involvement became significant. This proved to be a fatal miscalculation. The submarine campaign never came close to halting American shipping to the Allies, while the flood of American troops in the final months of the war ensured Germany's defeat.
The Zimmermann telegram: Germany proposes a Mexican war against the US
NuclearVacuum
The Zimmermann telegram: Germany proposes a Mexican war against the US
Anticipating that the German submarine campaign would draw the United States into the war, Germany's foreign secretary, Arthur Zimmermann, sent a coded telegram to the German ambassador in Mexico. In the event the United States declared war on Germany, the ambassador was instructed to approach the Mexican government with a proposed alliance. Germany would help fund a military campaign to allow Mexico to retake some of the territory lost in the Mexican-American war seven decades earlier. This map shows Zimmermann's proposal: Texas, Arizona, and New Mexico would be annexed into Mexico (the red line shows Mexican territory before 1845). Unfortunately for Zimmermann, the Brits were not only tapping undersea cables between Europe and the United States, but they had also broken Germany's ciphers. So the Brits deciphered Zimmerman's message and passed a copy along to the Americans. The release of Zimmermann's telegram inflamed American public opinion and helped to build momentum for a US declaration of war, which occurred on April 6, 1917. Mexico, meanwhile, realized that it would have no hope of defeating the United States and rejected Germany's proposal.
The United States mobilizes for war
The Story of the Great War
The United States mobilizes for war
America officially joined the war in April 1917, but it would take a year before American troops started arriving in a large enough volume to make a significant difference in the outcome of the war. The United States had never mobilized so many troops to fight in a war so far away. Congress, anticipating a possible war, had authorized a troop buildup in 1916; at that time the US had only had 130,000 soldiers. G.J. Meyer writes that "thirty-two training camps, each occupying eight to twelve thousand acres and containing fifteen hundred buildings capable of accomodating forty thousand men, were constructed in sixty days" after the declaration of war. Despite these efforts, fewer than 200,000 troops had arrived on French soil by the end of 1917. But those numbers grew rapidly in 1918. By May, 200,00 fresh troops per month were flooding onto the continent.
Russia capitulates in the Treaty of Brest-Litovsk
United States military academy
Russia capitulates in the Treaty of Brest-Litovsk
Following the collapse of the Czarist regime in the February 1917 Revolution, a provisional government led by Aleksander Kerensky came to power in Russia. Kerensky's government was unable to impose discipline on the unraveling Russian military or conduct effective military operations. German authorities allowed Vladimir Lenin, then in exile in Switzerland, to travel via special train through German-occupied territory into Russia where he and his Bolshevik allies took political leadership of the anti-war cause. After seizing power in the October Revolution, the new Bolshevik government was forced to negotiate peace with the Germans from a position of extreme weakness. At the Treaty of Brest-Litovsk in March 1918, Russia abandoned its previous rule over Finland, most of Poland, Latvia, Lithuania, Estonia, Ukraine, and Belorussia. German plans called for this territory to be reorganized as a series of German-dominated satellite states but the failure of the Spring Offensive in the West and the subsequent German surrender rendered the new order in the East irrelevant.
Spring 1918: Germany's last offensive
West Point
Spring 1918: Germany's last offensive
In the spring of 1918, the German Empire made a final, audacious attempt to break the stalemate on the Western Front. German troops had spent the winter learning a new style of trench warfare inspired by the successful tactics of the Russians under Alexei Brusilov two years before. The artillery barrages that preceded attacks became shorter and more precisely timed to preserve the advantage of surprise. Instead of advancing on enemy positions in mass waves, troops were instructed to cross the front in small groups and improvise once they reached enemy trenches. Initially, the offensive was a stunning success, punching a hole in the Allied line and allowing German troops to pour through it. But for the offensive to pay strategic dividends, the Germans needed to widen the hole in the enemy lines. Otherwise, the Allies could later repair the breach and cut the advancing enemy troops off from supplies and reinforcement. The key to the battle was French fortifications near the city of Reims, which is that awkward corner on the left-hand side of the German gains. If Reims had fallen, German troops might have been able to widen the breach in the French line and march down to Paris. But Reims didn't fall, and so German troops became more vulnerable the deeper they marched into French territory. After repeated attempts to take Reims failed, the Germans were forced to abandon the territory they had taken to avoid being cut off.
A continent on the brink of famine
Fluteflute
Changes to Europe after World War I
The war officially ended when Germany agreed to lay down its weapons on November 11, 1918. In 1919, the victorious Allies, led by Britain, France, and the United States, met in Paris to decide the fate of the empires they had defeated. Their decisions transformed Europe's borders. The Austro-Hungarian empire was carved up into six new countries. One of these, the awkwardly named Czechoslovakia, would split into the Czech Republic and Slovakia in 1992. The former Serbia was combined with territories annexed from Austria-Hungary to form Yugoslavia, a national home for South Slavic peoples. It, too, disintegrated in the early 1990s, producing several small nations that exist in the Balkans today. The Soviet Union lost some of the Russian Empire's former territory to the new Baltic states and to Poland. Poland, along with France, got chunks of Germany. Czechoslovakia and Yugoslavia are gone, but the other new states persist today, so it's fair to say that World War I set the contours for the modern European state system.
The war devastated European economies
Stephen Broadberry/Mark Harrison
The war devastated European economies
The war devastated economies across continental Europe. Not only did each country rack up significant amounts of war debt, they almost all suffered massive losses in gross domestic product over the course of the conflict. France and Russia had each lost a third of their prewar output by the time they left the conflict. The economic pain and massive debt load prompted the Allies to demand huge punitive damages from from the losing side after the war. The burden of debt and reparation payments hobbled the Weimar Republic that governed Germany from the end of the war until Adolf Hitler rose to power in the early 1930s. Germany stopped paying reparations in 1931, having paid only a small fraction of the sum the allies had demanded. The Allies also demanded that Austria, Hungary, and Turkey pay reparations, but their economies were so devastated by the war that they never made significant payments.
Sykes-Picot and the breakup of the Ottoman empire
Financial Times
Sykes-Picot and the breakup of the Ottoman empire
World War I also transformed the Middle East. In 1916, French diplomat Francois Georges-Picot and his British counterpart, Sir Mark Sykes, drew up a map dividing the Ottoman Empire's Middle Eastern territory between British and French zones of control. The agreement permitted British and French authorities to divide up their respective territories however they pleased. This led to the creation of a series of Arab countries — Lebanon, Syria, Iraq, Jordan, and so on — whose borders and political institutions only dimly reflected the Arab world's ethno-sectarian makeup. Many scholars believe the Sykes-Picot borders were a major factor in the chaotic state of the Middle East in the decades since then.
The Bolshevik revolution sparks civil war in Russia
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Blenheim Palace is in which English county? | BLENHEIM PALACE - 1000434| Historic England
BLENHEIM PALACE
List Entry Summary
This garden or other land is registered under the Historic Buildings and Ancient Monuments Act 1953 within the Register of Historic Parks and Gardens by English Heritage for its special historic interest.
Name: BLENHEIM PALACE
The garden or other land may lie within the boundary of more than one authority.
County: Oxfordshire
National Park: Not applicable to this List entry.
Grade: I
Date of most recent amendment: Not applicable to this List entry.
Legacy System Information
The contents of this record have been generated from a legacy data system.
Legacy System: Parks and Gardens
UID: 1402
Asset Groupings
This list entry does not comprise part of an Asset Grouping. Asset Groupings are not part of the official record but are added later for information.
List entry Description
Legacy Record - This information may be included in the List Entry Details.
Reasons for Designation
Legacy Record - This information may be included in the List Entry Details.
History
Legacy Record - This information may be included in the List Entry Details.
Details
A country mansion surrounded by an extensive and complex park and pleasure grounds, created from the medieval royal hunting park of Woodstock. Main phases early and mid C18 and early C20, with early C18 work by Henry Wise and John Vanbrugh, mid C18 work by Lancelot Brown and early C20 work by Achille Duchene.
NOTE This entry is a summary. Because of the complexity of this site, the standard Register entry format would convey neither an adequate description nor a satisfactory account of the development of the landscape. The user is advised to consult the references given below for more detailed accounts. Many Listed Buildings exist within the site, not all of which have been here referred to. Descriptions of these are to be found in the List of Buildings of Special Architectural or Historic Interest produced by the Department of Culture, Media and Sport.
HISTORIC DEVELOPMENT
Henry I (1100-35) appears to have first enclosed the park at Woodstock at the beginning of the C12, it subsequently becoming an important royal hunting park. The park was focused on Woodstock Palace, a medieval hunting lodge of C12 origin, occupied by many monarchs and their spouses, who developed the buildings and surrounding gardens.
John Churchill, first Duke of Marlborough, was rewarded by Queen Anne in 1705 for his services in defeating the French in Europe, by the grant of the Royal Manor of Woodstock, given with the understanding that she would build him, at her own expense, a house to be called Blenheim (named after the 1704 victory at the battle of Blindheim, close to the Danube). The former royal hunting park was probably then in poor condition, and the remains of Woodstock Palace were pulled down (despite a letter from Sir John Vanbrugh (1709) to the Duchess pleading for its retention, on grounds of historical association, as an eyecatcher) and its gardens removed.
The new palace, built 1705-22, was designed, together with the monumental Grand Bridge over the little River Glyme, by Sir John Vanbrugh (assisted by Nicholas Hawksmoor), and was set within a great formal garden designed by Henry Wise (1653-1738), Queen Anne's Royal Gardener. Following the Duke's death in 1722, a formal canal scheme designed by Colonel Armstrong, his chief engineer, was implemented by the Duchess along the course of the River Glyme. In 1764 Lancelot Brown (1716-83) was called in, producing a plan to landscape the central core of the park which included flooding the river valley to produce a large lake, and landscaping the surrounds, with new belt plantings around the park boundary. In the early C19 the fifth Duke created a substantial rock garden and series of flower gardens (mostly gone) south of Brown's lake. In the late C19/early C20 the ninth Duke carried out much restoration and replanting within the park, and created formal gardens to the west and east of the house, designed 1908-30 by Achille Duchene. Restoration of park planting has continued during the C20, and the estate remains (1998) in private ownership.
SUMMARY DESCRIPTION
Blenheim lies c 12km north-west of Oxford, adjacent to the south-west side of the village of Woodstock, within the confines of the medieval Forest of Wychwood. The c 10 sq km site is bounded largely by a c 14km long stone park wall (masons William Townesend and Bartholemew Peisley Junior, c 1720s, listed grade II), apart from a stretch along the south boundary west of Bladon, with to the east the A44 Oxford to Stratford-upon-Avon road and to the south the A4095 road to Witney. The village of Bladon straddles the valley adjacent to the south boundary, the parish church tower being prominent in views from the south front of the house. The park lies at the foot of the Cotswold dip slope, the Great Park in the north half being situated on a high plateau, dropping down to the undulating Lower Park to the south, with the flooded Glyme valley separating the two. The setting is largely rural and agricultural, with the C18 town of Woodstock against the east park wall, its church tower prominent from various points in the park. Numerous other views extend beyond the park from within.
Blenheim Palace (Sir John Vanbrugh 1705-29, listed grade I) stands towards the centre of the park on a level plateau, approached via several drives and avenues. The main approach, directly from Woodstock via the Woodstock Gate, enters the park c 700m north of the Palace, passing through a square, stone-walled court, on the south side of which stands the Triumphal Arch (Nicholas Hawksmoor 1723, listed grade I). The drive emerges into the park, suddenly revealing Brown's lake divided by Vanbrugh's Grand Bridge (1706-12, listed grade I) standing in the valley below. To the north-west the Column of Victory (to a design by Lord Herbert, later ninth Earl of Pembroke, 1727-30, listed grade I) is prominent on high ground across Queen Pool and to the south the roofscape of the Palace is visible, the main facade partially hidden. The drive continues south, with panoramic views across the Glyme valley, joining, 300m north-east of the Palace, the straight drive from the monumental Hensington Gate (1706-10, moved to present position 1770s, listed grade I). This drive enters off Oxford Road 800m north-east of the Palace, being aligned on East Gateway arch at the east end of a series of axially arranged openings between the courtyards north of the Palace. The drive curves north and west from the East Gateway, overlooking the lake, Grand Bridge and Column of Victory beyond, to join the Ditchley Drive at the entrance to the Great Court.
The Ditchley Drive enters the park 3km north of the Palace, flanked by a stone gateway with wrought-iron gates (John Yenn 1781, listed grade II), and a single-storey lodge (c 1860, listed grade II). The drive, aligned on the Column of Victory, and 1km beyond this the north front of the Palace, runs straight across the Great Park plateau, flanked by a double avenue of limes (replanted late C20 on the site of Wise's early C18 avenue, said to have been originally laid out in the formation of the Battle of Blenheim), being diverted 1.5km from the Palace into the wooded Icehouse Valley to the east, to remerge on the axial line 0.5km from the house. The drive crosses the Grand Bridge, standing 400m from the Palace, with views east to the Triumphal Arch and the buildings of Woodstock beyond the park wall, continuing up the valley side, arriving at a bastion forming the north side of the Great Court (remodelled by Duchene, 1910, to an early C18 pattern). The drive continues through the central gateway flanked by iron gates, crossing the large, level, paved and gravelled forecourt to the steps up to the portico on the north front. Several lesser drives, their entrances marked by lodges, traverse the park.
The Palace is flanked to the east by the Italian Garden (Duchene c 1910, steps listed grade II), containing box-hedged knots with Waldo Storey's central Mermaid Fountain (1900-10, listed grade II), and to the west by the Water Terraces (Duchene 1925-30, listed grade II), based on the Parterre d'Eau at Versailles. The upper terrace contains a series of linked pools within a framework of box hedging, whilst the lower terrace contains two rectangular ponds with central obelisks and fountains (the northern one called the Bernini Fountain, late C17, listed grade I) the whole overlooking the Lake, the hillside beyond, and, glimpsed at the top of the hillside, Brown's remodelled gothic High Park Lodge. South of the Palace, flanked by informal, wooded pleasure grounds containing three stone garden temples, lies an open, level lawn, formerly the site of Wise's Great Parterre (early C18), removed by Brown in the 1760s. Views extend south from the south front and lawn across the Glyme valley to Bladon and its church tower, with distant hills beyond. The east arm of the pleasure grounds leads to the kitchen garden. The west arm of the pleasure grounds leads south to Brown's Cascade, lying c 1km south of the Palace, at the south end of the earth dam retaining the Lake. The large, rocky Cascade, hidden from the main body of the Lake, conducts water back into the enlarged Glyme riverbed as it runs east, crossed by the three-arched New or Bladon Bridge (Sir William Chambers 1773, listed grade I), standing 850m south of the Palace, before curving south and west to leave the park west of Lince Bridge. Laurel Bank, south of the river, seems to contain the remains of pleasure grounds which may have been linked with the former rock and flower gardens lying closer to the south side of the Cascade.
The park is divided into several sections, mostly connected by Brown's Lake and the River Glyme to the south. The Great Park to the north is largely arable land with woodland clumps, bisected from north to south by the Ditchley Drive and from west to east by the Roman Akeman Street with the remains of Grim's Ditch in the north section, and dominated by the Column of Victory. A tablet marks the site of the former Woodstock Palace, lying c 500m north-west of the Palace on what is now the north bank of the Lake. West of this, 200m west of the Grand Bridge, lies Rosamund's Well, a spring and stone pool marking the site of the former bower created in the mid C12 by Henry II for his mistress, Rosamund de Clifford. By the C15 the site contained a suite of rooms and a cloister surrounding a paved courtyard, through which the spring waters were led through a flight of three pools (Bond and Tiller 1997). This was in ruins by the C16, the remains being sketched by John Aubrey in the C17. High Park, on the hillside west of the Lake, consists largely of ancient oak woodland in which, overlooking the Palace 1km to the north-east, stands High Park Lodge (Brown 1768, listed grade II*), remodelled in the Gothic style with a central three-storey tower and battlements, on the site of a medieval hunting lodge. The Lower Park and Bladon Park lie to the east and south of the pleasure grounds respectively, largely laid to pasture with many park trees.
The rectangular kitchen garden (masons Thomas Churchill and Richard Stacey, c 1710, listed grade II), covering 3ha, stands 600m south-east of the Palace, with four large, semicircular bastion walls projecting from the north and south walls, and two circular ponds.
REFERENCES Note: There is a wealth of material about this site. The key references are cited below.
N Pevsner and J Sherwood, The Buildings of England: Oxfordshire (1974), pp 459-75 D Stroud, Capability Brown (1975), pp 111, 218; pls 27-30 Victoria History of the County of Oxfordshire 12, (1990), pp 430-70 Blenheim Palace, guidebook, (1996) J Bond and K Tiller, Blenheim, Landscape for a Palace (rev edn 1997)
Maps R Davis, A New Map of the County of Oxford ..., 1797 A Bryant, Map of the County of Oxford ..., surveyed 1823
OS 6" to 1 mile: 1st edition published 1878-80 2nd edition published 1900 OS 25" to 1 mile: 1st edition published 1876
Description written: March 1998 Amended: March 1999; April 1999 Register Inspector: SR Edited: January 2000
Selected Sources
Legacy Record - This information may be included in the List Entry Details
National Grid Reference: SP4348816661
© Crown Copyright and database right 2017. All rights reserved. Ordnance Survey Licence number 100024900.
© British Crown and SeaZone Solutions Limited 2017. All rights reserved. Licence number 102006.006.
Use of this data is subject to Terms and Conditions .
The above map is for quick reference purposes only and may not be to scale. For a copy of the full scale map, please see the attached PDF - 1000434 .pdf
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This copy shows the entry on 19-Jan-2017 at 03:51:13.
End of official listing
| Oxfordshire |
In Greek mythology, Boreas, Eurus, Notus and Zephryus were all what? | Blenheim Palace Photos
Blenheim Palace Photos
Blenheim Palace from across the lake
The main entrance gates
The east range from the inner courtyard
Portrait of Sarah Churchill, Duchess of Marlborough
The south facade of the Palace
The first duke's memorial in the chapel
The chapel
Clipped hedge in the water terraces
Garden statuary
The water terraces
Capability Brown's cascade
Photos are available for use in publishing or other image licensing, please contact Britain Express image library
All images are © David Ross
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Fun stuff
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What type of creature is a flying fox? | Flying Fox | Heavenly Sword Wiki | Fandom powered by Wikia
Edit
Flying Fox is a high-ranking member in King Bohan's army, signifying a prolonged relationship between the two. This is evident in Nariko's first battle with him, in which he sends multiple waves of soldiers to handle the heroine, to no avail. It is later revealed that it was Flying Fox who murdered Kai's mother, as well as possibly her entire clan, prior to the events of Heavenly Sword. This is shown by Kai's reaction of horror upon seeing Flying Fox after retrieving the Heavenly Sword for Nariko.
Personality
Edit
Flying Fox is shown to have a chilling, almost psychopathic disregard for life. On multiple occasions througout the game, he is shown to have performed a heinous act of violence towards an innocent person: once in a flashback by Kai when he killed her mother, and another when he attempts to hang Kai during his and Nariko's second boss battle. Flying Fox appears to wield two identical curved swords, which appear to be the same as the ones on his back. He used said swords in multiple attacks, including to fly into the air in the first boss battle. He also possesses the ability to produce doppelgangers of himself, evident in the second boss battle . His motto is "Style!", proclaiming that Nariko does not have of enough it after their first encounter and promising to fight her again when she does.
Death
Edit
After escaping Nariko in the first battle between the two, Flying Fox runs into the heroine again, this time in his home, a large birdcage at the end of a long road in the mountains. As Nariko nears the cage, Fox proceeds to loop a noose around Kai's neck and hang her, much to Nariko's horror. Nariko flies into a rage, beating Flying Fox back in three different intervals of fighting. It is after the third period that Kai awakens, having been knocked unconscious by the hanging. She proceeds to raise her crossbow, at which point the player has a limited amount of time to shoot Flying Fox. If the shot is successful, an arrow will pierce Fox's skull. As he falls to his death, his final words are, "Style. That had style..."
| Bat |
Enid Lyons was the first woman to be appointed to the federal cabinet in which country? | National Aquarium | Grey-headed Flying Fox
Grey-headed Flying Fox
Grey-headed Flying Fox
The flying fox looks very much like the canine creature for which it is named. The grey head is visible, along with its long snout and large eyes, even when the animal’s large black wings are wrapped around its body. Below the grey head, this flying fox displays a wide collar of golden-orange fur.
Grey-headed flying foxes live in and around the rain forests of northeastern Australia. They live in large colonies that can contain up to a million individuals, and the colony sizes keep increasing as their habitat is destroyed, limiting roosting sites.
The flight, or rather landing, of these creatures causes quite a spectacle, with a noise to match. Although they are very graceful flyers, flying foxes seem not to have perfected their landing technique: the fruit bats often simply fly until they hit something, or crash into trees in order to stop themselves.
Did You Know
This is the largest bat in Australia and can live for 30 years.
Diet
These bats feed on the blossoms and fruit of fruit trees, and play an important role in the local ecosystem. By feasting on the fruit of many different species of trees in their environment, the cross-pollination that occurs through the bats’ excretion of seeds enables the fruit trees to reproduce.
This natural benefit of their diet, however, is little comfort for fruit farmers who neighbor the species’ camps. The flying fox eats not only the ripened fruit, but also the blossoms and nectar of trees.
Size
The grey-headed flying fox is the largest of the flying foxes. The bats at the Aquarium are about 11 inches in length.
Range
The grey-headed flying fox makes its home in the tall trees of the tropical rain forests in northeastern Australia and the Southeast Asian islands.
Population Status
The grey-headed flying fox is listed as vulnerable or threatened under the Commonwealth Environment Protection and Biodiversity Conservation Act of 1999, and populations are dwindling as the rain forests in which they live are destroyed.
What habitats are left are suffering from poor weather conditions such as drought and cyclones, further reducing flying fox populations by decreasing food supplies.
The number of colonies is decreasing at a rate dangerous to the long-term survival of the species.
Unfortunately, populations of this species recover very slowly from these setbacks, as the species has a slow reproductive rate of only one offspring per year, and males are not sexually mature until well into the later stages of their lives.
Predators
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The Pieniny National Park is in which European country? | Pieniny National Park - natural treasure of Slovakia and Poland - Travel and Visit
testdata May 30, 2013 0 Comments
Although Pieniny National Park may be the smallest of the national parks in Slovakia, this in no way diminishes its sheer beauty and idyllic yet rugged landscape.
The second oldest national park in Slovakia, Pieniny closely borders Poland and also has the majestic Dunajec River passing through. Each year a number of people come to visit this park, renting a raft to travel down and admire its beauty.
Photo by Hejma (+/- 4400 faves and 1,4 milion views)
Dunajec river, Pieniny National Park, Slovakia
Pieniny National Park was first established on January 16, 1957 and was 21 square kilometers in size. The forests in this park make up a total of nine square kilometers, and the rest is a combination of green meadows, fields, and pastures.
This type of unique landscape is representative of the entire Zamagurie region. There are a number of rare plant species which can be found throughout the park, as well as over 700 different species of butterfly. There are nearly 100 species of mollusks and over 200 species of vertebrae.
Photo by CS Travels
Pieniny National Park, – view from Poland to Slovakia
One of the most noteworthy attractions of this particular national park is Trzy Korony, which is the name given to the summit of the mountains in Pieniny, located on the Polish side of the park.
Those who take a raft down the Dunajec River can see the peak of these breathtaking mountains, though there are many people who travel to this park in order to climb up them to the very top.
These majestic mountains are built from limestone and truly complete the picturesque look which has attracted so many visitors from all over the world. Although Trzy Korony is not the tallest mountain in all of Pieniny, it is certainly an amazing sight to see in the area.
There are numerous points of access for those who wish to visit this park, including Stara Lubovna, Spisska Stara Ves, and Cerveny Klastor. You can also visit another park that is nearby – High Tatras National Park.
| Poland |
Joseph Wiseman played which James Bond villain? | Pieniny National Park
Pieniny National Park
email: [email protected]
Website: www.pieninypn.pl
This may be the smallest of Poland’s National Parks but still is home to thousands of unique and protected species of plants and many rare species of animals. A major attraction of the park is rafting on the Dunajec River.
It was founded in 1932 and belongs to the group of the smallest National Parks in Poland – it only has an area only of 2346 hectares with a buffer zone of 2682 hectares. Within its borders are the Pieniny Czorsztynskie, the Trzy Korony massif and the Pieninki. These mountains are predominantly limestone and the area is heavily forested. One of the elements that distinguish this park are its waters, which also has an impact on the natural and environmental factors.
Within the park the landscape is protected as well as the flora and the fauna. There are over 1000 species of vascular plants including endemic species which are not found anywhere else. There are also several rare species of animals which include bobcats, roe deer and deer. Avifauna is represented by peregrine falcons, golden eagles, grouse and corncrakes. The pride of the park is the butterflies especially the Apollo butterfly, which is found only in the Pieniny.
The biggest tourist attraction in the Pieniny National Park is a raft ride on the Dunajec River but hikers and cyclists also find many extremely interesting trails. In this small park there are a total of 34km of trails of remarkable natural value.
Pieniny National Park (woj. Malopolskie)
www.pieninypn.pl
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In the children’s tv series, what is the name of Bob the Builder’s cat? | Bob the Builder - Show News, Reviews, Recaps and Photos - TV.com
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Bob The Builder follows the adventures of Bob and his lovable gang of friends and machines Scoop (a scooper), Muck (a dump truck), Lofty (a crane), Dizzy (a cement mixer), and Roley (a steam roller) as they work together to solve problems. Along with Bob's business partner Wendy, his cat Pilchard, and wacky scarecrow Spud, Bob and his crew live in a unique and imaginative world. Theme Song- Bob the Builder Can we fix it? Bob the Builder Yes, we can! Scoop, Muck and Dizzy and Roly too Lofty and Wendy join the crew Bob and the gang have so much fun Working together, they get the job done Bob the Builder Can we fix it? Bob the Builder Yes, we can! Bob the Builder Can we fix it? Bob the Builder Yes, we can! Time to get busy, such a lot to do Building and fixing till it's good as new Bob and the gang make a really good sound Working all day till the sun goes down Bob the Builder Can we fix it? Bob the Builder Yes, we can! Bob the Builder Can we fix it? Bob the Builder Yes, we can! Digging and mixing, having so much fun Working together, they get the job done Can we dig it? Yes! Can we build it? Yes! Can we fix it? Yes! Bob the Builder (Yeah!) Bob the Builder All together now! Bob the Builder Can we fix it? Bob the Builder (Bob... Fantastic) Yes, we can! Bob the Builder Can we fix it? Bob the Builder Bob the Builder Can we fix it? Bob the Builder Yes, we can! We'd better get some work done! For over a year of Hiatus Bob the Builder is back with all new episodes on PBS Kids. Also new characters will be introduced to the show!moreless
Previously Aired Episode
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Mr Barkis, Edward Murdstone and Tommy Traddles are all characters in which Charles Dickens novel? | Bob the Builder - Show News, Reviews, Recaps and Photos - TV.com
EDIT
Bob The Builder follows the adventures of Bob and his lovable gang of friends and machines Scoop (a scooper), Muck (a dump truck), Lofty (a crane), Dizzy (a cement mixer), and Roley (a steam roller) as they work together to solve problems. Along with Bob's business partner Wendy, his cat Pilchard, and wacky scarecrow Spud, Bob and his crew live in a unique and imaginative world. Theme Song- Bob the Builder Can we fix it? Bob the Builder Yes, we can! Scoop, Muck and Dizzy and Roly too Lofty and Wendy join the crew Bob and the gang have so much fun Working together, they get the job done Bob the Builder Can we fix it? Bob the Builder Yes, we can! Bob the Builder Can we fix it? Bob the Builder Yes, we can! Time to get busy, such a lot to do Building and fixing till it's good as new Bob and the gang make a really good sound Working all day till the sun goes down Bob the Builder Can we fix it? Bob the Builder Yes, we can! Bob the Builder Can we fix it? Bob the Builder Yes, we can! Digging and mixing, having so much fun Working together, they get the job done Can we dig it? Yes! Can we build it? Yes! Can we fix it? Yes! Bob the Builder (Yeah!) Bob the Builder All together now! Bob the Builder Can we fix it? Bob the Builder (Bob... Fantastic) Yes, we can! Bob the Builder Can we fix it? Bob the Builder Bob the Builder Can we fix it? Bob the Builder Yes, we can! We'd better get some work done! For over a year of Hiatus Bob the Builder is back with all new episodes on PBS Kids. Also new characters will be introduced to the show!moreless
Previously Aired Episode
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Vladimir Kramnik became World Champion in November 2000 in which game? | Kramnik - World Chess Champion 2000-2007 - Official website
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Casual chat with Vladimir Kramnik after winning 2013 Chess World Cup Part I
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Casual chat with Vladimir Kramnik after winning 2013 Chess World Cup Part II
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Casual chat with Vladimir Kramnik after winning 2013 Chess World Cup Part IV
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Vladimir Kramnik on his match against Levon Aronian and his Berlin Ending
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Interview with Vladimir Kramnik, winner of Univé Chess 2011
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Kramnik-Grischuk - World Blitz Championship 2010, Moscow R-13
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Kramnik-Nakamura - World Blitz Championship 2010, Moscow R-21
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Carlsen vs Kramnik - World Blitz Championship 2010, Moscow R-22
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Zurich Chess Challenge: Levon Aronian vs Vladimir Kramnik
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| Chess |
What was the first product sold by Heinz in 1869? | Protege Ends Kasparov's 15-Year Chess Reign - The New York Times
The New York Times
World |Protege Ends Kasparov's 15-Year Chess Reign
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The 15-year reign of Garry Kasparov, considered by many people the greatest chess player of all time, ended today when he was overwhelmed by the bravura performance of a lanky young Russian who was once his protege.
The tenure ended quietly and without fanfare, with the 15th game of the 16-game championship match here fizzling to a draw after nearly four hours of play. The draw gave the challenger, Vladimir Kramnik, 25, the half point that he needed to gain 8.5 points to Mr. Kasparov's 6.5, and to win a contest that he had clearly controlled from the beginning.
Despite the disputes that have split the chess world in recent years, with different organizations sponsoring rival matches, there was no doubt in the minds of anyone watching today that an era had ended.
As Mr. Kasparov pushed the button to signal that he was offering a draw -- and the match -- to Mr. Kramnik, a collective sigh, part excitement and part wistfulness at the falling of a champion, swept through the crowd.
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''Kasparov is a great player and a great champion,'' said Ricardo Calvo, an international chess master from Madrid, one of many players who descended on the Riverside Studios in Hammersmith to watch the match, sponsored by the Brain Games Network. ''He's brilliant, of course. But 15 years is a long time, especially in chess, and it's time for him to make way for other players.''
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Mr. Kasparov played sluggishly and tentatively throughout the monthlong competition, often seeming not to know how to respond to Mr. Kramnik's aggressive maneuvers and implacable defenses.
Although he had earlier hinted that unspecified ''personal problems'' were disrupting his concentration, today he took care to quash the rampant rumors that he had lost his fighting spirit and his will to win.
''Obviously this match was dominated by Vladimir's outstanding preparation,'' Mr. Kasparov said, conceding defeat with a graciousness unusual in someone known for his volatile temper.
But he added: ''I feel my chess strengths are still here. I still believe my performance can be dramatically improved and I intend to show that by playing in tournaments.''
The two will still have to play the 16th and final game of the match on Saturday, even though it will not affect the outcome.
There is a symmetry in the histories of the two players.
When Mr. Kasparov beat Anatoly Karpov to take the title in 1985, he was 22, the youngest world champion ever. Taught chess by his Armenian mother and Jewish father in Baku, Azerbaijan, Mr. Kasparov began to play seriously at 6.
When his father died the next year, he changed his last name from Weinshtein to a variation of his mother's maiden name. His mother, Clara, took charge of his career, and still travels with him and is deeply involved in his everyday life.
Mr. Kramnik was also a prodigy. Born in Tuapse, a Black Sea resort, he learned to play chess at 4 and was winning games against his family within months. By the time he was 10, he had beaten two grandmasters and at 16 he became the world junior champion. When he was 11, Mr. Kasparov took him on as a student at his elite chess school in Moscow.
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Mr. Kramnik learned his lessons well. He was Mr. Kasparov's second, or senior adviser, when Mr. Kasparov defeated the Indian grandmaster Viswanathan Anand in 1995, a role that gave Mr. Kramnik important access to Mr. Kasparov's thinking and style of play and, perhaps, a slight edge in this match.
''Chess has everything to do with the human mind, and Garry Kasparov has one of the most complex minds on the planet,'' Jonathan Levitt, an English grandmaster who works for Mr. Kasparov's on-line chess company, said in seeking an explanation for his lackluster play.
Asked whether his relationship with Kramnik had anything to do with it, Mr. Levitt said, ''Maybe in his deep subconscious he's been saying things like, 'I wish I hadn't shown him this variation five years ago.' ''
Mr. Kasparov, who tends to be dismissive of opponents to the point of rudeness, has long acknowledged Mr. Kramnik's talent. ''There are many players, but they don't play chess -- they move pieces,'' Mr. Kasparov said after seeing his student play in Germany eight years ago. ''Kramnik plays chess.''
After the game today, Mr. Kasparov said Mr. Kramnik's attacking strategy had knocked him off balance. ''Ninety-eight percent of my preparation was for nothing,'' Mr. Kasparov said, adding that he had grown exhausted and dispirited from preparing 10 hours a day just to catch up during the match.
Mr. Kramnik -- whose victory brings him $1.33 million in prize money, while Mr. Kasparov gets $667,000 -- seems to be cut from a different cloth than that of his mentor. While Mr. Kasparov is temperamental, sharp-tongued and irascible, Mr. Kramnik is quiet, polite and apparently unflappable.
Confronted by a succession of agonized facial expressions and unhappy body language from his opponent, Mr. Kramnik remained cool, impassive and focused. The only real emotion that he showed occurred when he won, when he thrust both arms over his head and broke into what for him seemed the rarest of expressions, a smile.
''He's a nice person, and a very serious one,'' said Miguel Illescas, a Spanish grandmaster who was an adviser on Mr. Kramnik's backup team. ''He's been completely concentrating on the match. He only does five things during a match: play, study, eat, drink and sleep.''
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Mr. Kramnik, who lost weight and quit smoking to prepare for the match, has said as much himself. ''Daily life does not interest me,'' he once told a Russian newspaper. ''Everything is subordinated to chess, to that one goal.''
Perhaps the Kasparov era has truly given way to the Kramnik era. But many players at the match today were not ready to see it go so easily.
''We have entered a new millennium, and we have a new world champion,'' Mr. Levitt said. ''But Garry Kasparov is still the best player of all time, and I don't think this is the end of him.''
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Garter, Chevron, Pavilion and Windmill are all terms used in which handicraft? | Library of Knitting Stitches - Knitting Stitch Patterns
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Knitting Stitch Patterns
Knitting Stitch Patterns, or combinations of knitting stitches, are a wonderful way to expand your knitting skills. There are hundreds of ways to combine just knits and purls to form different designs. They have been in use since people first began to knit. All knitting uses stitch patterns...even stockinette is considered to be stitch pattern.
So instead of knitting a sweater you can use a different stitch pattern instead, keeping in mind the stitch multiples needed for each pattern stitch. A multiple of 5 stitches means you should cast on any number of stitches that is divisible by 5. A multiple of 6 + 1 means you should cast on any number of stitches that is divisible by 6 plus 1 extra stitch.
Reversible stitch patterns look identical on both sides or sometimes one side is the opposite of the other. Because there is no wrong side, they are useful for projects where the wrong and ride side will show such as scarves, afghans and dish cloths.
See Knitting Abbreviations and the Glossary Of Knitting Terms for more help.
Also see the database of information on Barbara Walker's stitch pattern books . Both a text file and a spreadsheet are available. They include the stitch name, the number of stitches and rows required for the pattern, and other information.
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German army officer Erwin Rommel was known by what nickname? | 1000+ images about Knit Stitch Patterns on Pinterest | Cable, Moss stitch and Stitches
How to Knit the Feather and Fan and Old Shale Stitches
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The US tv show ‘All in the Family’ was based on which British tv sitcom? | All in the Family | Archive of American Television
All in the Family
from the Museum of Broadcast Communications Encyclopedia of Television
For five years, All in the Family, which aired on CBS from 1971-1983 (in its last four seasons under the title Archie Bunker's Place ), was the top-rated show on American television, and the winner of four consecutive Emmy Awards as Outstanding Comedy Series. All in the Family was not only one of the most successful sitcoms in history, it was also one of the most important and influential series ever to air, for it ushered in a new era in American television characterized by programs that did not shy away from addressing controversial or socially relevant subject matters.
All in the Family's storylines centered on the domestic concerns of the Bunker household in Queens, New York. Family patriarch and breadwinner Archie Bunker ( Carroll O'Connor ) was a bigoted loading dock worker disturbed by the changes occurring in the American society he once knew. To Archie, gains by the "Spades," "Spics," or "Hebes" of America (as he referred to Blacks, Hispanics, and Jews, respectively), came at his expense and that of other lower middle class whites. Countering Archie's harsh demeanor was his sweet but flighty "dingbat" wife, Edith. Played by Jean Stapleton , Edith usually endured Archie's tirades in a manner meant to avoid confrontation. But that was hardly the case with Archie's live-in son-in-law Mike Stivic ( Rob Reiner ), a liberal college student who was married to the Bunkers' daughter, Gloria (Sally Struthers). The confrontations between Archie and Mike ("Meathead") served as the basis for much of All in the Family's comedy. As surely as Archie could be counted upon to be politically conservative and socially misguided, Mike was equally liberal and sensitive to the concerns of minorities and the oppressed, and, because both characters were extremely vocal in their viewpoints, heated conflict between the two was assured.
Producers Norman Lear and Alan (Bud) Yorkin brought All in the Family into being by obtaining the U.S. rights to the hit British comedy series, Till Death Us Do Part, which aired on the BBC in the mid-1960s and featured the character of bigoted dock worker Alf Garnett. Lear developed two pilots based on the concept for ABC, with O'Connor (Mickey Rooney had been Lear's first choice to play Archie) and Stapleton in the lead roles. But when ABC turned down the series, then known as Those Were the Days, it appeared that it would never get off the ground. Luckily for Lear and Yorkin, CBS President Robert D. Wood was in the market for new shows that would appeal to the more affluent, urban audience the network's entrenched lineup of top-rated but aging series failed to attract. As a result, CBS jettisoned highly rated programs like The Red Skelton Show and Green Acres in an effort to improve the demographic profile of its audiences, and All in the Family seemed a perfect, though risky, vehicle to put in their place. CBS therefore made a 13-episode commitment to air the series beginning in January 1971, as a midseason replacement.
The network had good reason to be wary of reaction to its new show. All in the Family seemed to revel in breaking prime time's previously unbreakable taboos. Archie's frequent diatribes laced with degrading racial and ethnic epithets, Mike and Gloria's obviously active sex life, the sounds of Archie's belching and of flushing toilets--all broke with sitcom convention. They also and made people sit up and take notice of the new CBS series. In fact, its unconventionality caused All in the Family's pilot episode to consistently rate below average in research tests conducted by both ABC and CBS. Nevertheless, CBS went ahead and debuted the show on 12 January 1971, though with relatively little fanfare or network promotion.
Viewer response to All in the Family was at first tepid. CBS's switchboards were prepared for an avalanche of calls in response to the show's initial airing, but this onslaught never materialized, in part because of the poor 15% audience share garnered by the first episode, which put it a distant third in its time period behind movies on NBC and ABC. But while the show continued to languish in the Nielsen ratings in its first few months, TV critics began to take notice. Despite the negative reviews of a small number of critics, such as Life's John Leonard ("a wretched program"), the critical response was generally positive. Combined with strong word-of-mouth among viewers these evaluations helped the show's audience to slowly grow. The May 1971, Emmy Awards helped to cap All in the Family's climb. The midseason replacement was featured in the opening skit of the Emmy telecast, and earned awards in three categories, including Outstanding Comedy Series. All in the Family shortly thereafter became the top-rated show in prime time, and held onto that position for each of the following five seasons.
The program was able to keep an especially sharp edge over its first half dozen years thanks to the evolving character development of the series' primary cast members and the infusion of strong supporting characters. Both the Bunkers' African American next-door neighbors, the Jeffersons, and Edith's visiting cousin, Maude Findlay (played by Bea Arthur ), eventually went on to star in successful spin-off series of their own. All in the Family also benefited from an occasional one-shot guest appearance, the most memorable of which featured entertainer Sammy Davis, Jr ., written by comedian Bill Dana .
All in the Family's impact went beyond the world of television. The show became the focus of a heated national debate on whether the use of comedy was an appropriate means by which to combat prejudice and social inequality. In addition, the character of Archie Bunker became nothing short of an American icon. While Till Death Us Do Part's Alf Garnett was generally unlikable, producer Lear chose to soften the character for American TV, patterning him in many ways after his own father. As a result, Carroll O'Connor's characterization of Archie contained notable sympathetic qualities, allowing many viewers to see Archie in a favorable light despite his obvious foibles.
By the late 1970s, however, it was becoming clear that the show had lost much of its earlier spark. Major cast changes occurred in 1978, when Struthers and Reiner left the series, and again in 1980, when Stapleton departed. (The fact that this contractual arrangement was written into the show as Edith's death allowed Lear and company to show once again what had made this series truly memorable.) Archie quit his job in 1977 to buy and run a neighborhood tavern, and the series was retitled Archie Bunker's Place in 1979 to reflect the changed nature of the program. By that point, however, though still highly rated, the show no longer stood out as unique, and had become what seemed to many a rather conventional sitcom.
All in the Family's lasting impact on American television is difficult to overestimate. It helped to usher in a new generation of comedic programs that abandoned the light domestic plotlines of television's early years in favor of topical themes with important social significance. In this sense, its influence on prime time programming continues to be felt decades later. -David Gunzerath
CAST
January 1971-July 1971 Tuesday 9:30-10:00
September 1971-September 1975 Saturday 8:00-8:30
September 1975-September 1976 Monday 9:00-9:30
September 1976-0ctober 1976 Wednesday 9:00-9:30
November 1976-September 1977 Saturday 9:00-9:30
October 1977-October 1978 Sunday 9:00-9:30
October 1978-March 1983 Sunday 8:00-8:30
Mar 1983-May 1983 Monday 8:00-8:30
May 1983 Sunday 8:00-8:30
June 1983-September 1983 Wednesday 8:00-8:30
June 1991 Sunday 8:30-9:00 June 1991-July 1991 Sunday 8:00-8:30
September 1991 Friday 8:30-9:00
FURTHER READING
Arlen, Michael. The View from Highway 1. New York: Farrar, Straus and Giroux, 1976.
Barnouw, Erik. Tube of Plenty: The Evolution of American Television. New York: Oxford University Press, 1990.
Bedell, Sally. Up the Tube: Prime-Time TV and the Silverman Years. New York: Viking, 1981.
Brooks, Tim, and Earle Marsh. The Complete Directory To Prime Time Network TV Shows, 1946-Present. 4th ed. New York: Ballantine, 1988.
"CBS Sked Shake; Shift All in Family to Lead Sat." Variety (Los Angeles), 18 August 1971.
"CBS-TV's Bigot that BBC Begat Figures to Salt Up Second Season." Variety (Los Angeles), 22 July 1970.
"Family Fun." Newsweek (New York), 15 March 1971.
Ferretti, Fred. "Are Racism and Bigotry Funny?" New York Times, 12 January 1971.
Gent, George. "All In The Family Takes First Place in Nielsen Ratings." New York Times, 25 May 1971.
Gitlin, Todd. Inside Prime Time. New York: Pantheon, 1985.
Hano, Arnold. "Can Archie Bunker Give Bigotry A Bad Name?" New York Times Magazine, 12 March 1972.
Kasindorf, Martin. "Archie and Maude and Fred and Norman and Alan." New York Times Magazine, 24 June 1973.
Leonard, John. "Bigotry as a Dirty Joke." Life (New York), 19 March 1971.
Metz, Robert. CBS: Reflections In A Bloodshot Eye. Chicago: Playboy, 1975.
O'Neil, Thomas. The Emmys. New York: Penguin, 1992.
Shayon, Robert Lewis. "Love That Hate." Saturday Review (New York), 27 March 1971.
_______________. "Archie's Other Side." Saturday Review (New York), 8 January 1972.
Waldron, Vince. Classic Sitcoms. New York: Macmillan, 1987.
Wander, Philip. "Counters In The Social Drama: Some Notes On All In The Family." In, Newcomb, Horace, editor. Television: The Critical View, 1st Edition. New York: Oxford University Press, 1976.
Who Talked About This Show
Leonard Goldenson
| Till Death Us Do Part |
The Santa Maria del Fiore cathedral is in which European city? | Archie Bunker | All in the Family Wiki | Fandom powered by Wikia
All in the Family Wiki
Residence
Queens, New York
Archibald "Archie" Bunker is a fictional character in the long-running and top-rated American television sitcom All in the Family and its spin-off Archie Bunker's Place . He is a reactionary, bigoted, conservative blue-collar worker and family man, played to acclaim by Carroll O'Connor . The Bunker character was first seen by the American public when All in the Family premiered in January 1971. In 1979, the show was retooled and re-named Archie Bunker’s Place, finally going off the air in 1983. Bunker lived in the borough of Queens]] in New York City. TV Guide named Archie the greatest television character of all time.
All in the Family got many of its laughs by playing on Archie's bigotry, although the dynamic tension between Archie and his liberal son-in-law, Michael "Meathead" Stivic ( Rob Reiner ), provided an ongoing political and social sounding board for a variety of topics.
The inspiration for Archie Bunker was Alf Garnett, the character from the BBC sitcom Till Death Us Do Part , on which All in the Family was based. Archie, in turn, was an inspiration for Eric Cartman [1] of South Park.
In 2005, Archie Bunker was listed as number 1 on Bravo's 100 Greatest TV Characters [2] , defeating runners-up such as Lucy Ricardo, Fonzie, Homer Simpson, and Ralph Kramden.
Archie Bunker's own ethnicity is never explicitly stated, other than the fact that he is a WASP. Although that might suggest he is of English origin, he mocked the British and referred to England as a "fag country." He also referred to Germans as "Krauts." ; Jewish persons as "Hebes" and African Americans as "Colored".
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Archie frequently told Edith to "Stifle." Series creator Norman Lear admitted that this is how his father treated Lear's mother. [3]
During the series' run, it would be revealed that, while he did disagree with his son-in-law's political views, his resentment of Michael Stivic stemmed in part from the fact that Mike was attending college and would be able to chart his own successful future, while Archie had been forced to drop out of high school during the Great Depression to help support his family.-apparently Archie does not take advantage of the G.I. Bill in order to complete his education-althouth one epsiode of the series shows that Archie secretly took night classes in order to get a High School diploma Archie learns his lesson . {Archie did have a dream of pitching for the New York Yankees Baseball team which he had to give up when he dropped out of High school }. Episode " Everybody Tells the Truth " showed very clearly that both Archie and Mike were not above twisting the truth to make minorities into stereotypes. Edith exposes both Archie and Mike's prejudices – yet neither Archie nor Mike will admit the truth.
A running gag is Archie trying to hustle himself either money or goods but always losing in the end! Episodes Oh my aching back ; Archie's Fraud ; Hot Watch; The Taxi Caper. For example in Archie is Cursed Archie thinks of himself as a pool shark-until he finds himself having to place a game with Irene Lorenzo who a was a pool champion; Archie tries to welsh out by claiming who cant play because of a "curse" yet the end when his chicereny is exposed-Archie has to play Irene! In Archie's Contract Archie gets conned when he buys aluminum siding for a brick house !
While locked in the storeroom of Archie's Place with Mike in the episode " Two's a Crowd ", Archie confides (after getting drunk) that he was a poor kid who was teased in school for coming to class wearing one shoe and one boot, since his family could not afford to buy him new footwear. ("They called me Shoe-Bootie.") In the same episode, it becomes clear that Archie was also an abused child — yet he then goes on to vehemently defend his father, who Archie claims loved him and taught him "right from wrong." His older brother Fred Bunker gives to Archie their father's railroad watch-apparently their father worked on the railroad. An unnamed Uncle got Archie a job on a loading dock after World War II. A freeloading cousin Oscar passes away at the Bunker and Archie has to come up with the funeral expenses "The Saga of Cousin Oscar". Growing up in the Depression Archie is G.O.P. and actually writes a letter to his favorite President Richard Nixon-whom Archie thinks is "Richard E. Nixon". epsiode Writing the President . Archie also makes his political views known in episode The Man in the Street
Archie was also a World War II veteran who had been based in Foggia, Italy. During a visit with a doctor it is learned that he had an undistinguished military record for his non-combat ground role in the Air Corps, which at the time was a branch subordinate to the Army Air Forces. Archie often insisted that he was a member of the Air Corps. Archie received two medals-a Purple heart for being wounded in the backside by shrapnel. "Archie's Civil Rights" and a Good Conduct medal episode " Archie and the FBI '.
Archie also has latent paranoia -epsiode Archie and the FBI Archie and friend Larry Grundy have a falling out after 15 years because both misunderstand the routine questioning by Air Force officers regarding the security of a defense contract at the loading dock; in Everybody tells the Truth Archie fantasizes that an African American is a member of a "Black Panther" group; in Archie and the Editorial Archie persists in calling crime "The Mafia" instead of refering to organized Crime as "Oranganized Crime".
In spite of his numerous flaws, Archie was simultaneously portrayed as basically decent and, rather than being motivated by genuine malice, was merely a product of the era in which he had been raised. In the episode " Archie and the KKK ," for example, Archie is invited to join a secret club - the Kweens Kouncil of Krusaders - which turns out to be a local chapter of the Ku Klux Klan. In spite of his inherent discomfort around people of color, Archie responds with genuine revulsion at the group's violent methods, and attempts to thwart a cross burning. It should also be noted that as the years went on, Archie grew more accepting of people different from himself, albeit partially out of necessity. For example, in 1978, the character became the guardian of Edith's nine-year old niece, Stephanie ( Danielle Brisebois ), and when it was revealed that Stephanie was Jewish (episode 197), Bunker accepted her faith. Ironically, Archie's dislike of Mike Stivic as a son-in-law would be justified when in the spin-off Gloria it is revealed that Mike abandons both his wife and son to live with a flower child. In 1994 a short spin off "704 Hauser" has a African American family moving into the Bunker's old residence and the appearence of Archie and Edith grandchild Joey Stivic in the first episode although there is no mention if Archie Bunker is still alive.
Despite claiming to have strong Christian views, he very seldom went to church. In one episode, he does decide to become a regular worshipper at his church, only for him to try to back out of a volunteering assignment when it conflicts with an NFL football game he had tickets for (he faked an injury, but by episode's end, he legitimately hurt himself). Edith also revealed that Archie once had a terrible gambling addiction , once coming home after gambling his entire paycheck and their car; Edith threatened to leave him and take Gloria over it, which led Archie to apologize to Edith and — for the most part — quit gambling.
Despite having an adversarial relationship with his African American neighbors, the Jeffersons , especially patriarch George Jefferson and his brother Henry, he formed an unlikely friendship with George's young son, Lionel, who picked up and dropped off the Bunker's dry-cleaning, and fixed various electronics for them. Archie's intentions were good, viewing it as "taking him under his wing", but he would usually end up insulting Lionel by patronizing him. Lionel, in turn, would sarcastically humor Archie by acting on outdated stereotypes of his race. However, Archie still was fond of Lionel, even happy to attend his engagement party.
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Such was the name recognition and societal influence of the Bunker character that by 1972 commentators were discussing the "Archie Bunker vote" (i.e., the voting bloc comprising urban, white, working-class men) in that year's presidential election; in the same year, there was a parody election campaign, complete with T-shirts , campaign buttons , and bumper stickers , advocating "Archie Bunker for President." In the show, Archie strongly supported President Richard M. Nixon , of whom he often spoke very highly, incorrectly calling him "Richard E. Nixon." He was also an early supporter of Ronald Reagan , writing him in on the ballot for the 1976 election, and threatening Mike that "he'll have Reagan in '80," predicting his win in 1980. The character's imprint on American culture is such that Archie Bunker's name was still being used in the media in 2008, to describe a certain group of voters who voted in that year's U.S. presidential election . [4] [5]
The term "Archie Bunker-ism," or just "Archie-ism," was also coined during the show's run to refer to the many malapropisms , such as "groin-acologist" for "gynecologist," that Bunker used on the series.
After the episode in which Archie's opposition to the KKK was made evident, several watchdog groups became upset; they believed that the show shouldn't have "humanized" someone they viewed as a racist . They believed that Archie should be kept thoroughly unlikable.
Bunker was originally planned by creator Norman Lear to be very disliked, and Lear was shocked when Bunker quietly became a beloved figure to much of middle America. Lear thought that the opinions of Bunker on race, sex, marriage, and religion were so wrong and incorrect as to represent a parody of right wing bigotry; instead, Bunker's thoughts, broadly speaking, accurately reflected the mindset of some of the viewing audience. In fact, Sammy Davis, Jr. , who was both black and Jewish, genuinely liked the character; he felt that Bunker's "bigotry" was based on his rough life experiences and also was honest and forthright in his opinions, and showed an openness to change his views if an individual treated him right (Davis in fact appeared on All in the Family to tell the Bunker character this).
Archie's racism had strongly subsided by the time Archie Bunker's Place began in 1979. During that program's second season, he hired a black nanny, Ellen Canby, for Stephanie and became fond of her. In one episode, Archie punched a man for making a remark about her and was thrown out for good from the lodge he had attended since the early days of All in the Family.
Production
Archie Bunker served in the Army Air Corps in Foggia , Italy during World War II . Carroll O'Connor served in the United States Merchant Marine .
Archie's character voice was created by a mix of accents Carroll O'Connor heard while studying acting in New York City. Template:Fact
Carroll O'Connor appeared in all the episodes of the series, with the exception of seven (three of these because of a contractual dispute with Norman Lear in Season 5 ).
For the first few seasons, the Bunkers do not own a car, like most New Yorkers who use public transportation in lieu of cars. A major point of humor in the show was from Archie constantly complaining about using the subway to get to and from work. Edith states they once owned an old used car when Gloria was young that Archie gambled away. However, Archie says he has to park far away from the hospital during the birth of his grandson in a season 6 episode, suggesting he purchased one, or was otherwise using Bert Munson's cab.
Archie apparently grew up in Woodside, as he asks his brother about selling their parents' home there.
It is said by Gloria that he went to school in Flushing, during the Archie is Missing episode.
Popular and academic use of the concept
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In which year was the Oxford-Cambridge Boat Race declared a draw because it was said that the judge was asleep under a bush as the crews passed the finish line? | The Boat Race - The Full Wiki
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Exhausted crews at the finish of the 2002 Boat Race. Cambridge are on the left of the picture.
The Boat Race, also known as the University Boat Race and The Oxford and Cambridge Boat Race, is a rowing race in England between the Oxford University Boat Club and the Cambridge University Boat Club , rowed between competing eights each spring on the Thames in London. Members of both teams are traditionally known as blues and each boat as a " Blue Boat ", with Cambridge in light blue and Oxford dark blue.
The first race was in 1829 and it has been held annually since 1856, with the exception of the two world wars . The 2009 boat race took place on 29 March at 15:40 BST, with Oxford (on the Middlesex station) winning. [1] The next race is scheduled to start on Saturday, 3 April 2010 at 4.30pm. [2]
The event is a popular one, not only with the alumni of the universities, but also with rowers in general and the public. An estimated quarter of a million people watch the race live from the banks of the river, around seven to nine million people on TV in the UK, and an overseas audience estimated by the Boat Race Company at around 120 million, which would make this the most viewed single day sporting event in the world [3] however, other estimates [4] put the international audience below 20 million.
Having sponsored the event since 2005, the business process outsourcing company Xchanging became title sponsor in November 2009, so the 156th Race next April will be known as The Xchanging Boat Race. [5] [6]
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Origin
The tradition was started in 1829 by Charles Merivale , a student at St John's College, Cambridge , and his schoolfriend Charles Wordsworth who was at Oxford. Cambridge challenged Oxford to a race in Henley. The second race occurred in 1836, with the venue moved to be from Westminster to Putney. Over the next couple of years, there was disagreement over where the race should be held, with Oxford preferring Henley and Cambridge preferring London. Cambridge therefore raced Leander Club in 1837 and 1838. Following the formation of the Oxford University Boat Club, racing between the two universities resumed and the tradition continues to the present day, with the loser challenging the winner to a re-match annually.
The race in 1877 was declared a dead heat. Legend in Oxford has it that the judge, "Honest John" Phelps, was asleep under a bush as the crews came by leading him to announce the result as a "dead heat to Oxford by four feet", but this is not borne out by contemporary reports.
Oxford, partially disabled, were making effort after effort to hold their rapidly waning lead, while Cambridge, who, curiously enough, had settled together again, and were rowing almost as one man, were putting on a magnificent spurt at 40 strokes to the minute, with a view of catching their opponents before reaching the winning-post. Thus struggling over the remaining portion of the course, the two eights raced passed the flag alongside one another, and the gun fired amid a scene of excitement rarely equalled and never exceeded. Cheers for one crew were succeeded by counter-cheers for the other, and it was impossible to tell what the result was until the Press boat backed down to the Judge and inquired the issue. John Phelps, the waterman, who officiated, replied that the noses of the boats passed the post strictly level, and that the result was a dead heat.
—
The Times
Cambridge produced one of the legends of the Boat Race and of rowing worldwide, Stanley Muttlebury , whose crew won the race in the first four of the five years he was a member, 1886-1890. He was viewed as "the finest oarsman to have ever sat in a boat".
Contemporaries writing to The Times to add to his 1933 obituary called attention to his extraordinary physical prowess and natural aptitude for rowing, traits accompanied by mildness, good manners, and natural kindness:
Muttlebury had a natural aptitude which amounted to a genius for rowing, and, as he was not only massively large and full of courage but herculean in muscular strength, it was inevitable that he should be an outstanding exponent of oarsmanship. Added to this, he came to his prime when rowing was in a transitional stage, when the old methods of the straight back and the body catch suited to the fixed seat and the short slide, had necessarily to be superseded by methods required by the long-slide. I consider that long-slide rowing sprang suddenly to perfection in Muttlebury, that on him this new (or partially new) art was built...
"Muttle", as he was known at the varsity and later in life, was one who strove never to hurt (The Times), but there have been two instances where later generations of oarsmen have rebelled against the leadership of the Boat Club President and their coach. Both have involved Oxford University Boat Club and in both cases American oarsmen played a pivotal role.
1959 Oxford mutiny
Oxford in Autumn 1958 had a large and talented squad. It included eleven returning Blues plus Yale oarsmen Reed Rubin and Charlie Grimes , a gold medallist at the 1956 Olympics. Ronnie Howard was elected OUBC President by the College Captains, beating Rubin. In 1958, Howard had rowed in the Isis crew coached by H.R.A. "Jumbo" Edwards , which had frequently beaten the Blue Boat in training.
Howard's first act was to appoint Edwards as coach. Edwards was a coach with a strong record, but he also imposed strict standards of obedience, behaviour and dress on the triallists which many of them found childish. As an example, Grimes withdrew from the squad after Edwards insisted he remove his "locomotive driver's hat" in training.
With selection for the crew highly competitive, the squad split along the lines of the presidential election. A group of dissidents called a press conference, announcing that they wanted to form a separate crew, led by Rubin and with a different coach. They then wished to race off with Howard's crew to decide who would face Cambridge.
Faced with this challenge, Ronnie Howard returned to the College Captains and asked for a vote of confidence in his selected crew and the decision not to race off with the Rubin crew. He won the vote decisively and the Cambridge president also declared that his crew would only race the Howard eight.
Three of the dissidents returned and Oxford went on to win by six lengths. [7]
1987 Oxford mutiny
In 1987, another disagreement arose amongst the Oxford team. [8] A number of top class American oarsmen refused to row when a fellow American was dropped in preference for the Scottish President, Donald Macdonald. They became embroiled in a conflict with Macdonald and with coach Dan Topolski over his training and selection methods. This eventually led most of the Americans to protest what they perceived to be the president's abuse of power, by withdrawing six weeks before the race was due to start. As Gavin Stewart, the stroke and mainstay of the winning Oxford eight, stated:
As for the Americans starting the 'mutiny', well they didn't. The 'mutiny' happened because the squad had lost respect for Donald Macdonald as president, not least because he made it clear that he had a guaranteed seat... The spark was the decision to set aside the result of a trial between Macdonald and one of the Americans (which Macdonald lost), giving them both seats and dropping another (British) rower. The Americans began by supporting British rowers, not the other way round.
—
Gavin Stewart
To the surprise of many, Oxford, with a crew partially composed of oarsmen from the reserve team, went on to win the race. One aspect of the race was Topolski's tactic, communicated to the cox while the crews were on the start, for Oxford to take shelter from the rough water in the middle of the river at the start of the race, ignoring conventional wisdom that centre stream is fastest even if rowing conditions are poor.
A further surprise was that the captains of the Oxford college boat clubs, who had voted in support of Macdonald and Topolski and precipitated the Americans' withdrawal during the mutiny, voted one of those Americans, Chris Penney, as OUBC president for 1988, a break with the tradition that the president is a returning Blue (the other candidate being Tom Cadoux-Hudson, who was a British member of the 1987 winning crew).
Topolski wrote a book entitled True Blue: The Oxford Boat Race Mutiny on the incident. A movie based on the book, True Blue , was released in 1996. Topolski's account was seen by some as one-sided, and Ali Gill, who had been a member of the university women's Boat Club at the time of the mutiny, wrote a book The Yanks at Oxford to put the other side of the story.
Reported facts of the "mutiny" still differ greatly depending on the source, and with the historians having been personally involved in the events or the small community in which they occurred, a definitive, unbiased version has never been agreed upon. Macdonald and the Americans have refused to contribute to any debate on the event, including a 2007 BBC radio programme to mark the 20th anniversary.
Recent years
Approaching Barnes Bridge in the 2003 Boat Race: Oxford ultimately won by only one foot
Recent years have seen especially dramatic races. In 2002, the favoured Cambridge crew led with only a few hundred metres to go, when a Cambridge oarsman (Sebastian Mayer) collapsed from exhaustion and Oxford rowed through to win by three-quarters of a length. They did so on the outside of the last river bend, a feat last accomplished in 1952. Few observers expected the 2003 race to match the 2002 for excitement. Cambridge were substantially heavier and appeared to be the favourites. Two days prior to the race, however, the Cambridge crew suffered a collision on the river in which oarsman Wayne Pommen was injured. With a replacement in Pommen's seat, Cambridge went on to lose to a determined Oxford crew by a record slim margin of one foot . In that year, there were two sets of brothers rowing: Matt Smith and David Livingston for Oxford, and Ben Smith and James Livingston for Cambridge. All four had been pupils together at Hampton School in south-west London. Cambridge gained revenge in 2004 in a race marred by dramatic clashes of oars in the early stages, and the unseating of Oxford's bowman.
The 2006 race was won by Oxford, despite Cambridge having started as strong favourites. Despite rough rain, Cambridge had made a tactical decision not to use a pump to remove excess water in the boat. Oxford did use a pump and overtook Cambridge to win. Cambridge had in fact introduced pumps as early as 1987 (the year of the Oxford mutiny, and a day of rough conditions).
Cambridge cross the finish line ahead of Oxford in the 2007 Boat Race, viewed from Chiswick Bridge
In 2007 Cambridge were strong favourites based on the team members' individual successes, and 9 lb heavier per man on average. The Cambridge crew had five returning blues compared to Oxford's one. Furthermore, the international achievement of Cambridge's rowers far exceeded that of Oxford's: the World Champion stern pair of Germans Thorsten Engelmann (the heaviest ever boat race oarsman at 110.4 kg) and Sebastian Schulte; Olympic Gold medallist Kieran West MBE and GB medal winner Tom James .
The 2008 Boat Race finish (Oxford Winners)
Although Oxford rowed strongly as underdogs at the beginning, the light blues showed their class by holding Oxford while they had the advantage, and pushing on with tidier rowing from Chiswick steps. They rowed on to win by a length and a quarter in a time of 17 minutes and 49 seconds. The heavily-fancied Cambridge crew did not win by the margin expected by many, thanks in part to a strong row from Oxford.
It was speculated by 2006 Oxford winning president Barney Williams that the race was won by Cambridge while Oxford still had their lead. Around Hammersmith Bridge the Cambridge crew (with their backs to Oxford) had no view of their rivals and the calm orders delivered from Cambridge coxswain Rebecca Dowbiggin "they're throwing the kitchen sink at this boys", and "keep loose, loose, loose..." ensured that they stayed in contention despite a push from Oxford going into Hammersmith. Beyond this point the advantage of the Surrey station to Oxford had been lost and the race was Cambridge's.
Course
Boat Race course ("Middlesex" and "Surrey" denote sides of the Thames Tideway , not the actual English counties )
The course is 4 miles and 374 yards (6,779 m) from Putney to Mortlake , passing Hammersmith and Barnes ; it is sometimes referred to as the Championship Course , and follows an S shape, east to west. The start and finish are marked by the University Boat Race Stones on the south bank. The clubs' presidents toss a coin (the 1829 sovereign) before the race for the right to choose which side of the river (station) they will row on: their decision is based on the day's weather conditions and how the various bends in the course might favour their crew's pace. The north station (' Middlesex ') has the advantage of the first and last bends, and the south (' Surrey ') station the longer middle bend.
Competing for the fastest current
During the race the coxes compete for the fastest current, which lies at the deepest part of the river, frequently leading to clashes of blades and warnings from the umpire . A crew that gets a lead of more than a boat's length can cut in front of their opponent, making it extremely difficult for the losing crew to overtake back. For this reason the tactics of the race are generally to go fast early on, and few races have a change of the lead after half-way (though this happened in 2003 and again in 2007).
The race is rowed upstream , but is timed to start on the incoming flood tide so that the crews are rowing with the fastest possible current. [9] If a strong wind is blowing from the west it will be against the tide in places along the course, causing the water to become very rough. The conditions are sometimes such that an international regatta would be cancelled, but the Boat Race has a tradition of proceeding even in potential sinking conditions. Several races have featured one, or both, of the crews sinking. This happened to Cambridge in 1859 and 1978, and to Oxford in 1925 and 1951. Both boats sank in 1912, and the race was re-run, and in 1984 Cambridge sank after crashing into a stationary barge while warming up before the race. [10] [11] Cambridge's sinking in 1978 was named in 79th place on Channel 4's list of the 100 Greatest Sporting Moments .
The race is for heavyweight eights (i.e., for eight rowers with a cox steering, and no restrictions on weight). Female coxes are permitted, the first to appear in the Boat Race being Sue Brown for Oxford in 1981. In fact female rowers would be permitted in the men's boat race, though the reverse is not true.
During the race the crews pass various traditional landmarks, visible from the river:
Landmark
| one thousand eight hundred and seventy seven |
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The Rowers of Vanity Fair
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Contents
Introduction by Wiki Author Wat Bradford[ edit ]
William Dudley-Ward
The serene profile of William Dudley-Ward caught my eye in the fall of 1986. His Vanity Fair print was posted in a bookstore window near Trinity College, Cambridge, where he had been C.U.B.C. President in 1900. Finding the £40 asking price a bit steep for a student budget, I shrugged and walked on, later to reconsider and start sliding down the collector’s slippery slope. At first content with only a few, I soon bought more prints, then will power gave way and finding the rest became an obsession, and then it occurred to me that obtaining the full official list might not complete the collection.
The problem lay in the cataloguing. Over 2300 prints were published in Vanity Fair in its lifetime (1868 - 1914), roughly one a week. The editors never published a comprehensive list but did from time to time offer select groups for sale, such as this one August 5, 1908, the date rower R.B. Etherington-Smith appeared:
The following
HAVE ALREADY APPEARED IN "VANITY FAIR."
Ampthill, Lord
Muttlebury, S.D.
_________________________
The price of the above set of twenty-two Pictures is 15s.; or, well framed, from 1s. 9d. each extra. They will be sent, carriage paid, to any address (on receipt of remittance) by the Publisher, 33, Strand, London, W.C.
_________________________
Unfortunately, the list is incomplete as it omits men such as J.J. Hornby, the Provost of Eton, who rowed for Oxford in 1849. It also omits accomplished oarsmen who happened not to row at “University,” i.e., Oxford or Cambridge. H.E. Searle, “Professional Champion Sculler of the World” in 1889, and B.J. Angle, who won the Grand Challenge Cup at Henley in 1878 with Thames R.C., come to mind. Moreover, the list stretches by including three men – Crossley, Bowen, and Jordan -- who may have rowed for their college but not their university.
Somewhat better are the lists later compiled by various dealers and collectors that classify the prints based on the appearance of the subject in Vanity Fair and the accompanying biographical notes. One of the more definitive lists, from Clive A. Burden, Inc., comprises sixty-eight categories. “Sports -- Rowing” lists twenty-two entries, consisting mainly of Oxford and Cambridge rowers and coaches from 1889 to 1912, plus Mr. Searle, the lone professional. But the Clive Burden list, and others like it, omits several men whose connection to rowing was at least as significant as those listed, but who were catalogued differently because they appeared in Vanity Fair for other reasons. J.W. Chitty, for instance, rowed for Oxford in three Boat Races and umpired the event from 1857-71 and 1873-80, but appeared in Vanity Fair as a chancery judge and thus is catalogued among the 200 or so “Legals.”
So who are the rowers of Vanity Fair? If one finds Vanity Fair’s list of “University Oarsmen” and the somewhat different Clive Burden list too limiting, the question becomes subjective. One might opt for every man who ever rowed at school, university, or in a club. That would inflate the headcount, due largely to the number of old Etonians who appeared in Vanity Fair at some point in their lives. Or one might raise the bar to admit only those who were genuinely successful on the river. That would cut back the number and improve average quality, but would still be subjective and would knock out one from Clive Burden, Rev. E.J.H. Smith of Pembroke College, Cambridge (Vanity Fair, January 28, 1888), whose greatest aquatic accomplishment was as a coach “animating the toils of the fifth boat.” I have taken a middle path, not without faults but at least clear and manageable: anyone who appeared in the magazine mainly in connection with rowing (Rev. Smith makes the cut) or who rowed at Henley or for Oxford or Cambridge Universities (the lesser Etonians do not). The result by my reckoning is fifty-eight. Other Wiki authors may of course choose more expansive criteria and add more here accordingly; on such basis Thomas Brock appears, a sculptor and member of the Kensingon Rowing Club.
Duncan Mackinnon, O.U.B.C. President for the 1910 Boat Race, by “Spy” (Leslie Ward), for The World, not for Vanity Fair
To be sure, the focus on rowing, and this particular way of focusing on rowing, makes for a strange history. We have great Boat Race and Henley rowers of the era, but not all of the best or only the best. We have most of the “Spy” prints of rowers, but not all as F.I. Pitman, E.G. Williams, and D. Mackinnon appeared in Vanity Fair rather than in The World in the early 1900s. Of the fifty-three, only three managed not to attend Eton, Oxford, or Cambridge, so the selection hardly represents a random sampling of British society. But “men are often known, remembered and immortalized -- especially abroad -- by some idiosyncrasy selected by the capriciousness of time,” observed Leslie Ward in 1915, recalling his long career as “Spy,” Vanity Fair's most prolific artist. [2] “Looking back to-day it is strange to read in light of great events these miniature biographies of politicians now forgotten, of others who left their party to go over, of statesmen, of judges who sat on important cases and are now only remembered in connection with a trivial poisoner, an impostor in a claim, of careers then unproved but now shining clearly in the light of fame, and of others whose light is extinguished -- all within so short a lapse of time.” [3]
This book presents the rowers in sequence of their rowing careers, from the last days of King William IV through the reign of Queen Victoria to the cusp of the 1914-18 war. As a nod to brevity only the individual portraits are reprinted, though six of the rowers appeared in Vanity Fair semiannual group “doubles”: “” by Théobald Chartran , July 5, 1881 (S.H. Northcote); “The Gladstone Cabinet” also by Chartran, November 27, 1883 (C.W. Dilke); “Tattersall’s, Newmarket” by Liberio Prosperi, December 6, 1887 (E. Boscawen); “In Vanity Fair,” an unsigned composite (November 29, 1890) (A.L. Smith); “Bench and Bar” by “Stuff,” December 5, 1891 (W.B. Brett and A.L. Smith); and “Cycling in Hyde Park” by Hal Hurst, June 11, 1896 (W.H. Grenfell). The chronology bears no relationship to the order in which their prints appeared in Vanity Fair, and thus makes it harder to see the evolution of the graphic and editorial styles, but does cluster contemporaries and facilitates the rowing story. As for the story, Vanity Fair and the rowers themselves tell nearly all of it. Starting with S.H. Northcote and ending with “Cygnet” Swann, the reader will find for each entry the signature lithograph or two from Vanity Fair, the biographical note that accompanied it (set off in italics), a supplemental biography to round out his story, and an excerpt from Vanity Fair or another source, either about the rower in question or a complimentary theme. The sequence is punctuated by the occasional chapter introduction to summarise rowing-related developments for the period mentioned. Photographs, illustrations, and other images out of copyright are sprinkled in.
Throughout all this, my own limited commentary as “an amiable and sympathetic foreigner” aims to “attain the impersonal perspective proper to the true historian,” as T.A. Cook put it. [4] There are three reasons for this approach. First, the magazine was blessed to have Walter Bradford Woodgate provide the rowing coverage in most of the years there was any to speak of. Second, Woodgate, the other Vanity Fair authors, and the rowers themselves provide an authentic period voice, limiting early twenty-first century nostalgia, or anti-nostalgia, from creeping into the mix. Finally, the original sources let one keep one’s head down, a good idea given how prickly rowers can be about their sport. As G.C. Bourne, father of the penultimate Vanity Fair rower R.C. Bourne, observed over sixty years ago during the religious debate over rowing styles: “There is good reason for this wariness, for the rowing fraternity is a close corporation, jealous of its reputation and inclined to be hypersensitive and hypercritical to a degree which would astonish those who do not belong to it.” [5]
Lastly, I would single out for thanks Tom Weil, one of the world's leading historians of rowing and collector of rowing memorabilia, for his encouragement and support, and would commend to anyone interested in rowing history beyond this slice from Vanity Fair the external links below through which, among other avenues, Tom has shared his knowledge and love for the sport; Paul Mainds, Michael Rowe, and their colleagues at the River & Rowing Museum in Henley-on-Thames, for their curatorship and promotion of rowing history, including a 2006 exhibition of the rowers of Vanity Fair; Chris Dodd, rowing historian extraordinaire, who in his capacity as editor of Rowing & Regatta, the magazine of the Amateur Rowing Association, brought the exhibition to the attention of a broader public; and John Bateman of Auriol Kensington R.C., a fellow compulsive, who politely pointed out six Vanity Fair rowers who had managed to slip through the initial net.
^ L. Ward, Forty Years of Spy, p. 109.
^ Ibid., pp. 103-04.
^ T.A. Cook, The Sunlit Hours, p. xiii.
^ G.C. Bourne, Memories of an Eton Wet Bob of the Seventies, p. 3.
Some Editors Authors and Artists of Vanity Fair
Editors, Authors, and Artists of VANITY FAIR[ edit ]
Vanity Fair ran from 1868 to 1914, but by no means was the same magazine at the beginning, the middle, and the end. A succession of editors, authors, and artists, competition from imitators and other journals, changing tastes, advances in photography and publishing technology -- the whole sweep of a near half-century -- all left their stamp. As this general history has been well-written elsewhere, [6] a slimmer version will suffice here with special attention to those aspects specific to rowing. A sample issue -- July 20, 1889, when Guy Nickalls appeared -- is reproduced in full as an appendix.
"Tommy," Vanity Fair, October 19, 1905
Thomas Gibson Bowles (1842-1922) created, owned, and for the most part edited Vanity Fair for its first twenty years. The illegitimate child of a Liberal M.P., Bowles grew up in his father’s household witnessing a parade of literary and society figures at dinner parties and other functions. He attended neither a famous public school nor university but at nineteen got a minor position with the Board of Trade, of which his father was then President. From that perch he dabbled in journalism and amateur theater, wrote plays and contributed to satirical society magazines, and made friends with emerging journalists, lawyers, politicians, military officers, and actors. Eight years later, in 1868, Bowles chucked the Board of Trade to launch Vanity Fair as a weekly for the “hupper suckles” encoded with “the passwords of Society.” [7] To T.H.S. Escott, an historian of Fleet Street writing in 1911, Bowles “not only brought in the society journal as an institution: he invented its very name”; Vanity Fair became “the real parent of all subsequent growths in that department of journalism at a date when it seemed as fashionable to run a weekly sheet for one’s friends as to endow a theatre for one’s mistress.” [8] Leslie Ward, who contributed portraits to the magazine for nearly forty years, thought Bowles “the best editor the paper ever had. He had the gift of the right word in the right place; and it may be remarked that a dislike of Dickens prevented any quotations from that well-known author from entering the pages.” [9] Likewise novelist and playwright Max Pemberton, who began his career at Vanity Fair in 1885 after rowing at Caius, considered Bowles “a very martinet when a man’s style of writing was to be judged.” [10]
Among Bowles’ initial contributors and compatriots was Walter Bradford Woodgate (1840-1920). Woodgate went up to to Brasenose College, Oxford, in 1858 where he lingered well into the 1860s, mainly on the river. He won the University Pairs three times, the Sculls twice, rowed in the Boat Race twice (1862 and 1863, winning both), won the Grand Challenge Cup in 1865, the Stewards’ Challenge Cup in 1862, the Diamond Sculls in 1864, the Goblets in 1861-63, 1866, and 1868, and the Wingfield Sculls in 1862, 1864, and 1867. By entering for the Diamonds in 1866 under a false name, and for having his coxswain jump overboard at the start of the 1868 Stewards’ to lighten his Brasenose four, Woodgate caused the adoption of Henley Regatta rules specifically prohibiting such conduct. When coxswains were dropped from the Stewards’ in 1873, “he won his moral victory,” the Rowing Almanack later recalled. “Nothing but defeating a railway in an action at law could have given him so much pleasure.” [11]
W.B. Woodgate, Rowing Almanac, 1921
Woodgate’s major non-aquatic accomplishment at Oxford was the founding in 1863 of Vincent’s Club (named for the landlord who rented the rooms), in reaction against the Union Society. The Union at the time barred smoking and drinking and, in Woodgate’s view, “went through the farce of socially ‘vetting’ every candidate, and after all, passing all sorts and conditions of men as ‘sound,’ despite notorious antecedents.” [12] So he and his friends made Vincent’s selective (“a magic number -- 100 -- to give prestige”) and offered beer, tea, and coffee, all for free lest the proctors intervene were drinks “for sale.” [13] An immediate success, Vincent’s climbed straight to the top of the undergraduate social heap. Among its later presidents were Vanity Fair rowers Bankes, Nickalls, and Cotton.
A lifelong bachelor, Woodgate was called to the bar in 1872. He practiced for forty years but took neither the law nor anything else save rowing too seriously. He helped coach numerous Oxford crews and was president of Kingston R.C. He wrote Oars and Sculls, and How to Use Them (1874), Boating (1888, for the Badminton Library set), Reminiscences of an Old Sportsman (1909), plus a few non-rowing works. He contributed to The Field for half a century, frequently “produc[ing] the leading article in a curious but flexible English, which was quite unmistakable.” [14] Woodgate’s writing attests to his clerical family background, classical Greek and Latin schooling, years of lawyering, and an unsuppressable urge to storytell, laced with legalisms and couplets from Horace. He could, wrote T.A. Cook, who rowed for Oxford in 1889 with Vanity Fair’s Guy Nickalls, “write anything from a curate’s sermon to a leading article on the Torts of Landlords or a racy description of a prize fight and a sculling match.” [15] Take, for instance, his recollection of “screwing up” dons at University College, Oxford, in the 1860s:
I have referred to the comparatively good feeling that existed in my time between B.N.C. dons and undergraduates, as compared to the cat and dog situation in some colleges. At University Coll., for instance, “screwing up” was almost a terminal feature. The technical procedure there was to screw up the oak [door] of an unpopular don with coffin nails, and then to file off the heads (in the small hours). At chapel-time the next morning the victim (say, Lee Warner) would be heard yelling from his window for the porter, saying, “My door is fast. I cannot open it. What am I to do?” The porter would stolidly reply, from below: “Mr. Chavasse, sir, usually sends for X-----” (a local carpenter and coffin maker, who drove rather a lucrative trade in thus releasing from durance vile those dons on whom the undergraduate Vehmgericht had passed sentence). Lee Warner obtained common room inquiry on this outrage to himself, and announced, in terrorem, that he would resign his tutorship, if the malefactors did not give in their names. Old Dr. Plumptre, the Head, took him at his word, and clenched the resignation irrevocably so long as he lived. He ascribed college disorder to failure of tact in dons and tried to weed duffers. [16]
Woodgate contributed most and the best of the rowing articles to Vanity Fair from roughly 1870 to 1873 and from 1890 to 1907, using the pen name “Wat Bradford” in the ‘70s. (Hence the inspiration for the pen name of a Wiki contributor to this 21st century compilation of the rowers of Vanity Fair.) In the intervening years, from 1874 through 1889, rowing was either ignored in Vanity Fair, given passing reference as an honorable chapter in the biographies of eminent men, or, with respect to Henley, discussed for who was there and how splendid were the parties. As a weekly, Vanity Fair could not compete with the sports coverage in the daily papers and thus, in those lean years without Woodgate, hardly tried. In the 1886 Boat Race, for example, Cambridge was down by open water at Barnes Bridge but went on to win by two-thirds of a length, an unprecedented comeback. “Never in the whole history of the Boatrace has there been a contest more thrilling to watch or more sensational in its result,” judged the Boat Race 1929 Official Centenary History. [17] Yet Vanity Fair’s anonymous columnist simply reported (April 10, 1886): “As I anticipated, Cambridge won the Boat Race, after one of the finest races ever seen. But as everyone has had enough of the reporters’ gush, I will say no more about it.”
Carlo Pellegrini, by Edgar Degas
Vanity Fair owed its early and enduring success to its first caricaturist, Carlo Pellegrini (1839-89). A native of Capua, Pellegrini left Italy for England in 1864 and spent the remaining half of his life there. Cultivating a reputation as a bohemian bon vivant who claimed Medici lineage and to have fought with Garibaldi, Pellegrini established himself in London society as a pet and the caricaturist of the Prince of Wales’ set. On meeting Bowles at a dinner party, Pellegrini reportedly said: “Your paper is very bad: I shall draw pictures for you and make you rich.” [18] Whether the introduction was apocryphal or not, Bowles did engage Pellegrini to produce “some Pictorial Wares of an entirely novel character,” [19] starting with Prime Minister Benjamin Disraeli in the January 30, 1869 issue. This famous thirteenth issue, which proved so popular that it went into three editions with the third selling for twice the price of the original, introduced caricature and chromolithography to the magazine as well as to the general London press. It inaugurated between editor and artist “the same successful conjunction that in opera bouffe was presented by the co-operation of W.S. Gilbert and Arthur Sullivan.” [20] From 1869 to until his death in 1889 Pellegrini contributed 332 more caricatures under the pen-name “Ape,” including the first two of our rowers, Stafford Henry Northcote (October 8, 1870) and William Baliol Brett (January 1, 1876).
What marked the work of Pellegrini, according to David Low, was his “the study of individual particularity, involving the mental as well as the ocular vision”; his caricatures “were maximum likenesses, that is to say they represented not only what he saw but also what he knew.” [21] In this respect Pellegrini followed the French portraits chargés of Daumier and Gill, but he replaced their satiric bite with the Neopolitan good humour of Delfico, who himself eventually supplied some caricatures to Vanity Fair. When the Daily News complained that Pellegrini’s early work lacked an essential “comic” element and tended to “phantasmagoric extravagance,” “grimness,” and “grotesqueness,” Bowles denied the charge, explaining that the “original and genuine purpose” of caricature was “to charge and exaggerate” reality: “There are grim faces made more grim, grotesque figures made more grotesque, and dull people made duller by the genius of our talented collaborator ‘Ape’; but there is nothing that has been treated with a set purpose to make it something that it was not already in a lesser degree.” [22] Pellegrini set the artistic trademark for Vanity Fair, and while most of his successors attempted to emulate it to varying degrees, none came close save perhaps for Max Beerbohm, who unfortunately drew no rowers.
Tissot, self-portrait, c 1865
Among the first to substitute for Pellegrini during one of his self-imposed sabbaticals was James Joseph Jacques Tissot (1836-1902). Raised in Nantes, Tissot moved to Paris at age nineteen where he became a successful painter, a friend of Degas and Manet. Bowles met Tissot there in the late 1860s and bought his series of European “Sovereigns” that Vanity Fair carried in late 1869 under the name “Coïdé.” They met again in 1870 while Bowles covered the siege of Paris for the Morning Post. With the collapse of the Paris Commune, Tissot fled in May 1871 to London where Bowles provided him with housing, an effective entree to London society, and some early commissions. Those included his single rower for Vanity Fair, a sinister rendering of the young Radical M.P. Charles Wentworth Dilke (November 25, 1871). With such aid and his own social and business acumen, deploying his versatile academic brush to suit demand, Tissot rejuvenated his career, at least with the purchasing public if not always with the critics. Three years after Tissot’s arrival in England, French critic Edmond de Goncourt recorded in his journal: “Today, Duplessis told me that Tissot, that plagiarist painter, has had the greatest success in England. Was it not his idea, this ingenious exploiter of English idiocy, to have a studio with a waiting room where, at all times, there is iced champagne at the disposal of visitors, and around the studio, a garden where, all day long, one can see a footman in silk stockings brushing and shining the shrubbery leaves?” [23] Tissot produced thirty-nine portraits for Vanity Fair from 1871 to 1873, ultimately sixty-two in total.
Leslie Ward (1851-1922), better known as “Spy,” contributed 1325 portraits to Vanity Fair from 1873 to 1911, amounting to over half the magazine’s total and including forty-one prints of forty rowers (doing H.L.B. McCalmont twice, once in 1889 and again in 1896). It might be thought a fitting career for a London-born Etonian whose parents were both accomplished painters, but in fact did not occur without a good dose of ambition and luck. His father, E.M. Ward, a member of the Royal Academy, opposed an artistic career and to deflect young Leslie’s talents to a more reliable livelihood, apprenticed him to a prominent architect, Sydney Smirke (responsible among other things for the neoclassical United Oxford and Cambridge Club on Pall Mall). Ward bore it for a year but Smirke then decided to retire and the ensuing need in 1871 to find some substitute gave Ward the chance to precipitate what he later called “a rousing scene” [24] with his father. With the mediation of some artist friends, drawing and painting won over architecture. Right away, Ward was keen to be published in Vanity Fair: “[W]hen I saw the first numbers of Vanity Fair I was greatly taken with Pellegrini’s caricatures, and, having a book of drawings of similar character, had thought that if only I could get one drawing in Vanity Fair I should die happy.” [25] The chance arose two years later when Pellegrini was off duty leaving Bowles with inadequate substitutes. John Millais, a friend of Bowles and Ward but who never contributed to Vanity Fair, selected a sketch from Ward’s portfolio and suggested that Ward redraw it to appropriate size, which he did and Bowles accepted. But it was unsigned, so Bowles referred Ward to a dictionary to find inspiration for a pen-name for future work. He opened it to “spy,” defined as “to observe secretly, or to discover at a distance or in concealment.” “Just the thing,” said Bowles, and Ward used it faithfully from that point onward. [26] Thus while Ward’s “orthodox art training . . . left him with a somewhat harder and less elastic equipment than his master [Pellegrini],” [27] his perseverance to become a society artist earned him Bowles’ confidence and eventually the majority of the available commissions.
Ward was neither a rower nor a close follower of the sport. “I am always interested in the chances of the rival [Boat Race] crews; still, my interest was nothing out of the common,” he recalled in his 1915 memoirs. [28] Yet “amongst my pleasantest recollections,” he added, “are those of the university-rowing men with whom I came in close contact, for in every way possible they extended their hospitality to me, and I shall always remember with pleasure my visits to Oxford and Cambridge especially during the rowing season.” [29] This hospitality may have included patiently posing, for although Ward did indeed “spy” many of his subjects, others, particularly in the post-Bowles years, were selected by mutual consent which facilitated the lengthy study Ward needed to be able to complete a sketch. Recalling an anonymous undergraduate in training for the Boat Race, Ward observed: “I have found men of this rowing calibre usually wonderful sitters, being perfectly fit; this particular young man was in excellent form, so much so that he completely outstood me and said when I, at last, begged him leave to have a rest: ‘Why I can go on standing all day without fatigue!’” [30]
Over time, Vanity Fair published the work of more than fifty other artists. Théobald Chartran (1849-1907), a graduate of the École des Beaux-Arts and winner of the grand prix de Rome, published sixty-eight portraits in Vanity Fair from 1878 to 1884, including rower W.H. Waddington. Belgian sculptor François Verheyden (1806-99) contributed six caricatures in 1883 in connection with the Belt v. Lawes libel case with which Vanity Fair was intimately linked, including that of defendant C.B. Lawes (May 12, 1883), the Cambridge stroke of 1865. Francis Carruthers Gould (1844-1925), better known for the highly inventive political cartoons that earned him a knighthood from the Liberals after the 1906 election, drew seven caricatures for Vanity Fair, among them that of B.J. Angle (April 5, 1890) who was, as Gould had been, a stockbroker. Henry Charles Sepping Wright (1850-1937), a barrister “stuff gownsman” who caught fellow lawyers and judges in court, published his works under the sobriquet “Stuff” and contributed Mr. Justice Denman (November 19, 1892). Other artists, known only by pseudonym, include “Ape Junior” (who drew R.C. Bourne, March 29, 1911), “ELF” (R.H. Forster, July 6, 1910), “Hay” (E.J.H. Smith, January 28, 1888), “Owl” (R. McKenna, April 23, 1913), “Ray” (Lord Cheylesmore, July 17, 1912), and “WH” (S.E. Swann, April 3, 1912, J. C. Carter, July 3, 1912, and F.V. Brooks, September 18, 1912).
No rowers featured as such in Vanity Fair during the twenty years Bowles owned and ran it, other than Reverend Smith of Pembroke College, Cambridge, who as mentioned above was known to coach the college fifth Lent boat. Bowles did depict a few non-rowing sportsmen (such as cricketer W.G. Grace and jockey Fred Archer) and eleven of our rowers in their then-current capacities as politician, judge, or what have you. To show rowers qua rowers fell to Bowles’ successors, starting with Arthur Evans and Arthur George Witherby as owner and editor respectively. Evans, the former City Editor for Bowles, reportedly used the perch mainly to manipulate the stocks in which he was interested. [31] Witherby, whom Ward described as “a good sort and keen sportsman,” [32] contributed eight drawings himself under the pen-name “W.A.G.,” including that of Montague Shearman (July 4, 1895), an ex-rower better known and featured as co-founder of the Amateur Athletic Association. On Witherby’s watch Vanity Fair began carrying one or two rowers per year, starting with Nickalls and Searle in 1889, and welcomed Woodgate back into the fold for annual commentary on the Boat Race and Henley. Cricketers, jockeys, golfers, polo and tennis players -- all manner of Victorian sportsmen -- also began appearing frequently, though whether this reflected Witherby’s personal taste or his readers’ is hard to say. It may also have been due to the arrival of Bertram Fletcher Robinson, a Cambridge rugby Blue who got his journalistic start covering the sport in the early 1890s for Rudy Lehmann’s Granta. Robinson eventually left Vanity Fair for The World and died in 1907, at thirty-six. [33]
As the increased rowing coverage coincided with Oxford’s 1890-98 run in the Boat Race, the featured rowers tended toward darker blue, which drew the following letter to the editor:
Adelphi Hotel, Liverpool, 20th March, 1894.
DEAR VANITY,-- Guess I’m just going to ask you a civil question. How the deuce is it that at Boat Race time you invariably show the full-length carcase of a Dark Blue oarsman? If the idea is to give a tip for the winner, well, it is excusable -- especially when it is considered that Oxford have won for the last few years consecutively. But, on the other hand, if your intention is merely to let the public see the outward and visible form on paper of one of the chief actors in the event -- well, hang it, surely the other side might have a show now and again. The Cantabs are surely just as “highly respectable” as their whilom opponents, and, to put it mildly, they are quite as popular. Now, Sir, I’m neither a Cantonian nor an Oxab -- nor a ‘Varsity man of any kind at all. But I do imagine that as there are two sides to every question so there are two crews in every University Boat Race.
Dear Vanity, do be Fair, and oblige yours amphibiously,
PEREGRINE PICKLE
To which Vanity Fair replied:
[A] “civil question” demands a civil answer; wherefore I refer “Peregrine Pickle” to “Spy’s” cartoon to-day [of C.T. Fogg-Elliot of C.U.B.C.] I fancy that I was not much to blame for putting Mr. Cotton a week in front of Mr. Fogg-Elliot. As for other Cambridge oars, they have not been excluded from the Vanity Fair gallery. Mr. Muttlebury’s presentment was the last given, two or three years back. When Vanity Fair was a Saturday paper, it generally gave one President on the day of the race. As a Thursday paper it has for the first time this year given two Presidents; one on each side of the race. Wherefore my amphibious correspondent is, or should be, already “obliged.”
But, were he less amphibious, he might have seen that Mr. Fogg-Elliot’s picture was announced for this week in last week’s Vanity Fair.
By this time Vanity Fair had lost a good deal of its cachet, both relative to the growing competition and absolutely due to the departure of Bowles and his coterie. Evans and Witherby reacted by adding girth to the product and appealing, with a touch of indignation, to readers’ brand loyalty. “Here,” touted the June 28, 1890 issue, “for the first time in the history of this Journal, is a volume of Vanity Fair which contains more than 570 pages. The half-yearly volume, of which the present are the concluding pages, is, it may be noted, larger by some 200 pages than most of its predecessors have been.” The growth reflects “the increased support which has been accorded to it by its readers,” despite competition that generally “has grown more than ever keen, . . . so keenly so, indeed, that in many cases the competition of our rivals has developed into the most barefaced piracy and the most false originality.” Yet even though the magazine “has never lacked imitators, and of late years its distinctive features have been more or less generally copied by the whole of the daily Press,” Vanity Fair’s “‘little band of Pilgrims’ enjoyed from the outset “consistent triumph over the difficulties which they started to defy, and which they have ever since, it may be said without vanity, triumphantly overcome.”
Evans eventually sold out to Oliver Fry, “a journalist of the old school, a man of education,” who ultimately was unable to make a financial go of it. “There is no place for such weeklies nowadays, for there is no longer any governing class, only wandering bands of financiers,” Edgar Jepson , Fry’s successor as editor, recalled in 1936. [34] Fry in turn sold out in 1907 to Frank Harris , a colorful character in the twilight of his career who milked the franchise. Harris’ autobiography tells nothing of his views on rowing and rowers while he owned Vanity Fair, but does recall how he covered the Boat Race for the Evening News in the 1880s:
In my first year in the Evening News I learned and practiced nearly every journalistic trick. When the annual boat race between Oxford and Cambridge was about to be decided, I found out that the experts usually know which crew would win. Of course sometimes they are mistaken, but very rarely, and this year they all agreed it was a foregone conclusion for Oxford. Accordingly, on the great morning I had fifty thousand papers printed with ‘Oxford won’ in big letters under the latest preliminary reports of the training, etc. As soon as the telephone message came through that Oxford had won, I let the boys out and this start enabled me to sell all the fifty thousand papers. I did the same thing with race after race on the turf and soon it began to be known that the Evening News had the earliest news of the races. [35]
When Harris bought Vanity Fair he promptly ran off to New York to trade its influence on the British stock-buying public in exchange for Wall Street investment in the magazine. The Americans declined the offer, but Harris’ absence gave Jepson six months at the helm as interim editor. He made the most of it:
It is foolish to try to edit a paper without a fixed policy, and since it was the function of a club-land weekly to keep politics pure and politicians up to their work and deal faithfully with all kinds of rogues, I made it my policy to run as near to the law of libel as I possibly could all the time, and I stuck to it. About an open rogue there was no need to bother: I libelled him with exact truthfulness; he fired in a writ -- as a pledge of good faith I suppose; the matter ended. But to tell the truth about a less open rogue without landing the paper with a doubtful and expensive libel action was a very different matter.
But I had, in the office itself, an accomplished solicitor, a cousin of the Duchess of Manchester, who knew everything about the law of libel that was to be known, and he was very helpful. But sometimes, when I was dealing with astute roguery of jobbery, it would take me two hours to say in ten lines exactly what I wished to say about it, before the solicitor would warrant the paragraph not to produce a libel action, and I could safely do the rogue good. I learnt that you could say very nearly anything, if you said it carefully.
It was enjoyable, and it proved to be the right policy, for the circulation of the paper, which had been sinking for years, rose and went on rising: people do so enjoy observing others done good to. [36]
Curiously, neither Jepson nor Harris used Vanity Fair’s caricatures in support of this near-libelous editorial policy; the very point of caricature being, after all, to land that sort of truthful punch. “If the celebrities wrote their own biographies,” Jepson recalled, “well and good: I was saved trouble. If they did not, I lunched with them and listened to the histories of their lives, such simple lives, and wrote the biography myself.” [37]
Thomas Allinson, "Wholemeal Bread," Vanity Fair, October 4, 1911
Reading the March 13, 1907 biography of Duggie Stuart (“a great athlete . . . an oarsman of demoniac swiftness and skill”), one suspects it falls in the former category. But according to Jepson Harris went one better, auctioning the slots outright: “If you wished to be celebrated, you paid him fifty pounds for the drawing of your cartoon in Vanity Fair, and there you were -- certified famous.” [38] R.H. Forster (July 6, 1910) and R.C. Bourne (March 29, 1911) featured in this period. So did R.B. Etherington-Smith (August 5, 1908), but he appeared immediately after captaining Leander to victory at the London (Henley) Olympics, which lessens the chance his biography was self-selected.
Jepson complained that Harris “frittered away the circulation, and the paper died, deeply in debt,” adding that his “habit of bleeding the papers he had to do with, of any money that came in, paralyzed them, and exploitation was his metier.” [39] Maybe cheapness to authors explains the coincidence of Woodgate’s departure with Harris’ arrival. Vanity Fair was hardly a business when Harris sold out to its last owner, Dr. Thomas Allinson , in late 1911. Unlike Harris, Allinson was no newspaper man; his interests lay in nutrition and hygiene, publishing such works as “The Advantages of Wholemeal Bread.” Under his administration the writing in Vanity Fair suffered – witness every biography after 1911 – hardly the “light, epigrammatic, pungent, and excessively neat” stuff on which Bowles made the magazine’s reputation over forty years earlier. [40] In early 1914, Allinson folded the remnants into Hearth and Home, bringing the institution to a close.
References[ edit ]
^ For excellent general description of the origins, format, editors, and artists of Vanity Fair, see E. Harris & R. Ormond, Vanity Fair: An Exhibition of Original Cartoons (London: National Portrait Gallery 1976) and R. Matthews & P. Mellini, In ‘Vanity Fair’ (London: Scolar Press 1982), pp. 11-37. Matthews and Mellini also describe what happened to Vanity Fair’s unsold stock, the various types of prints, the marketplace for collectors (as of 1982), and location of major collections. See also Vanity Fair caricatures .
^ A Journalist, Bohemian Days in Fleet Street, p. 69.
^ T.H.S. Escott, Masters of English Journalism: A Study of Personal Forces, p. 263.
^ L. Ward, Forty Years of Spy, p. 103.
^ M. Pemberton, Sixty Years Ago and After, p. 103.
^ The Rowing Almanack, 1921, pp. 148-49.
^ W.B. Woodgate, Reminiscences of an Old Sportsman, p. 185.
^ W.B. Woodgate, p. 187.
^ The Rowing Almanack, 1921, p. 149.
^ T.A. Cook, The Sunlit Hours, pp. 275-76.
^ W.B. Woodgate, p. 123.
^ G.C. Drinkwater & T.R.B. Sanders, The University Boat Race: Official Centenary History, p. 88.
^ M. Pemberton, p. 104.
^ Vanity Fair, January 16, 1869.
^ T.H.S. Escott, p. 263.
^ D. Low, British Cartoonists, Caricaturists, and Comic Artists, p. 33.
^ Vanity Fair, September 11, 1869.
^ Edmond de Goncourt’s Journal (1874), reprinted in M. Wentworth, “James Tissot: ‘cet etre complexe,’” in James Jacques Joseph Tissot p. 14 (K. Matyjaszkiewicz ed. 1985).
^ L. Ward, p. 70.
^ Ibid., p. 93.
^ Ibid., pp. 93-94. Only once did Ward use a name other than “Spy” for Vanity Fair. It was for the drawing of Stephanus Johannes Paulus Kruger (March 8, 1900), made during the South African war while Ward was honeymooning in Monte Carlo. “[S]o anxious was the editor to publish a cartoon of Kruger that to test my powers of imagination, and with the addition of a description of his personal appearance from one who knew him, I made it and sent it in to the office,” signing it “Drawl” (for “L. Ward” in reverse). Ibid. p. 323.
^ D. Low, p. 33.
^ F. Rice, The Granta and Its Contributors, 1889-1914, p. 20.
^ E.A. Jepson, Memories of an Edwardian, p. 107.
^ F. Harris, My Life and Loves, p. 331.
^ E.A. Jepson, pp. 110-11.
^ Ibid., pp. 115-16.
^ Ibid., p. 117. T.W.H. Crosland, who worked for Harris’ Vanity Fair in 1907, “also said that for a sum of money paid in cash or notes to Mr. Harris practically any Tom, Dick or Harry could have his counterfeit presentment drawn by Mr. Leslie Ward and published in Vanity Fair. . . .” W.S. Brown, The Life and Genius of T.W.H. Crosland, p. 205.
^ E.A. Jepson, p. 112.
^ A Journalist, Bohemian Days in Fleet Street, p. 70.
1839-1854 New Traditions
1839 - 1854: New Traditions[ edit ]
By the yardstick of Boat Race or Henley Regatta participation, 1839 marks the earliest contest for the rowers of Vanity Fair for it was then that William Baliol Brett first rowed for the Cambridge in the Boat Race. (He rowed for the C.U.B.C. in 1837 and 1838 as well, but against Leander rather than Oxford as no university race took place those years.) To put him and the first few rowers of Vanity Fair in context, it helps to take a backward glance at “watermen” and “gentlemen.”
Thames waterman soliciting passers-by, c 1825
Water tradesmen carried people and goods in the days before motor vehicles and railways. They prospered in the Thames Valley and became so numerous that Henry VIII began regulating their fares in 1514 and Parliament incorporated their guild, the Company of Watermen and Lightermen, in 1555. Among the duties of the Company were, according to Guy Nickalls:
to draw up a scale of legal fares; to control in every manner the men who plied for hire on the river; to apprentice them; to see that they were capable of handling boats with safety to the passengers when they took up their freedom; to arm them, to ensure that their passengers were not murdered, assaulted or robbed; to issue licenses to lightermen; to renew licenses triennially to freemen; and generally to act the shepherd over a somewhat turbulent flock. [41]
Liddy, the Winner of Doggett's Coat and Badge, Illustrated London News, August 6, 1842
In short, watermen were the regulated taxi and lorry drivers of pre-industrial Britain, with certain tariff and police powers as well. It was among their ranks that the longest-running rowing event, Doggett’s Coat and Badge , was established in London. Named for the actor and the prize he bequeathed, the race first occurred on August 1, 1715, the anniversary of the accession of George I. (Handel’s Water Music dates to nearly the same time, composed at the request of George I for a concert on board barges rowed by watermen.) [42] Doggett’s Coat and Badge is still run annually from London Bridge to Chelsea, though the demise of professional watermen has necessitated some loosening of the entry criteria. [43]
Gentlemen employed watermen and owned most of the goods they carried. In eighteenth century London, the growth of commerce created new rich merchants and financiers and attracted some landed aristocracy to town from around the country. This broad class of wealthy gentlemen, who built the theatres, gardens, and clubs of Georgian society, loved to gamble and by sponsoring wager matches among local watermen both were entertained and had the opportunity for betting. Some took to the water themselves, rowing with watermen on a recreational basis and relying on them for boat rental, boat-building, accommodation, and instruction. Such recreational rowing gave rise to the first gentlemen’s boat clubs, the Monarch Boat Club founded at Eton College in 1793 and the Isis Club at Westminster School a few years later, both named for the boats involved. (The school clubs were not formed until 1816 and 1813, respectively.) At Westminster a succession of headmasters discouraged rowing as it had led to a number of drownings, and in 1788 the use of watermen in all schoolboy crews was ordered as a safeguard. By then, recreational rowing had taken hold at Oxford and Cambridge, particularly as six-oared picnic transport, introduced by Eton and Westminster alumni. But gentlemen did not race, with or without watermen, as it was thought manual and demeaning and, at Eton and Westminster, because of the close association of professional wager matches to gambling and drinking. [44]
In the early nineteenth century, gentlemen rowers began to distance themselves from watermen. The trend started at Eton, Westminster, and Oxbridge and spread gradually throughout the country. Eton dispensed with a waterman at coxswain starting in 1837; the Boat Race and Henley Regatta followed suit in 1839; and professional trainers and coaches were likewise marginalized over the next decade. [45] This weaning was not without occasional intellectual challenge: when Oxford bought a radically new boat for the 1857 Boat Race, designed and built by a professional, Matthew Taylor, the O.U.B.C. had him “steer[] us during our training, not to instruct Oxford in the art of rowing, but to show us the proper way to send his boat along as quickly as possible.” [46]
"Berkley's Black-Eyed Maid," 1827
Also in the early nineteenth century, gentlemen began to rethink their self-imposed ban on racing. At Oxbridge, picnickers returning from a day out began vying with one another to be first back to the boatyard, the competition eventually giving birth to the college “bumping” races at Oxford around 1815 and at Cambridge in 1827. Other gentlemen crews began competing in wager matches, such as the 1826 “Grand Amateur Rowing Match for 200 sovereigns, for gentlemen picked from the various crack clubs on the river” in London. This event encouraged the staging of the first “away” match by an Oxford crew, from Christ Church College, against a composite eight from the Leander and Arrow clubs for the same purse. The Londoners won, as they did in 1831 when an Oxford University crew challenged Leander, also for 200 sovereigns. [47]
Against this background Charles Wordsworth, nephew of the poet and son of the Master of Trinity College, Cambridge, orchestrated the first Boat Race in 1829. He later recalled it as only one of many “trifling and insignificant” sporting events he had helped organise at college. Living in Cambridge and studying at Oxford, he used his Harrow contacts to promote an inter-university cricket match in 1827, the success of which prompted him to suggest to his Cambridge friends the possibility of a boat race. They challenged and Oxford accepted, with Henley-on-Thames the agreed venue. Neither the Cam nor the Isis were wide or straight enough and the tidal Thames in London was considered too choppy to provide fair racing conditions. Henley offered a one mile straight course, wide enough to allow side-by-side racing with no blade clashes or fouling. Oxford won. There was no purse for the contestants but undoubtedly plenty of gambling. [48]
In 1830 Cambridge challenged again, but the plans were dropped due to a cholera epidemic. The second match ultimately went off in 1836, this time in London from Westminster to Putney for a purse of four hundred pounds that Cambridge took home. The event became more or less annualized from 1839 onwards, without a purse, and in 1842 became designated a “race” rather than a “match” to reinforce the shift away from watermen, purses, and fouling. [49]
A similar shift occurred at the Henley Regatta, founded in 1839. Initially it consisted of just two events: a Town Challenge Cup for watermen, with a £30 purse, and a Grand Challenge Cup for amateur gentlemen, no purse. Admission to the “Grand” was limited to eight-oared crews from “the Universities of Oxford, Cambridge, or London, the Schools of Eton and Westminster, the Officers of the two Brigades of Household Troops, or Members of a Club established at least one year previous to the time of entering” (i.e., Leander Club), with no watermen coxswains or fouling permitted. The regatta soon swelled with additional events for amateurs: the Stewards’ Challenge Cup for coxed fours (1841, it went coxless in 1873), the Diamond Challenge Sculls for single sculls (1844), the Silver Wherries for pair oars (1845, later renamed the Silver Goblets and Nickalls’ Challenge Cup), the Ladies’ Challenge Plate for eights (1845), the Visitors’ Challenge Cup for coxed fours (1847, it went coxless in 1874), the Wyfold Cup for coxed fours (1855, it too went coxless in 1874), and the Thames Challenge Cup for eights (1868). The regatta became Royal in 1851 under the patronage of Prince Albert. The one event for watermen, the Town Challenge Cup, was dropped in 1884. [50]
References[ edit ]
^ T.A. Cook & G. Nickalls, Thomas Doggett Deceased, p. 62.
^ C. Hogwood, Handel, pp. 71-72; R. Streatfeild, Handel, pp. 72-74. According to Friedrich Bonet, the Prussian Resident in London (quoted in C. Hogwood):
A few weeks ago the King expressed to Baron Kilmanseck His desire to have a concert on the river, by subscription, similar to the masquerades this winter which the King never failed to attend. . . . The necessary orders were given and the entertainment took place the day before yesterday [July 17, 1717]. About eight in the evening the King repaired to his barge, into which were admitted the Duchess of Bolton, Countess Godolphin, Mad. de Kilmanseck, Mrs. Were and the Earl of Orkney, the Gentleman of the Bedchamber in Waiting. Next to the King’s barge was that of the musicians, about 50 in number, who played on all kinds of instruments, to wit trumpets, horns, hautboys, bassoons, German flutes, French flutes, violins and basses; but there were no singers. The music had been composed specially by the famous Handel, a native of Halle, and His Majesty’s principal Court Composer. His Majesty approved of it so greatly that he caused it to be repeated three times in all, although each performance lasted an hour -- namely twice before and once after supper. The [weather in the] evening was all that could be desired for the festivity, the number of barges and above all of boats filled with people desirous of hearing was beyond counting. In order to make this entertainment the more exquisite, Mad. de Kilmanseck had arranged a choice supper in the late Lord Ranelagh’s villa at Chelsea on the river where the King went at one in the morning. He left at three o’clock and returned to St. James’ about half past four.
^ H. Cleaver, A History of Rowing, pp. 22-24; N. Wigglesworth, The Social History of English Rowing, p. 185.
^ N. Wigglesworth, pp. 42-43, 61-62, 92, 186.
^ N. Wigglesworth, pp. 62, 187.
^ O.U.B.C. record book, quoted in R.C. Lehmann, The Complete Oarsman, p. 16
^ G.C. Drinkwater & T.R.B. Sanders, The University Boat Race: Official Centenary History, pp. 8-9; N. Wigglesworth, pp. 44, 92; R. Burnell & G. Page, The Brilliants: A History of the Leander Club, pp. 23-25.
^ G.C. Drinkwater & T.R.B. Sanders, p. 9; N. Wigglesworth, pp. 46, 93.
^ N. Wigglesworth, p. 46; R. Burnell & G. Page, pp. 27-28.
^ C. Dodd, Henley Royal Regatta, p. 53; N. Wigglesworth, pp. 48, 121.
Northcote SH
Northcote, Stafford Henry (Earl of Iddesleigh)[ edit ]
“He Does His Duty to His Party, and Is Fortunate if It Happens to Be Also His Duty to His Country” (Ape), October 8, 1870[ edit ]
Sir Stafford Northcote is a somewhat colourless politician, of whom all that there is to be said is that he does his duty to his party, and is fortunate if it happens to be also his duty to his country. He is among the favoured ones who have been called to the blessed regions of the Ministry, and thereby has acquired a title to be taken into them again if ever these are again opened to the Conservative party, of whom he is a respectable and reputable member. Diligent especially, and not unsuccessful in the making of local speeches on abstruse subjects during the slack season of the year, he perseveringly keeps before the public the fact that there are still a collection of opinions capable of being called Conservative, and still statesmen capable of seriously adopting and recommending them.
Stafford Henry Northcote (1818-87) went up to Eton in 1831 where “he was somewhat idle, and, according to his tutor, ‘had a disposition too inclined to sacrifice itself to the solicitations of others,’ until a strong remonstrance produced steadiness of purpose.” [51] He rowed in the Adelaide (one of the Upper Boats) in 1834-35 and bow in the 1835 Eight. He then went up to Balliol College, Oxford, earning a first in classics in 1839 and rowing No. 2 for the Oxford Etonians the same year at the first Henley Regatta.
After qualifying as a barrister, Northcote became private secretary to W.E. Gladstone, the then Tory president of the Board of Trade. From Gladstone’s slipstream, Northcote moved up the party ranks, serving as secretary to the Great Exhibition of 1851, co-authoring a report on civil service reform, and ultimately building a leadership role as an M.P. for various constituencies more or less from 1855 onward. In 1859 Gladstone left the Conservatives to co-found the Liberal Party. Northcote remained Conservative. Thus when the 1880 election returned a Liberal majority and installed Gladstone as Prime Minister, Northcote became a leader of the opposition tasked with keeping his former mentor in check. This proved difficult, and he was unable to prevent some of his more strident colleagues from forming a de facto “Fourth Party.” VANITY FAIR bewailed their inability to unite, laying blame in the July 5, 1881 Summer Number double print, entitled “Birth, Behavior and Business,” with the Conservative front bench and with Northcote, Lord John Manners, and Sir Richard Cross in particular:
Her Majesty’s Opposition in the House of Commons fails only in two respects: in want of leaders and want of followers. There are leaders, but they scarcely lead; there are followers, but they barely follow; and this lamentable result ensues, that a revolutionary Government is left to work its wicked will without being contained or controlled, or even being adequately criticised, by those whose business it is to keep such a Government in order.
Yet on the front Opposition Bench there are men of mark. They are not however men of energy, and they disclose a marked want of appreciation of the new order of things, and a profound disinclination to adopt new methods of dealing with it. An overweening caution and an exaggerated respect for the rules of the game are their chief characteristics; and one of their chief troubles is the audacity of some of their followers below the gangway, who are so much more offensive to them than their opponents, that it will be one of their difficulties in returning to office to consider what will be done with Sir Drummond Wolf and Lord Randolph Churchill.
. . . .
Sir Stafford Northcote is a man of deportment. He is of good family and of good name -- eminently reputable and very diligent. But he had the misfortune to begin life as a permanent official, and his mind has remained permanent and official ever since. Moreover, he started in politics as Private Secretary to Mr. Gladstone when that gentleman was President of the Board of Trade in the Tory Government. This has been the great disturbing element of Sir Stafford’s life. He has never recovered from the personal awe he then contracted for Mr. Gladstone, or for the hierarchical respect for Ministers and heads of departments, and he has never yet been able to conceive that he himself is their equal. This, added to the inherent good nature which belongs to him, has always made him take an exaggerated view of the decorum which should mark the proceedings of the house of Commons. The result is, that he often offends his followers by official deference to the Government, and generally seems to direct his conduct rather to obtain the approbation of permanent officials than the hearty support of Conservative Members. Recently, indeed, he has roused himself to an intermittent sense of his position; but this awakening, having come late in life, is apt to show itself at the wrong times; so that he is often brisk when he should be quiet, and quiet when he should be brisk. Nevertheless he is a man of integrity, of sixty-three years of age, and of very considerable information. In the result he obtains cheers from his opponents, which seem to please him more than those of his own Party. He has a certain vigour and much dexterity. He is very well-read; but, though a fluent and easy speaker, he is not gifted with any oratorical power.
When Gladstone’s government collapsed in 1885 and were replaced by the Conservatives, Northcote became First Lord of the Treasury and was raised to the peerage as Earl of Iddesleigh and Viscount St. Cyres. He died in 1887, in the ante-room of the Prime Minister’s house in Downing Street. “He seemed,” recalled Gladstone, “to be a man incapable of resenting an injury: a man in whom it was the fixed habit of thought to put himself wholly out of view when he had before him the attainment of great public objects.” [52] But Viscount Wolseley (“the very model of a modern Major-General” to Gilbert & Sullivan), on reviewing Northcote’s posthumous biography, declared he “was so essentially my opposite (so much about him of the tomcat that cared neither to fight nor make love) that I never met him without thanking God, like the Pharisee, I was not as he was. He would have made an admirable chief clerk in a bank.” [53]
The 1836 Eton v. Westminster Boat Race[ edit ]
S.H. Northcote never rowed for Eton against Westminster. In his day, the races between the schools were few and far between, and 1835, when he rowed bow in the Eton eight, was an off year. Just as well for him perhaps, for the professional watermen who steered the crews took full advantage of the permissive rules on “fouling” to transform those early races, into no-holds naval battles. Here is an account of the 1836 contest:
Eton v. Westminster, Staines Bridge, May 12, 1836
This race took place at Staines on Thursday, May 12. The distance rowed was from Staines Bridge to Penton Hook and back -- about four miles altogether. Lord Orford and Captain Ackers, of the Blues, were appointed Umpires. About four o’clock the Etonians appeared in rowing trim in the Victory, a new boat built by Archer, of Bishop’s Walk, Lambeth. The young gentlemen of Westminster came to Staines in a new eight, called the Fairy Queen, built of fir, expressly for the occasion, by Noulton and Maynard, the well-known watermen, the former taking the lines for his patrons. It was evident, even at a cursory glance, that the Etonians had the decided superiority in weight and strength, and betting was in their favour. Westminster won the choice of station, and they took the south pier of Staines Bridge. Previous to starting, it was agreed upon that no fouling should take place until half a mile of the distance had been rowed. On going away from the bridge the Westminsters went in advance, which position they kept for about a quarter of a mile, Eton pressing them closely. Noulton had by this time steered the Fairy Queen over to the course the Etonians were pursuing, and he bored them so closely in shore that they were obliged either to foul the Westminsters or go into the bank. A foul consequently took place, which lasted five or six minutes, ending in the discomfiture of the Fairy Queen, who had her rudder struck off, an oar broken, and was turned completely around. The Etonians went away with a cheer, but the Umpires, considering that an infringement of the agreement had taken place, called them back to a fresh start, which they immediately complied with. At six o’clock they started from the bridge a second time, with an understanding that each boat should keep its own side of the water for half a mile. The Fairy Queen again took the lead, which she held for about three-quarters of a mile, when the Etonians came upon them, and some smart fouling was the result. Eton at length cleared, and showed the way down the stream. In rounding the distance boat they were close together, and immediately after doubling the station punt the Westminsters caught them on the starboard quarter, which nearly put the Victory into the bank stern up. The Etonians, however, shortly cleared themselves from this awkward situation, and once more went in advance; and notwithstanding they were occasionally bumped by the Fairy Queen in working up against the stream, they maintained the lead, ultimately winning by several boat’s lengths. The match proved a treat throughout, by the spirited and gallant manner in which it was contested by both parties.
^ Dictionary of National Biography.
^ W.E. Gladstone, quoted in Dictionary of National Biography.
^ Viscount Wolseley (Nov. 11, 1890, reviewing A. Lang, Life, Letters, and Diaries of Sir Stafford Northcote, First Earl of Iddesleigh (William Blackwood & Sons 1890)), quoted in G.E. Cokayne, The Complete Peerage (G.H. White ed. 1949).
Brett WB
Brett, William Baliol (Lord Esher)[ edit ]
“Popular Judgment” (Ape), January 1, 1876[ edit ]
Eight and fifty years ago the Reverend Joseph Brett, of Chelsea, was blessed with a son, whom in due time he sent through Westminster and Oxford to Lincoln’s Inn. The young Barrister plodded with considerable success along the dustier ways of the Law. He did not make the reputation of a great light, neither did he display great powers of advocacy, but his opinion on matters relating to Maritime and Insurance Law was held to be worth having. If not marked as a rising man, he was accounted intelligent; moreover, he married and professed himself a Conservative; yet when, well over his fortieth year, he “took silk,” there seemed but little chance of great promotion for him. He addressed himself, however, to the political avenues, and twice failed to represent Rochdale, and that, of course, gave him a claim to the gratitude of his Party. In 1866, however, Helston returned him to Parliament, and although he achieved no great distinction there as a statesman, he attracted Mr. Disraeli’s attention, so that when eighteen months later much legal patronage fell in, and it became necessary to cast about for Conservative lawyers, he was made Solicitor-General. Six months after this he renounced the Parliamentary career by accepting a puisne judgeship, and he had barely settled himself in the seat of justice when from that serene haven he beheld the crushing defeat of his former Party at a general election.
As a Judge Sir William has shown himself strong, ready, and always able to take a firm grasp of any case before him in all of its aspects. He relies entirely upon himself, forms and adheres very strongly to his own opinion, and seeks always to be final, complete, and sufficient in the decision of the Court over which he presides. Yet he is not insensible to the spirit of the times, and his and the popular judgment of a case are often found to coincide. It will be remembered of him that he tried the gas stokers and sentenced Colonel Baker; but he is able, frank, urbane, good-natured, well with Society, and an intimate friend of the Chancellor; and under circumstances he may become Chief-Justice.
William Baliol Brett (1815-99) was indeed “sent through” Westminster and Lincoln’s Inn, but not Oxford. He was a Caius man, an accomplished boxer, known there as “Bella Brett” for his silk waistcoats. He rowed three years for the C.U.B.C: against Leander in 1837 and 1838, when that club was still based in London, and against Oxford in 1839 for the third Boat Race (the first for the newly-formed O.U.B.C.). He also won the Grand at Henley in 1841 as stroke for the “Cambridge Subscription Rooms,” a London-based private club for Cantabs.
Though Vanity Fair mistook Oxford for Cambridge in Brett’s background and omitted his rowing exploits entirely, it did fairly well project his later career. Within months of his 1876 appearance in Vanity Fair, Brett was elevated to the court of appeals (the Appellate Jurisdiction Act of 1876 having opened the slot at a convenient time) and in 1883 became Master of the Rolls. He became Baron Esher of Surrey in 1885 and on retirement in 1897 was made Viscount Esher, the highest dignity for judicial service since the time of Coke attained by any judge other than a chancellor. He died May 24, 1899, two months after his grandson and fellow rower of Vanity Fair, William Dudley-Ward, rowed No. 7 in the Cambridge crew that ended a nine-year run by Oxford in the Boat Race.
The 1838 Cambridge v. Leander Boat Race[ edit ]
Oxford won the first Boat Race, held at Henley in 1829. Cambridge won the second in 1836, from Westminster to Putney. In 1837, Oxford challenged designating Henley as the venue; Cambridge, with W.B. Brett in the crew, countered-offered London; but the parties were unable to agree and no race occurred. Cambridge then challenged Leander, at the time the leading London amateur club, to a Westminster to Putney race with “gentlemen” steerers and no fouling permitted. Leander accepted on condition they could use their favored waterman steerer, James Parish. Cambridge agreed and located a London waterman of their own, William Noulton, who had steered for Westminster in 1836. In the event Cambridge came from behind to win by seven seconds in a clean race. The next year, Leander challenged and the race went off on the same terms, but with much fouling on both sides and Leander first past the post. Bell's Life, the sporting paper, reported that “[t]he judgment displayed, more particularly by the Leander, in the art of fouling, and the science and tact show by both coxswains, were really beyond conception.” However, due to the fouling the umpire declared the race no contest, so Brett wrote on behalf of his crew to Leander requesting a re-row. Leander declined, stating they rejected the umpire’s decision and viewed themselves the winner. This launched a lively correspondence that led nowhere, other than that “this unfortunate result must have strengthened the University men in their determination to keep clear of professionals,” in R.C. Lehmann’s account. [54] Here is one of Brett’s entries, bringing his undergraduate legal acumen to bear:
Sir, -- In answer to your letter I can only state to you a few facts connected with the late race. Upon receipt of your challenge to “row the Cambridge crew upon as late a date as they could possibly name,” they appointed for that purpose the 14th June, which day was accepted by you. Upon their arrival in London, you stated that many of your crew wished to attend the Ascot races on that day; that you consequently could not row then, and would not row afterwards. They, considering this match not as one rowed for any large stakes, but merely entered into from a spirit of honorable competition, in which either party would rather give than accept an advantage, did, notwithstanding their great want of practice in London, yield in all things to your wishes.
Upon starting for the match we were at first, as in the former year, left behind; but on coming up to you at the Horseferry we most unexpectedly found ourselves against a barge on one side and your boat on the other, fully proving that Parish had closed upon us, and not left us room to proceed on our proper course. Noulton, upon this, was anxious to proceed also to waterman’s practice, and so endeavour to break the rudder of your boat. We, however, thinking that there might have been some accident in the case, insisted upon backing water, and yielding the Middlesex side of the river to you. This we did, gave you a considerable start, pulled up to you on the Surrey side, and were again crossed. We still insisted upon Noulton yielding to you; but at the Red House, finding all hope of being allowed to pass useless, and convinced that you were sanctioning your steerer’s conduct, we told him to run into you, and there broke your oar, etc. We now asked the Umpire whether the race was fair or foul, and upon his answering that it was foul we put up our oars to claim the match.
Our own boat was, at this time, half full of water; but seeing that you had procured a new oar, and had rowed away about 200 yards, we again started after you, and pulled up to you in less than half a mile. After Chelsea Bridge we again left you, and actually crossed and recrossed the river, to try whether or not you would allow us to pass. Being again crossed within ten yards of Wandsworth Meadows, the wrong side of the river, we gave you a last start, and ran into you as you passed through Putney Bridge.
Knowing all these circumstances in our own boat, and having felt the tremendous labour of starting a heavy eight-oared boat some seven or eight times in one day, which your crew had not to do, we cannot but feel greatly astonished at your claim to “have won the match,” or at your affecting to doubt which is the superior crew.
As far as the technical claim is concerned, we have never heard that an Umpire’s decision could be disputed; and knowing of no other authority to which two rival crews could refer their claims, we feel it, of course, perfectly useless to enter into any further correspondence.
I remain, Sir, your obedient servant (for the Cambridge crew), WM. BALIOL BRETT. [55]
In 1839, the newly-formed O.U.B.C. challenged the C.U.B.C. to a third University Boat Race. It was Westminster to Putney, in the Easter vacation, with gentleman steerers, no fouling permitted. “Cambridge still had the better organisation and more material from which to choose; besides, their style had been much improved during the past two years by their Leander matches, and by the coaching which they had in the meantime received from Noulton and other London watermen,” reported the 1929 Official Centenary History. “The race was as hollow as it well could be: from start to finish Oxford were never in it, and Cambridge won in a common canter by upwards of a minute and a half, in 31 min. 0 sec.” [56]
^ R.C. Lehmann, The Complete Oarsman, p. 13.
^ W.B. Brett, quoted in C.H. Dudley-Ward, A Romance of the Nineteenth Century, pp. 195-96.
^ G.C. Drinkwater & T.R.B. Sanders, The University Boat Race: Official Centenary History, p. 17.
Boscawen E
Boscawen, Evelyn (Viscount Falmouth)[ edit ]
“Never Bets” (Spy), September 1, 1877[ edit ]
The Boscawens are a fine old Cornish family which has for centuries furnished to the State distinguished soldiers, sailors, and statesmen, and Lord Falmouth was born with the stuff in him to make him a credit to his ancestry, even had he been restricted to that commoner’s career to which he seemed born eight-and-fifty years ago. At Eton he was a noted “wet-bob” and won the “pulling sweeps,” and while at Christ Church he continued his rowing, and was chiefly instrumental in founding the Henley Regatta. He next read Law at the Middle Temple, married Lady Le Despencer, a maiden baroness in her own right, and turned his attention to his favourite pursuit of agriculture. In this he was very successful, and when, in 1852, he succeeded to the title, on the death of his cousin, he removed his breeding-stock to Tregothnan and still further increased his successes. His cattle and flocks became renowned throughout England, he has won prizes with them at almost every meeting in the country; and this very year his bull, “the only Jones,” swept the board at Bath as the best bull of any breed there.
Lord Falmouth is, however, even better known as a breeder and runner of racehorses, and in this also his energy and judgment have made him pre-eminent; while the fact that he has for nearly thirty years won races without losing a friend shows him to be possessed of some very rare qualities. When he first appeared on the Turf it was under the assumed name of “Mr. Valentine,” and as such he won the Thousand Guineas in 1862 with “Hurricane,” and the Oaks of the following year with “Queen Bertha,” an occasion on which he wagered and lost the only sixpence he has ever betted. Throwing off his alias, he now transferred his horses to Newmarket, to which he has ever since remained faithful. He won the Derby with “Kingcraft” in 1870, and again this year with “Silvio”; both these horses having, strangely enough, run third for the Two Thousand Guineas previous to the Derby, behind the horses whom they subsequently defeated. Many other victories than these he has achieved, but he eschews handicaps, avoids overworking his two-year-olds, and altogether declines to race on a Sunday, thereby depriving himself of all chance of winning any of the great French races.
Lord Falmouth is remarkable as being the one remaining representative of that original idea of horse-racing, which was to pit one man’s success against another’s in breeding horses; for all the racers which have carried his colours have been bred by himself. Moreover, he has kept his name as a gentleman should, but as few can upon the Turf, untarnished by so much as a whisper of suspicion; and he never bets.
With the qualities of patience, judgment, honesty, and perseverance which he has displayed in these pursuits, he might have made himself foremost and trusted as a leader of men in public affairs; and it is to be regretted that he has never taken an active part in politics, which cry aloud for men of his stamp. As a landlord, however, he has made himself to be loved and trusted, and it was and still is a wonder to the world why he was not, twenty years ago, made Lord Lieutenant of Cornwall.
Evelyn Boscawen (1819-89) rowed in the 1837 Eton eight that lost to Westminster. According to The Eton Boating Book, “It was the first time the Westminsters ever beat the Etonians. This was almost the last time the King [William IV] appeared in public, and the Eton boys believed that their defeat was the immediate cause of the King’s illness.” [57] At Oxford, Boscawen rowed No. 6 for the Oxford Etonians (with S.H. Northcote at No. 2) in the Grand Challenge Cup in 1839 and 1840. This apparently was the basis for Vanity Fair’s assertion of his being “chiefly instrumental in founding the Henley Regatta,” though in later years he was a steward as well. [58]
After Oxford, Boscawen became a non-practising barrister, a gentleman farmer, and a peer, who grossed more than £300,000 over his life from horse racing. From 1872 to 1883 he never won less than £10,000 per year, with £38,000 in 1878 the most ever won by a single owner. As for the sixpence: he bet his trainer’s wife that his mare Queen Bertha would not win the 1863 Oaks; on winning the race and losing the bet, then-Lord Falmouth made good by presenting the coin as a brooch set in diamonds. Besides the caricature featured here, Lord Falmouth also appeared in a group of turf and racing figures in Vanity Fair’s December 6, 1887 Winter Number, entitled “Tattersall’s, Newmarket.”
Gambling and Aquatic Nobbling[ edit ]
Like the turf, the Boat Race was a favorite for Victorian gambling. Vanity Fair (April 1, 1871):
Henley Regatta wagering poster, 1841
We have seen the last of the practice of the eights, and almost as soon as this number of the FAIR sees publicity we shall have seen also the race and its result. We never remember a greater excitement than on the present occasion, and never such an infusion of the gambling element as is now unfortunately introduced as a leading feature in the entertainment. City speculators plunge as greedily on light and dark blue as on cotton or indigo; and having never seen either crew in their lives, nor having even succeeded in feathering a scull, gravely tell you that it is a “real good thing” this way or that; that they know on the “very best authority” that A and B in the Oxford boat can’t stay, or C and D of the Cantabs are lamentably over-trained. As for the “ring,” they quote the odds as formally as prices for the Chester Cup and Derby, and only lament that there is no such luck as a possibility of “squaring” it -- judging charitably University probity by their own.
"Barely was the shell placed in the water, when, with a muffled report, a sudden geyser shot upward, drenching the boys. A ragged hole was torn in the bottom of the boat."
This gambling is a serious evil; without raising the abstract question of morality, it puts University men on thorns, lest unscrupulous speculators, finding that they cannot buy or square the crews, should attempt to “nobble” them as a last resource. We more than suspect that this sort of game has been planned, though futilely, before now. We remember how in ‘67, when Oxford were hot favourites, ugly rumours came to our ears from private sources as to whereabouts in the course a boat was provided to run into Oxford, should they be leading. Forewarned, the presidents were forearmed, and though at the expected place a suspicious-looking craft shot erratically into the track, both boats were wide off shore, Cambridge the nearer of the two, and mischief, if intended, was averted. This year Cambridge are public favourites, and the ring are “fielding” at the odds. If any attack is planned, it will be against the light blue, but we sincerely trust that the guard of police at the boat-houses, and in police boats during the race, will suffice to overawe any such villainy.
Forty years later, “Cambrioleur” told an apocryphal tale in Vanity Fair (March 27, 1912) of an inside job in one of the Cambridge college May races:
Centuries ago there was a misguided youth at St. Abbs Hall, the son of an American commission agent, who determined to turn an honest penny out of the boat -racing. Under the guidance of friends, who, I fear, judged his leg to be suitable for elongation, he opened a book on the Mays. As soon as the college was aware of this the entire eight, with their cox, came to him secretly by night, one at a time, and asked him what odds he would give against them staying head of the river. He started with cox at evens, but before he had got to bow he was giving three to one. They all invested half-a-crown against their boat. The thing seemed a dead cert. for him after that. When the rest of the college rolled up to back their boat he cheerfully gave them five to one. He booked nearly a hundred bets in sovereigns on those terms. Of course, the boat stayed head -- in fact, it did the course in record time, and the precocious layer found that he had to balance nine half-crowns against five hundred sovereigns.
^ L.S.R. Byrne ed., The Eton Boating Book, p. 30.
^ R. Burnell, Henley Royal Regatta: A Celebration of 150 Years, p. 97.
Denman G
Denman, George[ edit ]
“He Was an Ornament on the Bench” (Stuff), November 19, 1892[ edit ]
The fourth son of that able defender of Queen Caroline of Brunswick, who (after the King’s death) was rewarded by a Peerage and a chance of illuminating the King’s Bench which he availed himself of for nearly twenty years as its Chief Justice, he has owed much of his success to his father and to his father’s name, and something of it to himself. Born three-and-seventy years ago, he grew into an intellectually and physically well-favoured boy, who at Repton Grammar School and at Trinity, Cambridge, made friends, cultivated his mind, and won pots so thoroughly that half a century back he had figured as a Senior Classic and as a Cambridge University oar. Then his College improved him into a Fellow; and, soon after he was called to the Bar, his grateful University retained him as one of her Counsel, though she refused to be represented by him in Parliament, preferring a Tory. Handsome, persuasive, painstaking, and not without tact, he presently became quite a proper person for the conduct of arbitration cases; and having now become well known in the way that successful barristers get themselves known, he was chosen to share with Lord Palmerston the divided honour of representing Tiverton in the House of Commons. There he tended legislatively to assimilate civil with criminal evidence, and helped to abolish religious belief as a qualification for witnesses; which thing he did almost silently, for he was no great speaker in the House. But he voted always -- except once -- with his Party, until at last, twenty years ago, being the son of a great lawyer, a docile Liberal, and a cautious man, he voted himself onto the Bench, on which he was for so long an ornament.
For he made a dignified and imposing Judge, besides being the best-looking man on the Bench. Moreover, he worked hard, scarcely ever lost his temper, and was generally full of grace. Yet, if he be judged by the records of the Court of Appeal, he will not be looked back to as one of the greatest of English lawyers; for he was quite free from subtlety, so that it often took a long time to get the facts of any complicated case into his head. He has also shown himself as weak a Judge as he was an amiable; as when he over-indulged Mrs. Weldon at the time that lady was active upon the law-path. But he was a good Judge with a jury, whom he was well able at once to enlighten and to keep in hand; neither flying over their heads nor losing their respect. He has now retired full of years and full of honour; and the whole Bar wishes him well in the private obscurity to which he has just descended from the Bench.
He is known as a very honourable, courteous, and kindly-mannered man, who was generally popular with the Bar, although he sometimes allowed arguments before him to wax over-long. He always dressed carefully and suitably, but he did not like to see sketches done in Court even by briefless barristers who had time to spare for such lightsome work; and though he never caught Mr. Lockwood in the flagrant crime, his vials of judicial wrath were once grievously poured out upon the head of a less careful stuff-gownsman whom he detected in the act of transferring a witness’s features to paper. He plays upon the violin; he has translated Gray’s “Elegy” into Greek, and he has attempted to convert a book of the Iliad into Latin elegiacs.
He looked a model Judge. But he was never quite so good a Judge as he looked.
George Denman (1819-96) rowed No. 7 for Cambridge in the Boat Races of 1841 and 1842. He won the Colquhoun Sculls in 1842, stroked his college boat to the head of the Cam, and rowed in the Grand from 1840 to 1843 for Trinity, the Cambridge Subscription Rooms, C.U.B.C., and Trinity again. His 1843 Trinity crew lost to the full O.U.B.C. eight that went on to win the event by two lengths with only seven oarsmen, their stroke having gone ill and no substitutions permitted. In an 1886 profile, Vanity Fair wrote: “Even now his Lordship regards with affection various trophies carried off in his more youthful days from Henley; and all this added much to his popularity, as such things always do.” [59]
Regarding Denman’s professional life: he dedicated his 1871 translation of Gray’s “Elegy” into Greek to Sir Alexander Cockburn, the Lord Chief Justice -- and in the following year was appointed to the court of common pleas. In 1873 Denman dedicated his translation of Pope’s “Iliad” into Latin to W.E. Gladstone, the Prime Minister -- and in 1875 became a justice of the common pleas division of the high court. In 1881 he provided an English translation of H. Kynaston’s Latin hexameters for the fiftieth anniversary of the Boat Race -- and the same year became a judge on the queen’s bench division.
The 1841 Boat Race[ edit ]
The 1841 Boat Race
Denman’s own account:
The Oxford and Cambridge Boatrace was to come off on Easter Tuesday, and during the whole of the Lent Term a crew, of which I was seven, was in practice. The race in 1840 had been a very close affair, won by Cambridge after an apparently losing race up to Battersea Reach. Several old oars remained in each boat. The new ones in ours were, W. Croker, Caius (9th Wrangler in 1839), my brother Lewis, Magdalene (two), Ritchie, Trinity (three), Cobbold, Peterhouse (five) and myself (seven); our steerer, too, was new, J. Croker, brother of our bow and 8th Wrangler in 1840. Vialls, our stroke, and Somers-Cocks of Brasenose, the Oxford stroke, both Westminster men, had each rowed stroke in 1840. The coxswains were new to the river and it seemed a very open affair. The race in those days was from Westminster Bridge to Putney Bridge, 5¾ miles; about half an hour’s work with an average tide. There were no police arrangements for keeping the course clear and it was often a ticklish work for the coxswains to decide whether to go ahead or astern of a train of barges catering across the river. There was no practising at Ely in those days, nor any coaching from the banks, but, before coming to Town, the crew used to row at its best pace from the town-lock to Baitsbite, coached by the steerer, and the time occupied was, on an average, from nineteen to twenty-one minutes, according to the wind and stream prevailing at the time.
When the time came for moving to London, our captain, C.M. Vialls, the old Westminster, determined to drive us up to London. He was a capital whip who often drove the mail. A good drag was hired, and we had a fine day and enjoyed the drive immensely. Arrived in London, the majority of the crew took up its quarters at Ginger’s Hotel (which stood about where the booking-office of the District Railway for the Westminster Bridge Station now stands), but I and my brother ‘trained’ at home at my father’s house in Portland Place. Our training was probably less rigid than that of the present day; but it was pretty strict, and our kind mother made no difficulty about it as far as diet was concerned. The Broad Walk, which runs across the Regent’s Park above Portland Place towards the Zoological Gardens, was then just being made, and a part of our training was to run to the end of that walk and back before breakfast. Then, in the course of the day, sooner or later, according to the tide, we walked to Searle’s boathouse (where St. Thomas’s Hospital now stands) and prepared to race to Putney against a crew of Cambridge Subscription Rooms (sometimes supplemented by a waterman or two), and this we did daily with two days’ exception until the day before the race, giving the other crew a long start of 200 or 300 yards and judging of our performance by the distance we had covered before we passed them, which generally occurred before half the course had been chased.
The race, as I have said, was to be rowed on Easter Tuesday (April 13). On the Good Friday the crew did not row together; but my brother Lewis and I took a wherry and paddled up the river with the intention of rowing to Richmond and back for exercise. About 300 yards below Kew Bridge I, rowing bow and steering, or rather directing the steering (for we had no rudder), saw a boat ahead with a man’s face toward me about 100 yards off. I took this to be a boat rowing in the same direction as we were; but in a few seconds I was undeceived by a tremendous blow on the shoulder, and the sight of a wherry’s sharp-pointed bow appearing close to my left ear. The wherry was full of rough holiday-makers who rowed on triumphantly as our boat filled with water and gradually sank to the bottom not far from the shore, so that my brother got hold of the painter and pulled me and boat to the towing-path, and after he had bestowed his benediction on the enemy and emptied the boat, we again embarked and I tried to row. It was in vain. The pain was too great, and I felt quite sick from the attempt. Happily at that moment we spied a four-oar, manned by some others of our crew, and it was arranged that I should go back as steerer of that boat and one of them take my place; and so I got back, in time, to Portland Place. But what was to be done? We did not dare to send for the doctor from fear that he might forbid me to row on Tuesday. It was necessary to keep my mother and sisters in the dark for the same reason. Happily the junior footman (George Pearman) was a man who seemed to know everything. So we took him into counsel. He had been a barber, and we had a notion that he might therefore possess some knowledge of surgery. After gravely considering the case and inspecting the bruised shoulder, he advised us to allow him to fetch just one leech, which he very skillfully applied. It was about the size of the two lower joints of a little finger when it began its meal, and nearly as large as a lemon when it rolled off satisfied. George’s prescription was a complete success; for, though I was obliged to abstain from rowing on the next day and could not have practised on the following day, even if it had not been Sunday, I took my oar again on Monday, when we practised starts and had a few short rows, and on the following day was in my place, and felt no inconvenience from the accident, and we won the race by the unusually long interval of 1 minute and 5 seconds (about 360 yards).
I may as well add that in the following year (1842) after a hard race and with a decidedly inferior stroke and three changes, all for the worse, in the crew, we were beaten by 13 seconds. So that my career was a fair sample of the general result of the University match (six of one and half a dozen of the other). [60]
References[ edit ]
^ Vanity Fair, Nov. 20, 1886, p. 291.
^ G. Denman, quoted in G.C. Drinkwater & T.R.B. Sanders, The University Boat Race: Official Centenary History, pp. 19-21.
Waddington WH
Waddington, William Henry[ edit ]
“France at the Congress” (T.), September 28, 1878[ edit ]
Not very long ago an Englishman settled himself in France with a view to trade. M. Waddington is one of the descendants of this emigrant. He was educated in England, has English notions and an English aspect, but he entirely declines to be considered English, and glories in the name of Frenchman. Born two-and-fifty years ago, he has devoted a great part of his life and abilities to the study of old coins and of ancient history, for the sake of which he made a voyage into Greece and Asia Minor. He has also taken a considerable part in politics, and when a National Assembly was hastily called together in 1871 in order to raise the ransom and get rid of the Germans, he was elected for the Aisne. He adopted himself into the Right Centre, gained much confidence from many men, and at length, partly by merit and partly by accident, became the Minister for Foreign Affairs of the French Republic. He is an excellent man of business and a steady politician, and being somewhat tiresome and professorial in his utterances, he is held to be one of the few statesmen who are to be trusted. He represented France at the Congress of Berlin.
William Henry Waddington (1826-94) went to school at Dr. Arnold’s Rugby, and then to Trinity College, Cambridge, where he rowed for Second Trinity in the Grand, Ladies’, Stewards’, and Visitors’ in 1849. Waddington also rowed No. 6 in the first of the two 1849 Boat Races, the only year in which the race occurred twice, in a Cambridge crew consisting entirely of Trinity men.
After university Waddington returned to France to become a naturalized citizen like his father, spending the 1850s as an archaeologist specializing in Asia Minor. In the 1860s he turned to politics and, after two unsuccessful attempts for the chamber of deputies, was elected in 1871, then to the senate in 1876, and became Minister of Foreign Affairs in 1877. His performance from that last position, at the Congress of Berlin in 1878, was rewarded with the appearance in Vanity Fair.
In 1879, newly-elected President Jules Grévy chose Waddington to become Premier, not for his success at Berlin but because the alternative, Léon Gambetta, posed too much a political threat. Waddington took the job but retained his Foreign Affairs post, focusing his efforts on Egypt and the Balkans. He was forced to resign in December 1879 when Jules Ferry, a member of his cabinet, created sufficient controversy by introducing measures drastically to reduce the influence of the Catholic church on education. Waddington was ambassador to Great Britain from 1883 to 1893, and died in Paris on January 13, 1894, a week after losing his Senate seat in the election.
As a Rugby alumnus, Cambridge rowing blue, and senior French official, Waddington played a significant albeit indirect role in launching the modern Olympic games, first held in Athens in 1896. He knew Baron Pierre de Coubertin, who became the first President of the modern Olympics and is generally viewed as the father of the movement. Through him, Waddington encouraged French crews to enter the 1891 Henley Regatta. [61] Waddington may also have caused de Coubertin’s visit to Rugby, feeding the notion of international exchange through sport. Thus one senses Waddington’s handiwork in the Baron’s maiden speech on point, at the November 25, 1892 meeting of the Athletic Sports Union at the Sorbonne: “Let us export oarsmen, runners, fencers; there is the free trade of the future -- and on the day when it shall take its place among the customs of Europe, the cause of peace will have received a new and powerful support.” [62]
The Thames Conservancy[ edit ]
In the early days of the Boat Race, umpires did their duty from boats powered by watermen. With the advent of steamers, watermen were retired from service but river traffic multiplied, causing occasional interference. The Thames Conservancy, formed that year to address such problems as pollution, which by 1857 had made the metropolitan river “the largest navigable sewer in the world,” was given the further power in 1868 to clear the course for racing. [63] As with most regulation, this made the situation both better and worse: better, because the Conservancy prevented steamers from washing the crews as happened to A.L. Smith in 1859; worse, because it did not always act in complete harmony with the wishes of the university boat clubs. W.B. Woodgate laid out his views in Vanity Fair (April 2, 1870):
The Boat Race, 1870
Whatever may have been in previous years the good offices of the Thames Conservancy in securing a free course for University boat-races, their good deeds are now more than nullified by the officious dictation of which they have this year been guilty toward the Presidents of the two U.B.C.’s. Taking advantage of their autocracy upon the Thames, they have not only put a restriction upon the steamers that limits them to a lower number than has ever been known and sanctioned at any previous Oxford and Cambridge race, but they have gone the length of ordering steamers at the expense of the Universities, at the very time that they dictate who shall and who shall not be allowed on board the same.
Steamers can never be said to benefit the rowing of a University boat per se. An umpire could be carried in a twelve-oar, or in a small steam-launch, such as the Ariel, thus avoiding all possibility of draw and “suck” from the paddles of accompanying passenger steamers. But the Universities have never grudged to their own members, who have an interest in, and who supply the funds for, the race, the privilege of accompanying the crews at a respectful distance; nor have they debarred the public from a similar enjoyment within due limits. It is for them to say how many steamers they wish to follow the race; and, so long as these steamers are compatible with safety, the Conservancy have no moral right to deny them. In the Harvard race there were only two steamers, because Harvardians in England were few, and it might have been said that a preponderance of Oxonians in extra steamers was unfair, and inflicting a “suck” upon both boats, for the accommodation of the friends of one side only.
But, that race being past and gone, there is no reason why the limit of steamers should not be, as in former years, subject to the approval of the Universities. If they do not object, it can matter little to the Conservancy, unless the latter plead that steamboats are reckless, and may collide and cause a catastrophe. There is some slight ground for this argument, for, though last year all steamers but one behaved themselves, there was one evildoer, and that one the steamer which conveyed the magnates themselves of the Conservancy, and who, not content with jostling the umpire against Barnes Bridge, to the alarm of the umpire’s cargo, steamed ahead of him, and shut him out of all view of the finale of the race.
However, allowing that the Conservancy are autocratic to decide in the question of safety, and to assume that other steamers will very probably behave as badly as they themselves did last year, at least it would seem fair that if steamers are to incommode the race, they should do so for the benefit only of those concerned in the match, and not for mere outsiders, who have no part nor interest in it or its result. But though there are some forty captains of college boat-clubs, and some two dozen resident oarsmen who have been tried for the very race in question, and who may be said more than any others to represent the interests of the rest of the Universities, they are one and all summarily ejected from the steamers by the Conservancy, and their places assigned to the public -- i.e., to their representatives, the Press.
The race is strictly a private one; it is only the public who choose to make it one of public interest, and often to create a nuisance by the extent of their unsolicited zeal. But though none would be more willing than the Presidents to offer, as a piece of courtesy, a certain proportionate share of the accommodation at their disposal to the press, that is no reason why they should be compelled, without choice in the matter, to receive any audience which the Conservancy choose to thrust upon them, to the exclusion of their own friends and allies, who help to pay the piper, but are not suffered to call the tune.
Woodgate returned to the subject a week later (April 9, 1870), hoping to leverage widespread following of the Boat Race, with which he was never too comfortable, into a populist revolt against the Thames Conservancy:
The Universities are chartered and reputed “seats of learning,” yet during the current term their main association, in the eyes of the British public, has been simply that of muscular Christianity. The University intelligence which has found most favour in the eyes of the country cousins, parents, and guardians, has been not the councils of the “Hebdomadal,” or resolutions of Convocation, but training reports from the banks of the Cam or Isis; and for one enthusiastic and right-minded reader who can tell the names of the Senior Wrangler or Ireland Scholar of the term, there are hundreds with whom the names Goldie and Darbishire have been household words.
Like sheep to a gap, the British populace pours, in greater numbers year after year, to swelter on Hammersmith Bridge; to herd in masses on the tow path, regardless of the rising tide which threatens to infringe the rights of the Great Unwashed; or to pay ten shillings a-head for nose room and three minutes’ glimpse from a garret window at Chiswick or Barnes.
And what they go out into the desert for to see, the wisest of them can hardly tell. Personal interest they have none, unless they have bets upon the race; personal comfort, under the circumstances just described, the most sanguine would hardly hope to find; even the picnic, which is the redeeming point of a Derby-day saturnalia, cannot well exist between Putney and Mortlake, from sheer want of elbow-room. However, they come, and they go, and they seem to enjoy themselves; and trade of all sorts, of rail, of road, of haberdashers, carpenters, et hoc genus omne, undoubtedly reaps the benefit of a private sport that national eccentricity has usurped almost as a public property; and the lesson to be read, therefore, is that if the public wish to continue to reap this benefit, and enjoy this festival as heretofore, they must raise their vox populii to support the Universities in enjoying in their turns their due rights, and in resisting the dictatorial and impertinent encroachments of the Thames Conservancy.
Their conduct was fully dilated upon last week in our FAIR, and since it still remains in statu quo, or rather has now added the deed to previously announced will, there is no need to say more of them than that if they in their hypocrisy still profess goodwill towards University boat-racing, the University Boat Clubs may rightly pray to be saved from their friends.
References[ edit ]
^ H. Cleaver, A History of Rowing, p. 160.
^ Baron P. de Coubertin, Une Campagne de Vingt-et-Un-Ans, p. 90, quoted in B. Henry, An Approved History of the Olympic Games, p. 30.
^ H. Cleaver, p. 22; T. Cook, Rowing at Henley, p. 94; R. Burnell & G. Page, The Brilliants: A History of the Leander Club, p. 35. Credit for the sewer comparison goes to a Leander member, writing at a time when the club was still headquarted in London and had not established its base at Henley. Anon., The Oarsman’s Guide to the Thames and Other Rivers, p. 101.
De Rutzen A
De Rutzen, Albert[ edit ]
“A Model Magistrate” (WAG), August 16, 1900[ edit ]
He is the third son of the late Charles, Baron de Rutzen of Slebeck Park, in Pembrokeshire; he was born sixty-nine years ago; he began life at Eton, and continued it at Trinity, Cambridge; and he became a Barrister of the Inner Temple at the age of six-and-twenty. His conduct of his own (and of other people's) affairs at the Bar is forgotten; for he took upon him the duties of a Magistrate more than thirty years ago -- as Stipendiary at Merthyr Tydfil. There he became a Justice of the Peace and Deputy-Chairman of Quarter Sessions for Glamorganshire, and did so well that he was summoned to a London Police Court in 1876. He sat successfully and successively at Marylebone, Westminster, and Marlborough Street; and last year he was "moved on" to Bow Street, where he is now dispensing equal Justice among sinners. He is a big-hearted Magistrate, full of cruel and sordid experiences which have not hardened his soul. On the contrary, Mr. De Rutzen is a very honest, painstaking, kindly mentor to those whose distress brings them before him; and, despite the tedious monotony of his Office, he never fails in any one of his virtues.
He is a model Magistrate.
Albert de Rutzen (1831-1913) rowed no. 3 for Cambridge in the two Boat Races of 1849. He appeared in Vanity Fair on becoming Chief Magistrate in London, a post he held until retirement in 1913.
Hornby JJ
Hornby, James John (Provost of Eton)[ edit ]
“The Head” (Spy), January 31, 1901[ edit ]
Third son of Admiral Sir Phipps Hornby and brother of the late Admiral Sir Geoffrey Hornby, he was born at Winwick four-and-seventy years ago; and he is still vigourous testimony to the wholesomeness of the English Public School. So well did Dr. Hawtrey lay in the foundation of his knowledge at Eton that he is now its Provost: after a course of Balliol, which made him a First Class-man. He played cricket and rowed in the ‘Varsity Eight with the late Lord Justice Chitty and with Bishop Patterson; and he is still a member of the Alpine Club. Having been elected a Fellow of B.N.C., he went to Durham as Principal of Bishop Cosin’s Hall: yet returned to B.N.C. to lecture the Classics into younger athletes; and was made Senior Proctor. Then he went to Winchester as Second Master; whence he was chosen Head Master of our biggest Public School just three-and-thirty years ago. Since then he has been improved into a Queen’s Chaplain, a Doctor of Civil Law, and (in the nature of things) into the Provost of Eton and Chairman of its Governing Body: whose health is so good as to preclude any idea of his retiring. Yet he is really a very retiring man who keeps himself very much to himself, although he has courteous manners and a charming smile.
He was always athletic, and even now he is an excellent dancer and a very fine skater, whose bag of skates is almost as well known as himself. He can preach an admirable sermon, and he is almost unrivalled in the art of after-dinner speaking: his oratory being no less witty than it is eloquent. He can also tell a good story; and it is told of himself that he has not unsympathetically urged a boy who was to undergo punishment to bear it. As a schoolmaster he was fortunate; for during his term of Head Mastership Eton flourished as exceedingly as even the inventor of its motto could have wished: the standard of work being higher than it had ever been before. Altogether he is identified with Eton as a good fellow no less than as a wholesome gentleman.
He taught Eton the art of self-government.
John James Hornby (1826-1909), unlike most of the other thirty-one Etonian rowers of Vanity Fair, did not row at school; he was a cricketer. But he picked it up well on arrival at Balliol in 1845, for he rowed bow for Oxford in the second Boat Race of 1849 (which Oxford won on a foul by bumping Cambridge when Cambridge were in Oxford’s water), and was No. 3 in the O.U.B.C. crews that won the Grand in 1850 and 1851, there being no tideway Boat Race either year. In 1850, having become a Fellow of Brasenose, he won the University Pairs and Fours, and the Goblets (with J.W. Chitty) at Henley. In 1851 he rowed again for B.N.C. in the Ladies’, Stewards’, and Visitors’, and went Head of the River at Oxford in 1852.
Hornby might not have become headmaster of Eton in 1868, at age forty-one, but for the work of S.H. Northcote. In 1862, Northcote joined the royal commission on the administration of the public schools. On release of the commission report in 1864, Northcote argued that Parliament could deal not with studies or management, but with endowments, the constitution of governing bodies, and the removal of restrictions, among them the generations-old tradition that the Eton headmaster hale from King’s College, Cambridge. By 1868, that restriction was gone and the headmastership increased in independent authority, which Hornby was the first to exercise: hence he “taught Eton the art of self-government.” He kept a progressive rather than radical hand on the reins, but did not shirk from corporal punishment. Guy Nickalls, at Eton in the early 1880s, recalled: “In spite of the swishings I got, I liked the headmaster, Hornby, the perfectly mannered and sonorously-voiced old English gentleman. Handsome, alert, witty, a great athlete in his day, a good judge of wine, and the finest after-dinner speaker I ever listened to, with a charm of manner I have never forgotten.” [64]
Hornby retired to the dignified and less arduous post of provost in 1884, succeeded by the more famous Etonian and Balliol oarsman, Edmond Warre. It was a tip to Hornby’s former responsibilities that Vanity Fair capitioned his 1901 lithograph, “The Head.” He remained provost until his death in 1909, to be succeeded again by Warre.
The War of the Ribbons[ edit ]
As the first mass spectator sport, rowing became hard news. [65] By the 1860s newspapers followed the crews for weeks before the race, and the public showed its enthusiasm by thronging the banks to watch their favorite crew in practice and wear its color ribbon. In some places, such as the unnamed school Ralph Dundas attended, the light blue and dark mixed badly, oil and vinegar, as he recalled for Vanity Fair (March 24, 1910):
When I hear grown-up people discussing the University Boat Race I smile sadly and hold my peace. They may say what they like about the latest Oxford trial, or the average weight per man of the Cambridge crew, but deep in my heart there stays the conviction that they are making a ludicrous mistake in speaking about the Boat Race at all. Once I knew all about it, and even now I think I could put them right if I wished. But what is the use of arguing with persons who, under the absurd pretext of fairness, pretend to find praiseworthy features in both crews? Even the smallest boy knew better than that in the days when the Boat Race was really important. I will not say that there did not exist weaklings even then, who wobbled between Oxford and Cambridge in an endeavour to propitiate both factions. But they usually suffered the fate of wobblers by having to join one side or the other, while still incurring the scorn of both.
The Boat Race dawned upon us each year as a strange and bewildering element in our social relationships. We would part one night on normal terms, and the morrow would find us wearing strange favours, and regarding our friends of yesterday with open and passionate dislike. For the sake of a morsel of coloured ribbon old friendships would be shattered and brother would greet brother with ingenious expressions of contempt. There was no moderate course in the matter. A boy was either vehemently Cambridge or intolerably Oxford, and it would have been easier to account for the colour of his hair than to explain how he arrived at his choice of a University. Some blind instinct, some subtle influence felt, perhaps, in the dim far-off nursery days may have determined this weighty choice; but the whole problem was touched with the mystery that inspired the great classical and modern snowball fights, when little boys would pound each other almost into a state of unconsciousness for the sake of a theory of education. Our interest in the Boat Race as a boat race was small, and quite untroubled by any knowledge of the respective merits of the crews. But we wore their colours in our buttonholes, and the effect of these badges on our lives was anarchic. We saw blue.
It was my fate to drift, fatally and immutably Cambridge, into a school that had a crushing Oxford majority. In these circumstances, the light-blue ribbon became, for the small and devoted band that upheld the Cambridge tradition of valour, the cause of endless but never conclusive defeats, the symbol of a splendid martyrdom. Try as we might, we found ourselves always in a minority, and, to add to our bitterness, these years of luckless warfare coincided with a series of Cambridge defeats, and we knew ourselves the supporters of a forlorn and discredited cause. And yet, Fate having decreed that we should be Cambridge, we did not falter before our hopeless task of convincing the majority that it was made of baser stuff than we. We would arrive in the morning with our colours stitched to our coats, and when, overwhelmed by numbers, we lost our dear favours we would retire to a place apart, repair the loss from a secret store of ribbon, and dash once more into the fray. The others might be Oxford when they had a mind to, but we were Cambridge -- Cambridge all the time.
Our contests were always fierce, but only once so far as I remember did they become really venomous. Some ingenious Cambridge mind had hit on the idea of protecting his badge with a secret battery of pins, and there ensued a series of real and desperate fights that threatened our clan with physical extinction. The trouble passed as suddenly as it had arisen; a mysterious rumour went round the clans that pins were bad form; there was a lull while Cambridge treated their black eyes, and Oxford put sticking plaster on their torn fingers. Pleasanter to remember is the famous retort of L_____, an utterance so finely dramatic that even to-day I cannot recall it without a thrill. Caught apart from his comrades, he was surrounded by the Oxford rabble, and robbed of his colours. “You aren’t Cambridge now,” said one of his assailants, mockingly. “Ah, but the sky is Cambridge!” he replied, and indeed it was. We had our little victories to dull the edge of our defeats.
And yet, probably, we of Cambridge were not altogether sorry when the Boat Race was over, and the business might be forgotten for another eleven months, for we had but little rest while the war of the ribbons was in the air. If we sought to take quiet walk round the quad, the chance was that a boy, too small perhaps to keep a favour even for a minute, but with a light-blue heart, would run up with tidings of some comrade hardly beset in the cloisters, and the battle must be begun again. These contests were sometimes the cause of temporary friendships, for in the course of the tumult one would find oneself indebted to a year-long enemy for the timely discomfiture of one’s opponent, who in his turn might be, normally, one’s bosom companion. For no tie was sacred enough to overcome this vernal madness of the Blues. If a fellow was base enough to be Oxford his presence in the world was unnecessary, his society tabooed. And, as I have said, even brothers would bang each others’ heads for the beauty of the Idea.
Then came a day when age and responsibility changed our views on a good many things, and the Boat Race was not spared. Forgetful of the old triumphs and the old despairs, we preferred to treat ourselves and life in more sober terms, while smiling tolerantly at the little boys playing their rough games beneath our feet. Leaning forward with hands eager to clutch our manhood, we would not for worlds have compromised our new position by taking an interest in such childish trifles as coloured ribbons. So the game went on without us, and the measure of our loss is the measure of the loss of the earth when the spring melts into summer.
To-day I hear persons discussing the Boat Race in railway carriages, and in face of their dispassionate judgments I ask myself whether they can ever have sung for it and fought for it, and, let it be added, wept for it, as I have done. In truth, I suppose they have; for boys do not differ widely in these essential things. But these people do not fight; they do not even wear the ribbon! While it is open to a man to ignore the Boat Race altogether, I cannot understand his approaching the contest in so miserable a spirit.
^ G. Nickalls, Life’s a Pudding, p. 42.
^ N. Wigglesworth, Social History of English Rowing, p. 47.
Chitty JW
Chitty, Joseph William[ edit ]
“The Umpire” (Spy), March 28, 1885[ edit ]
Ever since these isles were peopled, some Chitty or other has been always writing or editing books about English Law. The present Judge of this distinguished name is not the offspring of Chitty’s Statutes or of Chitty on Contracts, but of Chitty’s Archbold -- that is to say, he is second son of the late Mr. Thomas Chitty, who was a very eminent and popular Special Pleader in his day.
Born seven-and-fifty years ago, young Joseph William was sent to Eton to do sums and learn his Latin grammar; and then, having proceeded to Balliol College, Oxford, by the aid of diligence and good ability he took a First Class in Classics in 1851, afterwards being elected a Fellow of Exeter, and becoming Vinerian Scholar in 1852. Of course he next went in for Law; in 1856 was called to the Bar at Lincoln’s Inn (of which he was made a Bencher nineteen years later), took silk in 1874, grew to be the Leader in the Rolls Court, and carried on an enormous practice. Strange to say, he omitted to pose as a legal author. Presently he drifted into politics, and in 1880 he sat as a liberal M.P. for corrupt Oxford, in which posture he might possibly have remained, had he not, in September, 1881, been appointed a Judge of the Chancery Division in the room of Sir George Jessel, who was moved on to the Court of Appeal.
Like his father, Sir Joseph has always been a favourite with his fellow-men; and, being of a robust frame, he from time to time distinguished himself in various athletic exercises. He rowed for his University, he took much interest in the Inns of Court Volunteers (of which he was a Major), and for many years he officiated as the Umpire at the Oxford and Cambridge Boat-Race. When raised to the dignity of the Bench, however, he put away umpiring and lawn-tennis and similar childish things. In Court he is agreeable, although his voice is very penetrating; but business progresses rather slowly there -- they say because he wants to talk quite as much as the Counsel appearing before him; wherefore they irreverently call him “Mr. Justice Chatty.” The son of a lawyer, he married the daughter of a Judge.
Joseph William Chitty (1828-99) followed J.J. Hornby two years closely behind: a cricketer at Eton, then a rower (and cricketer) for Oxford at Balliol College. He won the University Pairs in 1849-50 and the University Fours in 1850, rowed in the Boat Race in 1849 (both times) and 1852 and for O.U.B.C. in the Grand in 1850-51, there being no Easter Boat Race those years. He also rowed for Balliol in the Goblets 1849-51 (with Hornby in 1850). He was president of the O.U.B.C. for six months before the 1852 Boat Race, and umpired the event for 1857-73 and 1875-81, chairing the 1881 Boat Race jubilee dinner.
On stroking Oxford to victory in 1852 he cemented the term “Chitty’s crew” as the acme of rowing perfection (at least for clinker-built boats, and perhaps for some time after as well), which W.B. Woodgate recalled in his memoirs:
I once saw, as a child, the great Joe Chitty row -- in a four (in practice for Henley, 1854). He used when racing to row a terrific pace of stroke; so did his contemporary and fellow blue, R. Greenall, stroke of Brasenose. Fifty-two to the minute was debited to them in the year of that date (1852)! I fancy that the oars of the brief period of keeled outrigged racing eights were shorter than those of the epochs preceding and succeeding -- of “tub” and “keelless” respectively. Those 66 feet long “parallelogram” eights had less “beam” than the Matt Taylor build which displaced them after 1856, and reduced in-board leverage tended to diminish proportions out-board. Hence the pace of strokes in those times. [66]
Chitty became a lord justice of appeal in 1897 but died of influenza February 15, 1899, a month before Cambridge ended Oxford’s nine-year run in the Boat Race. To him is credited the legal epigram: “Truth will sometimes leak out even through an affidavit.”
The Four Secrets of Chitty’s Success[ edit ]
In 1886, “Davus” surveyed twenty-two “Judges of England” for Vanity Fair, including three rowers: William Baliol Brett (then Baron Esher, Master of the Rolls), George Denman, and, reprinted here, Sir Joseph Chitty (July 10, 1886):
This Judge comes of a book-making family, but, deserting precedent, he has not given his own name to any legal work. Possibly this is well for his reputation, for the Honourable Sir Joseph is not a very great lawyer, and he often makes mistakes. The son of Mr. Thomas Chitty of the Inner Temple, he was, as a matter of course, sent to the Bar. There were no examinations in those days, for competition, in the modern sense, was almost unknown; and Master Joseph kept his terms, and was duly “called” in 1856, at the rather advanced age of twenty-eight. Since then he has got on well; but the fact that his much more able father, who was a very eminent lawyer and a very popular man, attained no higher position in his profession than that of a Special Pleader, while his less able son, in an age of infinitely keener competition, has been able to rise to the Bench, would seem to show that the latter has, to some extent, to thank friendly influence for the proud position he now occupies. Not that Mr. Justice Chitty is wanting in brains. His education at Eton and Balliol sufficed to get him a first class in classics at Oxford, which is quite equivalent to a second class in these later times, and which is a certificate of a fair amount of scholarship. But he has given little proof of the family intellect beyond this, though on the river and in the cricket-field he has shown himself a robust athlete.
A man who has rowed in four University races may be said to have given the highest proof of what the Americans call “co-ordinated musculature”; and were that a qualification for the seat of judgment, Mr. Justice Chitty would not be easily surpassed as a Judge. But that is not the case, and it may fairly be said that Sir Joseph is a better judge of a boat-race than of an intricate law case, just as he is far more highly appreciated in the first-named capacity than he is in the second.
But it would be unfair to attribute all Mr. Justice Chitty’s success in life to external pushing. A great deal of it is, no doubt; but not all. Four things combined to help Sir Joseph along the path to fame and the Bench, and one of these is not external to himself. Let us take this last first. Mr. Chitty entered upon his career with a name which in itself must have been an income to any owner who was not quite a stupid man. Such a name would probably always ensure a fair start. Every barrister knows that an honoured legal name is admired of solicitors. There is at the Bar a young man who has not yet (or till recently had not) opened his mouth in a Court of Law, except perhaps to say a few formal words. His professional income since his call -- only a very few years ago -- has averaged one thousand pounds. He is the son of a very eminent legal authority, and his name is his fortune. Probably Sir Joseph’s name was not worth so much as this to him, but it gave him a great advantage over his compeers.
Next, Sir Joseph had a legal birthright from his father, the Special Pleader, which was not to be despised. A barrister in good practice can put work in the way of another in hundred different ways. He generally does so if that other is his son.
Thirdly, Mr. Chitty married well. It is a great thing for a barrister to be a Judge’s son. The next best thing is to be a Judge’s son-in-law. Mr. Chitty became one in good time. Four years after his call to the Bar, just at the beginning of his career, he married a daughter of the late Lord Chief Baron Pollock, and he is probably one of that all too small number of men who after nearly thirty years of married life, have never regretted the step. It is of course impossible to estimate the exact influence exerted upon his life by any man’s marriage; but it should never be forgotten how much the late Lord Beaconsfield used to attribute to a woman’s work on behalf of the man in whose career she was interested.
Lastly, Mr. Chitty was ever aided by his powers of ingratiating himself. Three such guides to the Bench must of course be effective of much; and in the case of a man like Mr. Chitty, who always knew how to ingratiate himself, their assistance was probably even greater than might have been expected. Here is the great secret of Mr. Justice Chitty’s success. He has always known how to make himself popular. As an Eton “wet-bob” he was popular amongst his fellows; at Oxford, where athletic prominence is always more or less productive of hero-worship, he made many friends; and, later, in keeping up his connection with things athletic, he acted with wisdom. At the Bar he still retained his popularity, and he is now, as a man, thoroughly popular alike with the profession and the public. All his life, moreover, he has been eminently a social man. He knew how valuable was social influence, and, what is more, he knew how to excite the interest of others in himself.
Mr. Joseph Chitty did not take “silk” until after twenty years’ practice as a “stuff” gownsman. When he did take it, his already large practice increased. He became the leader in the Rolls Court presided over by the late Sir George Jessel, between whom and Mr. Chitty there existed a sincere friendship; and there every day he used to take his seat before a huge pile of briefs, which he proceeded to discuss with what outsiders called real ability, and really not without intelligence. He was a poor advocate. In a Common Law Court he would have been an inferior counsel; but he could state a case well enough, and little else was necessary in Sir George Jessel’s Court. That consummate Judge only wanted the points of a case to be laid before him. He would then pronounce an impromptu judgment as aptly worded as it was conclusive.
After five years of this work, Mr. Chitty went into Parliament. He chose Oxford for his constituency, where his name was remembered. In the Corn Exchange he was greeted with shouts of “Well rowed, Chitty.” He made a few second-rate harangues, and was returned. A year later he was made a Judge, his brief Parliamentary career being unrelieved by any attempt at oratorical or other brilliance. But he had served his Party.
As a Judge there is nothing brilliant about Mr. Justice Chitty. Irreverent juniors sometimes go so far as to speak of him as “an old woman.” They would not do this if he commanded all the respect that is due to a Judge of the High Court. Sir Joseph has the reputation of being a hard worker, and doubtless he has worked hard enough in his time. Now however, in his judicial capacity, all that is changed, and although he does not shirk work, and sits longer than some other Judges, yet his Court is not famous for the speed of its business. Sir Joseph is a good-humoured Judge, and on very friendly terms with some of his old colleagues who practise before him. So there is a great deal of unnecessary talking done in his Court, which is certainly not so much the fault of the eminent counsel referred to, whose time is money, as of the Judge, whose income is fixed. It has been said of Sir Joseph that he wants to do all the talking, and that counsel are a superfluity in his Court. But this is not so; for, being a weak Judge, he is always open to argument, and before no other Judge are plausible arguments so useful. Still, his nickname of “Mr. Justice Chatty” has been well earned. Hardly ever is a counsel allowed to speak before him for two minutes altogether uninterrupted by some question, which, however relevant it may be, puts the speaker out and is wasteful of time. A good counsel can always state his case better by himself, if allowed a fair hearing. With Messrs. Romer, Ince, and MacNaghten, Mr. Justice Chitty forms quite a little family party, and it is quite refreshing to hear one or more of this trio offering suggestions to the Judge as to how he should proceed in cases in which they are not retained at all. This is commonly done in Sir Joseph’s Court, and, however valuable to his Lordship such assistance may be, it does not add to his judicial dignity. It will be gathered that it is quite possible for a clever counsel to turn this Judge round to his way of thinking, even when he has mentally decided (rightly) to give judgment against him. So there are many appeals against Mr. Justice Chitty’s decisions. In his favour however it may be said that Sir Joseph has a powerful voice, which is by no means an unmixed curse. He can always be heard. Some Judges cannot.
I have said that Mr. Justice Chitty is very popular, and I have given reasons for the fact. But there is one strong reason as yet unnoticed. When a counsel wins a case, he often gets judgment without costs, these being in the discretion of the presiding Judge. But this particular Judge does not exercise this discretion. He always allows everybody the fullest possible costs. Counsel and solicitors like this. It does not add much sorrow to the defeat, but it does add great joy to the victory. Everyone likes to get his costs. This is rather cheaply earned popularity, but it is not clear that his Lordship is so mild in the matter of costs merely for the sake of gratifying litigants. He may have other reasons; but the fact remains as I have stated.
Quite recently, Mr. Justice Chitty has eclipsed the record in the matter of judicial jokes. Some plaster fell from the ceiling of the Court in which his Lordship was sitting, whereupon, without looking up, he remarked, “ Fiat Justitia, ruat caelum .” This was apt. It was a great opportunity, it is true, but credit is due his Lordship for his promptness in seizing it. A good judicial joke is pardonable; but there are so very few of them. Mr. Justice Chitty always wears two wigs in Court, which must be rather trying in the present hot weather. I have heard it stated that he was born without hair or teeth, as to the latter part of which statement I believe it may be relied upon. He certainly wears false hair and false teeth now, and has done so all the years I have known him. He is said never to have possessed any of his own on or in his head; but this is a secret.
If Mr. Justice Chitty’s decisions were a good deal sounder, and if they were arrived at with considerably more speed, Sir Joseph might be a good Judge. In other words, without committing any startling improprieties, he is commonplace in his rank. But his faults are negative faults. He is a very respectable man of moderate legal attainments. Davus
References[ edit ]
^ W.B. Woodgate, Reminiscences of an Old Sportsman, p. 369. Woodgate probably did not see Chitty in practice for the 1854 Henley regatta, but rather for some earlier year, as Chitty did not row there after 1853.
Peel AW
Peel, Arthur Wellesley (Viscount Peel)[ edit ]
“The Speaker” (Spy), July 2, 1887[ edit ]
It is nearly eight [67] years since the celebrated Tory who emancipated the Roman Catholics, passed the Bank Charter Act, repealed the Corn Laws, and gave a name to a Party, first entered Parliament; and the name of Peel is still illustrious. For the celebrated statesman’s eldest son is Sir Robert Peel, and his youngest son is Speaker of the House of Commons.
Mr. Peel was born eight-and-fifty years ago, went to Eton and to Oxford, married and had many children, and, announcing himself, according to the amended family traditions of that time, as Liberal, he, at the age of four-and-thirty, stood for Coventry, where he was defeated. But at six-and-thirty he was returned for Warwick, for which he has since sat; and in February, 1884, he was elected Speaker of the House of Commons, an office which he still holds.
Although Mr. Speaker Peel cannot be considered so conspicuous a success as Lord Eversley or some others who have filled the Chair, he is a very good and, in some respects, a very admirable Speaker. He speaks himself perhaps too often, too readily, and too much at length; but he has a high sense of what is due to the House; and if his tone and manner are sometimes a shade too peremptory, and his weight too invariably thrown on the side of the Government of the day, of whatever Party that Government might be, it must be remembered that an entirely new position of dictatorship over the House and of protectorate over the Ministry has within the last few years been created for the Speaker; and that he who was once the Servant of the House has now been made its Master -- under the Ministerial Concert. Moreover, it is also to be remembered that the older and sounder traditions of the House of Commons were founded upon the assumption that it was an assembly of gentlemen, and that in these days the Speaker has to deal with men who are in no sense gentle, and that he often has to wrestle with vulgarity and defiance.
Mr. Speaker Peel is scrupulously, even nervously, impartial, even towards those Irish Members who regard and treat him as their natural enemy. He is very, very dignified; he has a most imposing and austere presence; and he possesses a sonorous voice and a Jove-like aspect. With the officials of the House he is popular, and in private life is a most amiable, high-minded, honourable gentleman, with all the sound tastes and honest learning of a highly-cultivated country squire.
His legs are beautiful; and it is suspected that he would, without serious displeasure, see Mr. Tim Healy hanged, drawn, and quartered.
Arthur Wellesley Peel (1829-1912) took the Eton and Balliol path of Northcote, Hornby, and Chitty, but his sole rowing accomplishment was to row for his college in the Visitors’ in 1851. His crew apparently would have rowed in the Stewards’ as well, but had to scratch because the Master of Balliol detained them too long to make the race. In this respect Peel was unfortunate to have preceded Edmond Warre at Balliol by half a dozen years, for Warre, who compiled a stunning record in both academics and rowing, cleared the path for future river aspirants by convincing Benjamin Jowett, the new Master, of the social and moral value of rowing in college life. [68]
Peel’s appearance in Vanity Fair followed three months’ performance of a delicate political balance rooted in the question of Irish home rule. Leslie Ward’s caricature captures the essence: gravity and power in the aquiline profile, the massive wig, and the long dark robe, upturned to suggest some unseen minion carrying the trailing edge, but with a daintiness of touch, the fine hands fingering white gloves and the slender feet tip-toeing as if on hot coals. In 1882 the House of Commons gave the Speaker the power to determine when closure should be applied, in response to the obstructionist tactics of the growing number of Irish members. In 1885 Peel became the first to use it. The power was adjusted in 1887 to provide a more even distribution between the speaker and members, but in practice Peel remained responsible for driving day to day business. On retiring in 1895, he was created Viscount Peel of Sandy, chaired a royal commission on liquor licensing (pro-temperance, but not teetotaling), and was a trustee of the National Portrait Gallery and British Museum, among other charitable work.
University Sports, Part I: Brutal Athletes and Effeminate Fops[ edit ]
“Sport is being made too much of with men rowing until there comes upon us a fear that they are killing themselves or they are nothing,” wrote Anthony Trollope in 1868. [69] Vanity Fair's opinion (October 18, 1873) may well have come from W.B. Woodgate, ever the sympathetic recruiter, but this cannot be confirmed:
At this season men returning to Oxford or Cambridge are thinking of the race which is to come off next Easter at Putney, and are electing the Presidents of their respective boat-clubs, on whom no small share of the responsibility for victory or defeat next Easter will fall. The ardent freshman is embarking upon his aquatic career in blissful ignorance of the pains that are before him, while Paterfamilias is chuckling at the thought of the honours young hopeful is to achieve in the Schools or Tripos. Of late years rowing has been made very much of both at the Universities and elsewhere. So violently has it been paraded before the eyes of Paterfamilias, who sends his sons to the University to develop their intellect and not their muscle, that he has begun to think that all this is too much of a good thing, and that young men are being taught to take the shadow for the reality. Hence arises much misunderstanding, and good men are lost to the University boat in consequence.
In the first place a word on the question of health. Dr. Skey says that constitutions are ruined by rowing. Some have been no doubt, but very few. Excessive rowing will doubtless strain the strongest frame; and there are many constitutions whose owners ought to know better than to strain them at all. But those who have personal experience are almost unanimous in saying that a man of fair average strength may row the hardest race and the longest course that has ever been rowed without the smallest injury to health or constitution. And in a book lately published by Dr. Morgan, himself a physician and an “oar,” it is proved to demonstration that a vast deal of actual good is done to men at Oxford and Cambridge by the rowing they do there. As things go at present boys at school row as hard and as much as men at college, and seem none the worse for it. Whether it is prudent to distress boys to the extreme limit appears to be doubtful. At all events it is a point on which those who have charge of boys ought to be quite decided.
Of all the amusements of University men rowing is the one most calculated to affect a man’s character. Not that sitting at the end of an oar is likely to do so, but the life and habits which are inseparable from rowing are worth considering. At the University the life of a rowing man is different to that of other men. Besides keeping different hours, eating different food, and such small matters, he is to some extent shut out from the society of his own choice, and tied down to that of eight men whom he may know or not, like or not, and who are chosen haphazard, at all events as to their social capacities. And to these men he is tied sometimes for weeks, and is continually with them. He can no more get away from them than a passenger on board an Australian clipper can get away from his fellow-passengers. It is in his relations with these compulsory messmates that his character may be improved or otherwise.
The undergraduates at Oxford have been said by high authority to consist of brutal athletes and effeminate fops -- a saying worthy of Mr. Disraeli; but surely it is not true. Is it supposed that mind and body cannot be developed at the same time -- that while the intellectual forcing process is going on the physical energies must be suppressed? It was Plato who started this theory; but training in his days was a very different matter to ours. After sitting there is a relief in standing, so after reading sharp physical exertion is refreshing.
Now there are rowing men and rowing men. There are some -- they are few -- who make rowing the sole end and aim of their University career: there are others, and they are many, to whom rowing is at once exercise and relaxation. Of those who row and do nothing else not much need be said: at all events we may be sure of this much, that if they did not row they would be at something worse.
The effeminate fop element is a much more dangerous one, and includes a vast number of those called “loafers.” Surely it were better to row than to loaf?
There is a process much associated with rowing called “going out of training,” and it is one which has done much to bring the rowing man’s life into disrepute. It seems to be supposed that a month or two’s training produces a violent thirst after dissipation, and that the moment of a boat’s passing the winning-post is the signal for a violent reaction from the constraint of training and a strange desire to do everything that training forbids. Now there is no connection in the nature of things between going out of training and making a beast of oneself. Nor is there any mysterious power in beefsteaks to demoralise a man or produce the effects popularly ascribed to them. On the contrary, “bump suppers” and the festivities consequent upon a race are celebrated chiefly by that numerous and festive community who never miss an opportunity for the consumption of vast quantities of bad champagne. At such times rowing men are not better and no worse than others -- the festive soul is festive and the sober man is sober then. As a rule the organised debauch which goes by the name of a bump supper is more of a bore to the rowing man than to anyone else, for the reason that his lungs and digestion are not yet acclimatised to an atmosphere of smoke and an alderman’s dinner. On such occasions he has even been known to sigh for his accustomed chop and glass of port.
. . . .
It is too well-known a fact to require more than a passing notice that many of the most distinguished oars of the present and past times are men who have taken the highest honours. Of such Warre of Balliol is perhaps the best known type; of the aquatic world he is now facile princeps. [70] It would be an endless and invidious task to count up all such men; in the Oxford crews alone of the last ten years about one-quarter are honour-men. Intellectual ability will always obtain its proper share of respect among men -- sometimes it is worshipped to an extravagant extent; but among boys the case is different. More reason why any occupation which throws Past and Class men together must be for the advantage of both. The benefit is mutual. The reading men would miss half the point of University life without rowing or some such common ground of interest and association with their fellows, and rowing would most assuredly suffer from the absence of the intellectual element in their crews, and that in more ways than one. The late successes of Oxford were to be directly traced to the times when she had men for presidents of her boat-club who were of the sort who take high honours in the schools. The presidencies of such men leave their mark and bear fruit for years.
Muscular Christianity may be cried down, and brutal athletes may be abused; but this much is certain, that it will be an evil day for the Universities and for the rowing men who go there when rowing is no more. Only let there be reason and moderation; keep out the penny-a-liners if possible, and don’t let us hear so much of “aquatic Derbies” and such claptrap. There is an unnatural, exaggerated tone about the Putney race which looks dangerous. The British public goes mad sometimes; unfortunately for the objects of its madness, they are always the first to suffer. Albert the Good, exhibitions, volunteers, the ring, and now it seems the turf, have all been victims. Let us take care that rowing keeps clear of the infection. “Sit modus in rebus,” [71] and don’t let us have our hobby overridden. The fuss that is made every year about the sixteen young men who row against each other at Putney is enough to turn their heads. There has been a vast deal more talk than necessary about University races of later years; you would think the very cab-drivers were Oxford or Cambridge men from the amount of blue ribbon they brandish about on the day of the race. What do the cabbies care about rowing? For the matter of that, what do the half-million people who line the river banks from Putney to Mortlake care about the race? They scarcely know one boat from the other, if they see them at all; many never do see them at all, and perhaps don’t care to. We had rather see a score or two of old University men cheering on their crews than half-a-million of the British public screaming at the boats. Well is it for rowing that the Putney race comes but once a-year. Once let the thing be overdone, a reaction will set in, public opinion will go round with a swing, and then good-bye to rowing and all the good it does.
^ Sic. Eighty.
^ C.R.L. Fletcher, Edmond Warre, p. 37.
^ A. Trollope, British Sports and Pastimes, quoted in N. Wigglesworth, A Social History of English Rowing, p. 111.
^ “Facile princeps”: easily the chief.
^ “Sit modus in rebus”: Let there be a limit. (From Horace.)
Macnaghten E
Macnaghten, Edward[ edit ]
“He Succeeded Lord Blackburn” (Spy), October 31, 1895[ edit ]
He is Edward Macnaghten of Runkerry, in County Antrim; and he traces back his lineage to one of the three clans that were descended from the old Maomors of Moray, who were Sovereigns among the Picts. In the twelfth century these Macnaghtens became the Thanes of Loch Tay; and in the sixteenth century, one of them, “Shane Dhu,” having gone to Ireland as Secretary of the first Earl of Antrim, they settled there. This particular Macnaghten (who is brother of Sir Francis Macnaghten, Bart.) was born five-and-sixty years ago; and, preferring Trinity, Cambridge, before Trinity, Dublin, came to England and was made a graduate and a Fellow of that foundation; since which time he has found life in England profitable. He got called to the Bar, and married the daughter of the late Baron Martin; took silk and went into Parliament for his own County (Antrim); changed his seat on redistribution for North Antrim; and sat for that Division until eight years ago, when he succeeded Lord Blackburn as a life Peer and a Lord of Appeal in Ordinary.
He is one of those happy men who have never had to work hard; and his face shows it. At Cambridge he rowed in the Eight; and as a silk he practised before Mr. Justice Chitty, who had rowed in the Oxford Eight. He has always been well off, and he became the husband of the Judge’s daughter. Nevertheless he is a sound lawyer who has been heard to attribute his success at the Bar to the glassy eye of the old frequenter of the Court, which fixed itself upon him when he first rose, and put him on his mettle. Though he had a perfectly safe seat, it seemed ridiculous that he should be created a Law Lord when he had never been on the Bench, upon which was sitting such a man as the late Lord Bowen, who ought to have gone up before him; nevertheless his elevation was no job, but quite an unexceptionable appointment; and he has not discredited his high office.
He is a good, cheerful fellow, an excellent host, and a kindly-hearted man.
Edward Macnaghten (1830-1913) arrived at Trinity College, Cambridge in 1850 from three years at Trinity College, Dublin, and promptly made his mark in both rowing and sculling. He won the Colquhoun Sculls, University Pairs, and Visitors’ Challenge Cup in 1851, the Diamonds in 1852, the Ladies’ in 1853-54, and the Grand in 1854, all under the colors of First Trinity or the C.U.B.C. “[T]he ovation which he received from Oxford and Cambridge alike” for winning the Diamonds “was said to be sui generis.” [72] A lightweight, he stroked Cambridge at 10 stone 6 lbs. against Oxford in the 1853 Grand, there being no Easter Boat Race that year. The Henley course then in use had a bend, and Cambridge on the outside were unable to push their lead at the Point enough to take Oxford’s water, who at the corner pushed back to win by eighteen inches. Macnaghten’s rowing contemporaries said he “was the most tearing and staying man of his weight, and that a crew of twelve-stone Macnaghtens could have ‘licked creation.’” [73] He later coached Cambridge on several occasions.
Macnaghten reportedly “[took] to the law rather because he could find nothing else to do than for any other reason,” but became an engaged and gifted practitioner. [74] In the House of Commons he focused on legal and Irish subjects, although it does not appear he was among the Irish members who especially vexed Speaker Peel. His 1886 speech on the pending home rule bill “long and excellent, abounding in happy quotations and equally happy sarcasms.” [75] Still, given his Irish antecedents and sympathies on the one hand, and his demonstrated legal talent on the other, perhaps his elevation to the bench was the prudent course for the Government. In any case the appointment proved no mistake, for
he possessed in happy combination the gifts of listening with patience and deciding without doubt, after bringing to bear his great range of unobtruded learning and a clear practical appreciation of business and character. Others in his time were as erudite and his equals in acumen, but it was remarkable that both bench and bar fell into the way of citing a sentence or two of Macnaghten and accepting it without discussion as an authoritative statement of the law. [76]
He chaired the Council of Legal Education from 1895 until his death in 1913.
Sporting Judges[ edit ]
As an ex-Blue and accomplished jurist, perhaps Macnaghten was the sort of “luminary imbued with sporting principles” that Woodgate found in one Judge McConnell, K.C., chairman of the North London Sessions:
Once I was instructed in some petty prosecution before him. It seemed likely to come on that day. An inspector of police, who knew that I had been guilty of the river in my youth, approached me and sounded me whether it would be possible to let the case stand over to the morrow; because a young policeman engaged in it was stroking a police four, and the police regatta was going on that day at Hammersmith. I at once entered McConnell’s Court, and made application for adjournment, boldly telling the true reason for the request. McConnell at once said: “Any application from you on an aquatic matter has every claim on the Bench” -- and at once made the order.
Off went the young stroke, as happy as a sandboy. Next day, when I attended for the trial we heard that he had won two races, thanks to McConnell’s sporting good-fellowship.
Another time, on the morning of a Tuesday of a Henley regatta, I put in an appearance in McConnell’s Court, hoping to finish what I had in hand before lunch, and to catch a train to the river. To save time in changing clothes I had donned a Leander Club dark serge coat and waistcoat, with the club gilt buttons, thinking it would pass muster sufficiently under the folds of a gown.
McConnell divined the costume and situation as he nodded to me from the Bench. He dropped a pencil line by an usher: “Dear W., your attire is more aquatic than forensic: you had better catch the first train for Henley. I will see that your interests are duly looked after here!” [77]
^ The Rowing Almanack, 1914, p. 222.
^ Ibid.
^ W.B. Woodgate, Reminiscences of an Old Sportsman, p. 257.
1855-1871 Dr Warre and Fixed Seat Orthodoxy
1855 - 1871: Dr. Warre and Fixed-Seat Orthodoxy[ edit ]
In 1855, the Royal Chester Rowing Club won the Wyfolds and Stewards’ in a “carvel” four – that is, a “shell” boat with a perfectly smooth hull and an interior keel, as opposed to a “clinker-built” of overlapping planks on an exterior keel. To put to rest any lingering doubts about the superiority of the new design, the next year they returned in a carvel eight to win the Grand and Ladies’. Carvel boats immediately became the standard for gentlemen amateurs, and a Balliol undergraduate named Edmond Warre became their archbishop in the new religion of how to row them. “Rowing” itself became an accepted term for the new “scientific oarsmanship,” having formerly been associated with “rowdy” but now used to distinguish racing from recreational branch of “aquatics,” which now went under the banner “boating.” [78]
The Royal Chester boat had roots in the modified fishing cobles or “gigs” in which Cornish pilots raced out to incoming ships. Though clinker-built, to withstand the surf and stony beaches, these gigs were relatively light with a high bow and low gunwales and stern. Exeter College, Oxford brought one from Plymouth for the 1824 university bumping races, and the Cornish influence spread to boatyards in London, Oxford, and Cambridge. Having no outrigger, an oarsman sat flush against the gunwale opposite his oar for maximum leverage, on a fixed seat, and used long “fish-tail” sweep oars with narrow blades. With this design, speed went to the crew with the strongest groin, back and arm muscles, who could best strike a rhythm of steep forward and backward “swing” from the waist to “catch” the greatest arc of water.
Scullers with outriggers, no sliding seats, 1851
These southern clinker-built boats of the early nineteenth century, while considerably heavier than modern shells, had a significant weight advantage over their northern counterparts that remained basically designed for trade. The northerners compensated by innovating with outriggers, oars, and eventually boat design as well. While the concept of outriggers – moving the fulcrum away from the gunwale to increase leverage -- had been known for years, it was not until 1828 that relatively sophisticated wooden ones were first fitted to a boat and, somewhat later, that an iron version was introduced, both by Tyneside boatbuilders. Since an outrigged boat provided better leverage than the off-set positions of an unrigged “cutter,” the northerners redesigned the boat itself to put the crew in line and thereby narrow and lighten it, adding length to provide the necessary “state room” for body swing and arm pull. Chitty’s crew rowed in this new “parallelogram” design in the early 1850s. In addition, Harry Clasper of Newcastle, the most famous of the Tyneside builders, developed the first modern oars with a shorter loom and wider blade than the fish-tail style, to provide a better grip on the water. With outrigged boats and “Clasper’s sculls,” crews so equipped adapted their technique to row a stroke “peculiar to themselves.”
Matt Taylor with the Royal Chester IV, 1855
Such was the southern judgment on the style of Clasper’s own crew at the 1844 Thames Regatta, an event that brought north and south together from 1843 to 1850. Losing in 1844 to Robert Coombes’ London crew which had the benefit of the Cornish tradition of lighter construction, Clasper returned to Newcastle determined to make his own boats ligher and faster yet. He ended up replacing the heavy, overlapping planking of clinker-built boats with lighter planks set side by side, moving the keel inside to make the hull perfectly smooth, and reducing the width from three and a half feet to two. With this new “carvel” design he returned to the Thames Regatta in 1845 and won convincingly. The Boat Race crews adopted outriggers the next year, and carvel-built boats became popular, though it was another nine years before the Royal Chester victories at Henley fully swayed the gentlemen amateur establishment. Royal Chester got their boat from Matthew Taylor, a professional shipwright from Ouseburn on Tyne. In 1857 Taylor supplied Oxford with a winning boat, twelve feet shorter and with the beam farther forward than a keeled parallelogram design. Edmond Warre, who rowed No. 6 for Oxford in 1857, was so impressed that a few years later he retained Taylor as boatbuilder for Eton. In 1901 Warre sought to emulate Taylor’s 1857 design in a boat he commissioned for the winning Oxford crew in which his son, F.W. Warre, was president. [79]
Great Western Railway schedule for the Henley Regatta, July 5, 1893
Apart from the advent of carvel boats, outriggers, and Clasper sculls, railways were another technical development that marked the rowing landscape from roughly 1850 onward, though with more subtle effect. Before railways, a club could compete against any of its neighbors within rowing distance but had hardly any contact with oarsmen elsewhere. As rail systems expanded throughout the country, starting in the 1840s and virtually complete thirty years later, oarsmen and spectators could travel farther afield. The Great Western Railway linked Paddington to Twyford in 1843 and added a branch line to Henley in 1857. The size and number of regattas increased noticeably during the 1870s. The Prince of Wales began to attend the Henley Regatta, drawing a whole social set along from London; in 1906, the G.W.R. carried 31,000 to the regatta. In addition, as railways fostered suburban development, they indirectly gave rise to new clubs that emerged to service the new communities, such as London R.C. at Putney (1856), Kingston R.C. (1858), Twickenham R.C. (1860), Molesey R.C. (1866), and Staines R.C. (1866). [80]
References[ edit ]
^ N. Wigglesworth, The Social History of English Rowing, p. 111.
^ N. Wigglesworth, pp. 69-70, 83, 85-86; C.R.L. Fletcher, Edmond Warre, pp. 293-95; H. Cleaver, A History of Rowing, pp. 96-97; T. Cook, Rowing at Henley, pp. 83-84.; C. Dodd, The Story of World Rowing, pp. 71-75.
^ R. Burnell, Henley Royal Regatta: A Celebration of 150 Years, pp. 40, 114; R. Burnell & G. Page, The Brilliants: A History of the Leander Club, p. 55; N. Wigglesworth, pp. 49, 52, 153-54.
Warre E
Warre, Edmond[ edit ]
“The Head” (Spy), June 20, 1885[ edit ]
The Warres are an old Somersetshire family, and Edmond Warre was born eight-and-forty years ago. He was educated at Eton, where he distinguished himself by availing himself of the opportunities which that place affords for instruction. He then went to Balliol College, where he further distinguished himself, and finally became a Fellow of All Souls. At twenty-three he returned to Eton as an Assistant-Master of that Seminary.
Dr. Warre was known in his youth as a lover of athletic excercises. He rowed in the University Eight in the years 1857 and 1858. He became the President of the Oxford University Boat Club in 1859, and he took a principal share in the raising of the Oxford University Corps of Volunteers, of which he was the first Captain. On his return to Eton he also took an active part in raising the Eton Corps of Volunteers, in which he became first Captain, then a Major, and of which he was finally made Honorary Colonel.
Dr. Warre is a very able and a very energetic man; and from his advent to the position of “Head” Eton may expect many reforms. He is not deterred by the labour of entering into details. He is firm in his intention to make Eton a place for teaching knowledge as well as manners, and he has set his face against the extravagance which has too long distinguished the School. He has also contrived to render birching so odious that it has become rare and discreditable, instead of being frequent and honourable; and he has a determination and energy and a love for and devotion to Eton which should bear good fruit.
Edmond Warre (1837-1920) achieved greater combined academic and athletic success at Eton and Balliol College than his Vanity Fair predecessors at those places -- S.H. Northcote, J.J. Hornby, J.W. Chitty, and A.W. Peel. At Eton he won the School Pulling for coxed pairs. At Oxford, he went Head of the River with Balliol in 1855 and 1859, won the University Sculls and Pairs in 1855-56, the University Fours in 1856 and 1858, and was O.U.B.C. president in 1858 (not 1859). He rowed for Balliol or the O.U.B.C. in various combinations of the Diamonds, Goblets, Ladies’, and Grand from 1855 through 1859, as well as the tideway Boat Races of 1857-58. In 1856 he declined to row in the University eight because of his academic demands, and finished his course with firsts in both classics and moderations and in 1859 became a fellow of All Souls’. He founded the Oxford volunteer rifle corps and later co-founded the National Rifle Association.
Edmond Warre, c. 1855
Warre’s career began by accident. He had been leaning toward the bar or army, but returned to Eton at the request of his former tutor who had fallen ill. Accepting a mastership in 1861, Warre gave up his Oxford post, married, and, writing to his sister that “I feel education is my work in life and the one in which I shall show God’s work to this generation,” did just that for the next forty-odd years, all at Eton. From the start his ability, care, and Oxford reputation drew talented students. One of the first, Sir William Anson, recalled: “We all thought it creditable to work, a new idea to most of us.” Of the twenty-one he sent to university in 1864 three became fellows of colleges, and in the 1890s all three of the Indian governors and two governors-general were Warre graduates. Warre became a deacon and priest in 1867, the year J.J. Hornby became headmaster, and loyally supported him for the next seventeen years.
In 1884, on Hornby’s ascent to semi-retirement as provost, Warre advanced to headmaster and brought his energy and academic standards to bear on the whole Eton student body. Guy Nickalls was a near-casualty: “I cannot think the teaching was good [under Hornby]. If you got through ‘Trials’ at the end of term you moved up automatically; thus it was that I attained the First Hundred, and rose to be ‘up to’ Ainger in the second division. Unluckily for me, Warre’s ideas of competitive scholarship were different from Hornby’s, and my chances of getting into the sixth form quickly vanished. Under the new régime I began to descend again very quickly, and it was only my timely transfer to Oxford in 1886 that prevented me from becoming a Lower boy again.” [81] By the mid-1890s Warre began to decline physically. He resigned in 1905, was recalled to the provostship in 1909, retired again in 1918, and died two years later.
As coach Warre was the oracle of “orthodox” fixed-seat rowing, imprinting the Etonian style on generations of disciples, including fourteen Vanity Fair rowers, who carried it with them to Oxbridge and beyond. [82] S.D. Muttlebury recalled practicing in a stationary gig without footstraps, with Warre laying his hand on Muttle’s foot during the recovery and saying: “Your feet look right, but you are still trying to pull up with your great toe.” “I thought it a fad then,” wrote Muttlebury, “but I am convinced that it is one of the most important points in rowing.” [83] From 1860 to 1884, when Warre became headmaster and passed the coaching baton to S.A. Donaldson (Eton ‘72 and later Master of Magdalene, Cambridge), Warre “was practically alone on the towpath” [84] and turned out a succession of eights for Henley starting in 1861, all trained more or less identically, all more or less successful. [85] At Henley in 1866, of the twenty-eight medals awarded for fours and eights, twenty-seven went to nineteen Etonians, seventeen of whom had been or were then students of Warre. [86]
The advent of sliding seats in Oxbridge rowing after 1872 and resulting changes in the physics of rowing -- of style -- caused a religious schism. Detractors such as Guy Nickalls said Warre never fully adapted: “Warre was nothing if not a stickler for form, the arched back (inwards) and the slide held until the swing was almost completed, alone appealed to him. . . . [He] never liked my rowing -- I think merely because I understood the use of a slide (and he did not).” [87] Defenders, such as G.C. Bourne, said Warre did understand:
[I]t has been suggested of late years that Dr. Warre cared only for straight backs and neat form. That is a travesty of the truth. He preferred, and rightly preferred, polished oarsmanship, because, in his experience, it was more commonly than not associated with a sharp catch of the water at the beginning of the stroke. But he was much too good a judge of rowing to prefer a formal straight-backed oarsman without any catch to a rougher one who had a catch. What he cared for more than anything else was the catch at the beginning. Given that, he would overlook many defects in style. It has been said that he never appreciated or understood the use of the slide. The truth is, I believe, that he understood it a great deal better than either the Metropolitan or University oarsmen of the period of which I am writing [c. 1878-81]. He disliked the Metropolitan style because it involved too exclusive use of the legs. The remarkable Canadian sculler, Edward Hanlan, had only recently arrived in England, and the secret of his pace, the perfect combination of slide and body work, was not yet fully understood. The Metropolitan oarsmen were already using 16-in. slides, and even the best of them “shot” their slides. This Dr. Warre would not tolerate, but he avoided falling into the opposite extreme of “holding the slide”. His maxim, often repeated, was “work comes from the stretcher”, and he clearly perceived that, if the sharp catch at the beginning of the stroke is truly taken from the stretcher, the slide must move back to a certain extent. But he insisted on a sharp lift of the body contemporaneously with the movement of the slide, and therefore in practice taught what is the accepted rule to-day, that at the beginning of the stroke slide and swing go back together, but the swing goes much faster than the slide. He never taught us to hold our slides, of that I am positive, and the proof is that every Eton oarsman of those days, when he arrived at Oxford, was told that he was sliding too soon and only too often lost all true stretcher work in his attempt to conform to the prevailing fashion of holding the slide. [88]
On the Grammar of Rowing[ edit ]
At the encouragement of H.G. Gold, Warre returned to the O.U.B.C. in 1907 and 1909 to deliver three lectures on rowing, fifty years after his racing career there ended. His return coincided, and not coincidentally, with a stale patch in Oxford rowing and an assault on Oxford Etonian hegemony, from both Cambridge (in the so-called “sculling” style of Duggie Stuart) and abroad (notably in the Belgians’ 1906 and 1907 victories in the Grand, the first foreign wins in that event). Accordingly, Warre directed his first two lectures to the “Accidence” of rowing, starting in 1907 with the fundamentals of fixed-seat rowing. “If [a novice] learns correctly the art of rowing on the fixed seat there is nothing he will have to unlearn, though he may have some more things to learn, in order to row correctly on a slide.” In 1909, with Oxford since having lost two more Boat Races to Duggie Stuart and looking like it would soon lose another, Warre addressed “Accidence, Part II, The Slide,” conceding its mechanical advantages but subordinating them to fixed-seat fundamentals. He warned his fellow Oxonians: “[I]f you sanction the continuance of coaching based upon false conceptions, if the cult of the slide is allowed to obscure the ideal of first-class oarsmanship, then defeat after defeat will be ensued and deserved, even if victory sometimes occur owing to the inferiority of a rival crew.” Two months later, Oxford had won on orthodox lines with R.C. Bourne at stroke and Warre returned to the University Barge in better spirits to deliver his final lecture, on coaching (“Syntax”). Despite the changes in boats, fittings, and oars, he concluded “the art of rowing is still the same, full of manly endeavour, full of self-sacrifice, full of delight, and if in any way, by these Lectures, I shall have contributed to its flourishing here and elsewhere, it will be a pleasure to me to think that I have been able, through your kindness, to repay in some small degree the debt that I owe to it as a pastime in the days gone by.” The published lectures, collectively entitled “On the Grammar of Rowing,” included as an appendix the following “Notes on the Stroke”:
Fixed-seats, no outriggers
The moment the oar touches the body, drop the hands smartly straight down, then turn the wrists sharply and at once shoot out the hands in a straight line to the front, inclining the body forward from the thigh joints and simultaneously bring up the slide, regulating the time by the swing forward of the body according to the stroke. Let the chest and stomach come well forward, the shoulders be kept back; the inside arm be straightened, the inside wrist a little raised, the oar grasped in the hands, but not pressed upon more than is necessary to maintain the blade in its proper straight line as it goes back and without constricting the muscles of the arms as they go forward; the head kept up, the eyes fixed on the outside shoulder of the man before you. As the body and arms come forward to their full extent, the wrists having been quickly turned, the hands must be raised sharply, and the blade of the oar brought to its full depth at once. At that moment, without the loss of a thousandth part of a second, the whole weight of the body must be thrown on to the oar and the stretcher, by the body springing back, so that the oar may catch hold of the water sharply, and be driven through it by a force unwavering and uniform. As soon as the oar has got hold of the water, and the beginning of the stroke has been effected as described, continuing the movement of the body and the simultaneous use of the muscles of the legs, keep up the pressure of the beginning, uniform through the backward motion of the body. At the beginning of the stroke let the arms be straight. The elbows should not then be bent. When the body reaches the perpendicular, let the elbows be bent and dropped close past the sides to the rear -- the shoulders dropping and disclosing the chest to the front; the back, if anything, curved inwards rather than outwards but not strained in any way. The body, in fact, should assume natural upright sitting posture, with the shoulders well thrown back. In this position the oar should come to it and the feather commence.
N.B.-- It is important to remember that the body should never stop still. In its motion backwards and forwards it should imitate the pendulum of a clock. When it has ceased to go forward it has begun to go back.
There are, it will appear, from consideration of the above directions, about 27 distinct points, articuli as it were of the stroke. No one should attempt to coach a crew without striving to obtain a practical insight into their nature and order of succession.
Let the Coach also remember that, in teaching men to row, his object should be to economize their strength by using properly their weight. Their weight is always in the boat along with them; their strength, if misapplied, very soon evaporates.
References[ edit ]
^ G. Nickalls, Life’s a Pudding, p. 44. “As I have said, I was only a duffer at lessons. For the really bright, well-grounded boy Eton instruction was all right, but for the dull boy the teaching was hopeless. Before we could write decent English we had to compose Latin verse in pentameters and hexameters, and Greek verse in iambics. Euclid I could learn by rote. I never understood algebra, nor was it ever properly explained to me. Sunday Questions were easier, but the only way I could learn Greek was the method employed by most boys of using a crib or word ‘Key to the Classics.’” Ibid. pp. 48-49.
^ Warre began coaching in 1860 and stopped on becoming headmaster in 1885, so the Vanity Fair rowers he coached at Eton were C.B. Lawes, A. Brassey, F.C. Rasch, H.F. Eaton, J.E. Bankes, A.F. Compton, E. Vincent, H.L.B. McCalmont, R. S. de Havilland, D.H. McLean, S.D. Muttlebury, G. Nickalls, W.F.D. Smith, and Lord Ampthill.
^ C.R.L. Fletcher, Edmond Warre, p. 276 n.1.
^ Eton Boating Book, p. ix.
^ G.C. Bourne, Memories of an Eton Wet-Bob of the Seventies, p. 66.
^ R. Burnell, Henley Royal Regatta: A Celebration of 150 Years, p. 102 (attributing The Field).
^ G. Nickalls, pp. 51, 192.
^ G.C. Bourne, pp. 104-05.
Smith, Archibald Levin[ edit ]
“3rd Commissioner” (Spy), November 3, 1888[ edit ]
He is the son of the late Francis Smith, Esq., J.P., of Salt Hill, Chichester, whose wife was a Miss Levin of the same place; and he perpetuates the names of both his parents. Born in 1836, educated at Eton and Trinity, Cambridge, he was called to the Bar eight-and-twenty years ago, when he commenced the successful career which has lately culminated in his appointment as Third Commissioner to inquire into journalistic Charges and Allegations the truth of which is now being so tediously investigated in Probate Court I of the Royal Courts of Justice. His education failed to make either a prig or a great scholar of him; but his legal experience and sound common sense have since combined to make him a Judge who has no superior amongst his puisne brethren. His rise has been as rapid as it was deserved; for he showed enough practical sense in his conduct of such cases as fell into his hands early in his career to impress Lord Justice Bowen, then Attorney-General’s “devil,” with his quality, and, as a consequence, he became himself an imp of less degree, being appointed the devil’s devil. That was all that was necessary to make the man, and when his master soared up to the Bench, Mr. Smith became a full-blown devil, in which capacity he counselled the Treasury so wisely that five years ago he was rewarded by being promoted to the position which he now occupies over the heads of all the Queen’s Counsel of the day.
He is not a very brilliant man, but his mental grasp is most comprehensive. He drinks in a new Act of Parliament while other men skim its first section, and intricate accounts in a big commercial case are a delightful exercise to his well-trained mind. He is very lucid, very popular, very good-natured, and very free from serious fault. He never acts, never wastes time, and never sermonises even to criminals when they are found guilty before him. He does not respect persons, he does not advertise, nor does he shirk the most unpleasant work. All which is high praise, but merited both by what he does and what he does not. Not having the gift of tongue in any marked degree, his charges to juries are choppy, and occasionally monotonous; but, being brief, clear, and always to the point, they are none the worse for that. There is only one more youthful Judge on the Bench; but there is also, take him for all in all, only one better. Being wealthy, he works rather for the good of others than himself; and having never been corrupted by Parliament, or by any other form of politics, he is extremely well adapted for the temporary office which he now occupies. He is always courteous even to the more foolish, and consequently more irritating, among juniors. He has much high spirit and much muscular strength; and his shoulders are types of the tremendous, with which he did stout service in the Cambridge Eight. He still loves exercise and the fresh air of Sussex. He is a jolly good fellow, who looks more like a sturdy English Squire than like the good Judge that he is. He is well favoured in all senses; and he wears a pair of pince-nez at the end of his nose.
Archibald Levin Smith (1836-1901) rowed for Cambridge from 1857 through 1859 and won all the Henley events he entered in the only year he rowed there (1858): the Grand with the C.U.B.C. and the Visitors’ and Wyfolds with First Trinity. In later years he regularly bet a new hat on the Boat Race with W.B. Woodgate, “on principle and from patriotism to his flag, even when public favour and market odds might seem to be dead against the hopes of his own club.” [89]
Smith featured in Vanity Fair three times in four years. First as shown here, when he joined Sir James Hannen and Mr. Justice Day to inquire into the “journalistic Charges and Allegations” by the Times affecting C.S. Parnell and other Irish nationalists. (In one occasion in that tribunal, Hannen denied thinking or saying something; Smith said “Nor I” and Day “made an inarticulate sound of concurrence”; but those reportedly were the only remarks of the two junior judges in the entire proceeding.) [90] This 1888 print is rare, since it and the other nine “red robed judges” of Vanity Fair have long been among the most collected “legals.” Smith’s second appearance was in the 1890 winter double number entitled “In Vanity Fair” (November 29, 1890), an unsigned composite reproducing the 1888 image. The third was in the following winter number, “Bench and Bar” (December 5, 1891) by “Stuff,” for which Vanity Fair wrote: “Of Puisne Judges here, best of all Common Law dispensers is Mr. Justice Smith, his common sense as English as his name; who when he notes joy and surprise on the face of the old offended whom he has sentenced to six months’ imprisonment, says bluffly, in vain attempt to hide his mercy, ‘Jones, remember it’s “hard!”’”
Smith joined the Court of Appeal in 1892. He became Master of the Rolls in 1900 following the death of W.B. Brett (Viscount Esher) in 1899 and the interregnum of Lord Alverstone, and died a year later.
The 1859 Boat Race: Cambridge Sinks, Smith Too[ edit ]
The morning of Friday, April 15, 1859 “was ushered in with heavy hail-charged clouds and half a gale of wind from the northward and westward,” Bell's Life reported. “Notwithstanding these drawbacks no less than fourteen steamboats assembled to witness the race, all crowded with spectators, and the number along the shore, both pedestrian and equestrian, was very great. Small boats there were few or none, as no one seemed to be so hardy as the crews. . . . [A]lthough the betting was 3 to 1 on Cambridge, good judges felt sure that the Cambridge boat would never live through the surf which was rolling.” Good judges were right:
[The start] took place at exactly one o’clock. A complete sea was on at the time, although it had just previously lulled, leading the spectators to hope the crews would yet start in smooth water, but as they got to their stations a furious squall of snow and wind speedily dispelled the hope. Oxford were on the Middlesex side, and Cambridge one buttress removed from them. The start was level, and it was a splendid neck and neck race for 100 yards. Here Oxford drew about a yard in advance and the water began to rush in torrents into the extremely frail bark which carried the Cantabs. This, as may be supposed, did not help them in their pace, and they were stern by about half their boat opposite Searle’s [boatyard]. Oxford continued to gain slightly, and were one clear length ahead at Rose Cottage. Here there was such a sea on that Mr. Hall [the Cambridge stroke] had his oar completely washed from his hand, but recovering it again in a moment, the race was continued with as much courage as before, the Cantabs pulling after their opponents in the most plucky manner, but losing ground at almost every stroke, till they reached Hammersmith Bridge, where there were nearly three lengths astern. Citizen J had several times come very near Cambridge, although repeatedly cautioned, and the screw Jackal again and again gave the Cantabs their wash. The Oxonians reached the bridge in ten minutes, and directly after Cambridge had gone through, Citizen J (chartered by Searle), in a most reprehensible manner, went right ahead of them, and much discomposed them. At the Waterworks there was nearly five lengths between the boats, both crews taking about thirty-eight strokes per minute, but although Cambridge was by this time almost full of water, they rapidly decreased the gap towards the end of Corney Reach, where the rowing of the whole crew was most beautiful and finished, while Oxford was keeping on in the same steady, workmanlike stroke. At Barnes they were only two lengths in advance, and the time from starting was 20 minutes 50 seconds. At this point the steamers that misbehaved themselves were the Jackal, Citizen L, a private boat, Citizen J, the Jupiter, chartered by Mr. Searle, and Citizen K, by Salter and Kelly, all of which were several times ahead of the Cantabs, who were still rowing very well, but it was all over. The bow-oar had been frequently covered with water, and opposite the White Hart at Barnes three waves washed completely over the boat: at the first warning the gallant crew, knowing what was coming, took their feet out of the stretcher straps and prepared for swimming, all except Mr. Smith, who had not learnt the art. At the fourth wave the boat sank completely under them, and it was almost a miracle they were not drowned, for the umpire’s boat, the Lady of the Lake, was close on their stern at the time; but the captain, in a very clever manner, immediately stopped his vessel, and life buoys and ropes were immediately thrown out. Mr. Darroch [No. 4] swam on shore, and all the others were fortunately picked up by various boats. The Oxonians were about three lengths ahead at the time, and probably accomplished the distance in 24 minutes 30 seconds, although they were so far ahead at the finish that the time could not be accurately taken.
The minute book of Smith’s college club, First Trinity, recorded: “In going up to the Starting Post the Cambridge Boat had nearly filled with water, and at the start it was known by her crew that she could not live through the race, and so perhaps the finest crew that ever left the University was beaten by a comparatively very inferior one owing to rowing in too low a boat on a rough day.”
^ W.B. Woodgate, Reminiscences of an Old Sportsman, p. 255.
^ Dictionary of National Biography.
Channell, Arthur Moseley[ edit ]
“An Amiable Judge” (Spy), February 17, 1898[ edit ]
The Honourable Sir Arthur Moseley Channell, now one of the puisne Judges in the Queen’s Bench Division, began life precisely sixty years ago as son of the late Sir William Fry Channell, Baron of the Exchequer: so that he is of quite legal parentage. From the nursery he went to Harrow; then to Trinity, Cambridge (where he first became known as a Wrangler); and thence to the Bar, by way of the Inner Temple. He practised as a Junior for two-and-twenty years, and as a Leader for twelve. He has been Recorder for Rochester, and Vice-Chairman of the General Council of the Bar. He has also been twice married, and now he is a Knight.
As a Junior, his practice was very general; as a “silk,” he chiefly conducted cases without juries, and very frequently argued points of Local Government Law before the Court in banc. He has, indeed, made himself an authority on such small matters as pertain to vestries, boards, sewers, waterworks, and new streets. He was never a great lawyer, nor an eloquent advocate; but he is well known as a good “workman,” with considerable knowledge of the Law and its Practice; and though never expected to be brilliant, he could always be trusted to make no mistakes. It may be said of him that during all his four-and-thirty years of practice he never made an enemy among his brethren, his clients, or his opponents; and it is certain that he never received anything but friendly attention from the Bench. He is a quiet, kindly, considerate gentleman, wholly free from conceit; in whose keeping the wholesome traditions of the English Bench for good sense in civil matters and for humanity in criminal will be quite safe.
He will not make a great Judge; but he is a very worthy sitter in the high place which he has honourably attained by long service to the Law.
Arthur Moseley Channell (1838-1928) won the Colquhoun Sculls at Cambridge in 1860 and the University Pairs in 1861. With First Trinity he won the Grand and Ladies’ at Henley in 1861 with J.C. Carter at cox. He also rowed in the Wyfolds and Pairs, losing to Woodgate’s Brasenose crews.
Vanity Fair featured Channell at his trial court commencement. He served sixteen years, retiring in 1914 in time to take up an appellate career in prize cases arising from the 1914-18 war. In this latter position he was assisted by forty years’ experience as an amateur yachtsman.
How to Choose an Oarsman[ edit ]
John Arkell, who succeeded Edmond Warre as O.U.B.C. President, introduced Trial Eights at Oxford in the fall of 1858. The C.U.B.C. followed suit three years later. The new approach to selecting the university crews increased the talent pool and intramural competition, but still left considerable discretion to the U.B.C president on whom to select for trialing, how to run the trials, and how to pick the final crew. Although this approach has survived the years largely intact, one “E.B.M.” put a case in Vanity Fair (April 22, 1897) for a challenge system based on a form of seat racing:
Coaching the Eights, Oxford, c. 1897
Dear Vanity, -- In a former letter I ventured to submit that the choice of a winning oarsman de visu was not very much more satisfactory than an awarding of the Derby Stakes to that three-year-old which the experts most admired. None of your readers having thus far disputed this assertion, I am tempted to go on a step further and suggest a mode whereby the places in the University boat might be filled with less risk of public dissatisfaction than at present. What is the chief qualification for a seat in the boat? Not strength in its crude form; still less weight, but that sort of strength which enables a man to exert the greatest pressure in forcing the blade of his oar through the water; in other words, to row the hardest. How are you to discover which of any two men row the hardest? Here the mystery is supposed to come in. I do not admit that there is any mystery about it. I say that it is as easy to tell which of two men rows the hardest as it is to tell which horse in a pair does the most work. Given any number of competitors for the places in any boat, and I believe that it is possible, by pairing them against one another, to ascertain without any real risk of mistake which are the strongest oars. Why not apply such a test? It may be said that to a large extent the test is now applied. But if it is -- and possibly of late more has been done in this way -- still, it is not used as a conclusive and positive criterion of merit. And it is not used extensively enough. Why not allow any man -- Freshman or otherwise, with or without the sanction of the captain of his College boat club -- to challenge any other man, Old Blue or not, to a trial of strength -- i.e., of the kind of strength above specified? Ought not the mere fact that such a pretender had beaten the man challenged give the former an a priori right to oust the latter from the crew? He might, no doubt, prove inferior in other respects. He might not be able to go the four-mile course. He might break down in training. But these are hypotheses. So might the other man. At any rate, in preferring Paul of Emmanuel to Peter of Trinity, a President, if asked the question why he did so, would be able to say, not “because I thought him a better man,” but “because he proved himself the better man.”
How could he prove that? Probably in several ways; but certainly in one. Let us not discuss the most obvious method -- that of putting one man in one boat and one in another, starting them, and seeing which comes in first. That would involve a resort to the art of sculling, which is supposed to involve other qualifications than those necessary for an oarsman pure and simple. That there is any such difference -- except in the matter of steering, which can be obviated by adding coxswains of equal weight -- I am not prepared to admit. If you took the winners of eight sculling races and put them in one boat, I should like to lay long odds on them against the eight losers rowing in another boat. But let us not offend rooted prejudices. Take another test, against which it is difficult to urge a common-sense objection. Take out any two men for two rows of a quarter of a mile, out and home. On the first trip let A row stroke and B row bow, and on the second trip reverse the positions. Now, barring tricks -- which an expert will easily detect -- the man who on the two journeys has the rudder most against him will be the stronger oar. This is not a matter of opinion; it is a mechanical truth. A President who selected a man in preference to another because he had “rowed him around,” as the saying is, would be safe against all criticism. To Therasites, who challenged his decision, he would be able to say, “If you don’t agree with me, get into the pair-oar, and try for yourself which is the stronger man.” The President, maybe, does not care a jot what Therasites thinks. But Therasites is a prevalent being in these days, and occasionally even a troublesome. And if you can have conclusive argument ready for use, why resort to one that is inconclusive, either against him or any other critic?
Is, therefore, every Johnny who covets a seat in the University boat to be allowed to challenge any other who has already a good chance of rowing therein? Non sequitur. The aspirant might be compelled to show that he was the strongest oar in his own College -- barring Old Blues -- before having the right to “send in his name” to the P.U.B.C. And he would show this, of course, by practical victories in the same sort of trials as those above referred to. Captains and Committees of College Boat Clubs would not object to the trouble therein involved. For it is their interest, as well as the University’s, that an unknown rowing genius should not blush unseen within the College walls. Rowing “trials,” not of the inconclusive Trial Eight type, might become fashionable as well as useful. If not, the institution, having been proved a failure, would die out. Hitherto it cannot be said to have had a fair chance of success. The Harrow or Winchester boy, however strong, and however likely to prove a first-rate oarsman, feels naturally shy about challenging competition with the Freshman who has come up from Eton with all the honours of the Ladies’ Cup at Henley thick upon him. The odds are, doubtless, that the latter is really the better man for the University boat. But in that minority of cases where the reverse occurs the newcomer from the non-rowing school has no fair start. He has practically no chance -- or very little -- of showing that if given a place in the boat he will do better than the other. That chance he ought to have; and he might have it if, without undue presumption, he were allowed to “send in” his own name.
Carter JC
Carter, John Corrie[ edit ]
“Steered Three Winning Crews” (WH), July 3, 1912[ edit ]
Were you at Henley fifty years ago? Did you notice the cox of First Trinity, Cambridge? Of course you did.
He was Johnny Carter, who steered three winning crews in the biggest races of that year.
This record has never been broken, I believe.
When he left the ‘Varsity he was called to the Bar by the Inner Temple, and “went” the Midland Circuit, still keeping up his habit of winning.
Briefs came to the young lawyer, but he could have handled more. He did not pine, however, for other duties came his way.
When the Midland Railway wanted a new member on its board about fifteen years ago, he gave up practice entirely and devoted himself to “directing” what many think is our most perfect railway.
His service in this capacity has been as significant as his earlier successes.
To him must be attributed the present wholesome policy of enabling the employees of the company to purchase small allotments of stock. The result is that up to the limit of his holding each man feels he owns the railway -- which means that he will not lightly strike against his own interests.
This is a notable work, and the entire country owes Mr. Carter a debt for this initiative.
Mr. Carter has been for many years Recorder of Stamford and Chairman of the Quarter Sessions for Radnorshire.
Henley train station during the regatta, 1894
He has edited three editions of the well-known law-book, “Rogers on Elections”; also a piscatorial classic, “Ronald’s Fly-Fisher’s Entomology,” which was written by his uncle seventy-six years ago. This book is still used by the best fly-tiers.
A good sportsman and a useful citizen, his friends say he desires only to do well what comes to hand.
He has no taste for politics, but favours liberal principles in government as he understands them.
Mr. Carter loves his books, his rod, and his gun. On the wall of his library hangs the old Trinity rudder, which has been for half a century so pleasant a reminder of happy days on the River.
What he likes most of all is “non-competitive golf.” You see he cannot bear to lose a game.
John Corrie Carter (1840-1927), the only coxswain ever featured in Vanity Fair, steered not three but four winning crews at Henley (Grand, Ladies’, Stewards’, and Visitors’), and it was not 50 years before his appearance in the magazine, but 51 (Henley1861). The rest of the account is accurate, though also a sad example of T.R. Allinson’s editorship in Vanity Fair’s waning two years. The Stewards’ was made a coxless event in 1873 and the Visitors’ in 1874.
On Carter’s role in the Grand (at 8 st. 10 lb.), Bell’s Life in 1861 reported: “The Cambridge steering was very good in this race, and indeed much credit is due to the coxswains generally at this regatta, for the way in which they managed the starts in a strong wind, and also for keeping clear in those heats where three boats started abreast.”
“My garments expansion require”[ edit ]
“What more pathetic sight is there than a coxswain who starts his career with not ill-founded hopes of winning distinction, and then begins to increase in bulk, his prospects sinking as his weight rises,” wrote R.H. Forster,” till the vision of a ‘blue’ fades first to the less artistic white of a Trial Cap, and then sets altogether?” As told in his 1894 verse:
I once was a light little cox,
The smartest that ever was seen;
For I stood but five three in my socks,
And weighed barely seven thirteen:
The figures I give you are true,
And I coxed in a club Trial Eight;
And they said I was sure of my blue,
And I was -- till I went up in weight.
The change was begun in the Vac.,
For I spared not the well-fatted calf;
And I found myself, when I came back,
Increased by a stone and a half.
Still they set me to cox a Lent crew,
But docked my allowance of grog,
Threw doubts on my chance of a blue,
And said I was fat as a hog.
Yet still there comes increase of weight,
My garments expansion require,
I project o’er each side of the eight,
And my buttons are fastened with wire.
They make me take runs in the Backs,
(Now my running is marvellous poor):
And their pointed allusions to “stacks”
Are very ill-natured, I’m sure.
O ‘Varsity President, you
Are in need of an oarsman of weight:
Then give me, O give me my blue!
Next year, ‘twill I fear, be too late.
For if in this way I enlarge,
Next year, I would have you to note,
Nought less than the bulkiest barge
Will be able to hold me and float! [91]
^ R.H. Forster, “Camus et Camilli,” The Eagle, June 1894, pp. 262-63.
Lawes CB
Lawes, Charles Bennett[ edit ]
“Athlete and Sculptor” (Verheyden), May 12, 1883[ edit ]
The heir to a good old name, to an honourable new baronetcy, and to a very large fortune, Mr. Lawes was early moved by the ambition, not at all to enjoy the gifts of fortune, but to become and to deserve something in his own proper person. At Eton and at Cambridge he distinguished himself by winning, in athletic contests, every prize that could be won as an oarsman and as a pedestrian; but on leaving the University he became smitten with a love of art, and especially of the art of sculpture, to which he has since devoted himself with the thoroughness and tenacity which characterise all his undertakings. Looking neither to the right nor to the left, and foregoing not only all society, but all other things that might interfere with what he regards as his mission, he passes the whole of his days in his studio; and, if natural predilection and earnest application count for anything, should someday produce some fine work. That in sculpture as in athletics he will one day achieve fame he is persuaded; and meanwhile he holds the sculptor’s art to be one which none but those with a mission should essay, and which it is his privilege as well as his duty to protect against all assaults on the part of those who may not have such a mission.
Charles Bennett Lawes (1843-1911) did indeed collect pots for rowing and running, before taking a 3rd in the 1865 natural sciences tripos. At Eton he won the tub sculling (1858), school pulling (1859), sculling (1860), and rowed in the Eight three years (1860-62), each time beating Westminster, and on the track won the 100 yards, hurdles, quarter-mile, and mile, as well as the steeplechase. On leaving school, he gave a Challenge Cup for the mile race, stipulating that anyone who won it and the other four, as he had done, could keep it. When one E. Lee did so in 1891, Lawes donated a second cup under the same conditions, but added that the sculling, pulling, and tub sculling must also be won, as he had done, to retire the cup. No one has claimed it yet. [92]
For Third Trinity, Cambridge, Lawes won the Colquhoun Sculls in 1862 and went Head of the River in 1863 and 1865, and at Henley he rowed in the Grand, Ladies’, and Diamonds, winning the Diamonds in 1863 and the Ladies’ in 1865. In 1865 he won the Wingfield Sculls and stroked the losing Boat Race crew. He won the half-mile, the mile (1864), and the two miles (1865) at the university sports; the mile (1864 and 1865) at the inter-university athletics, and the one mile amateur championship at the Amateur Athletic Club in 1865. In 1898, at age fifty-five, he took up speed cycling and the next year gained the amateur record for twenty-five miles, covering it in 51:15.8.
After Cambridge, Lawes devoted himself to sculpting. He studied in London under J.H. Foley, R.A. and in 1869 under Professor Hagen in Berlin. From 1872 to 1908 he exhibited twelve works at the Royal Academy. “His figures and portraits showed real ability, though his success was not quite equal to his ambition.” [93] In 1900, Lawes succeeded to the baronetcy, came into the family fortune, and inherited the Rothamsted Experimental Station that his father, a famous horticulturist, had established. Lawes took the additional surname “Wittwronge” in 1902 after an eighteenth century kinsman from whom the family had derived the Rothamsted estate, and died in 1911 after an operation for appendicitis.
Belt v. Lawes[ edit ]
Why did Vanity Fair feature Lawes in 1883, an ex-athlete with modest artistic success? Because he had lost a major libel case, which had been brought based on statements made two years earlier in Vanity Fair concerning one Richard Claude Belt. Bowles himself laid the groundwork for Belt v. Lawes with the following carefully-hedged broadside August 20, 1881:
Statue of Lord Byron (1880), Hyde Park Corner, London
Mr. Belt is undoubtedly the fashionable sculptor of the day. Private busts, public monuments, and indeed all the pick of the work of sculpture, have lately been entrusted to him. He is in favour at Court, he is known in the gilded saloons -- in short, he is the sculptor of renown. And to judge of his talents by the works that bear his name, his reputation is well deserved. Those works have met in these columns the praise we hold to be their due. The bust of the late Mr. Eliot Yorke is admirably good, that of Lord Beaconsfield is excellent, so are the busts of Charles Kingsley and of Canon Conway, and though the Byron Statue is far from being equal to these, there can be no doubt of the general excellence of the work that bears Mr. Belt’s name, or of the claim of its author to a very considerable reputation.
But is Mr. Belt really the author of the works that bear his name?
Three weeks ago we drew attention to the fact that two of these works -- the busts, namely, of Baron Lionel de Rothschild and of the Prince Imperial -- claimed by Mr. Belt as his, and attributed to him in the catalogues of the Royal Academy and the Grosvenor Gallery, had been alleged in a paragraph in the Morning Post to be the work not of Mr. Belt, but of a Mr. Verhyden. Thereupon our contemporary Truth published a statement that in fact all the productions ascribed to Mr. Belt were in fact the work of a Mr. Vanhyden, and ought to be ascribed to him.
The matter is one of no small importance not merely for Mr. Belt, but also for the world at large. If Mr. Belt has really designed and executed the works that pass under his name, a cruel wrong has been done him. If, on the contrary, not he but some other person or persons did indeed design and execute them, then Mr. Belt is the wearer of borrowed plumes which he ought not to be allowed to retain.
Feeling that this was a matter of much public interest, we caused inquiries of an extensive and detailed character to be made in the quarters where information was most likely to be obtained; and we now lay the result of those inquiries before our readers.
Belt signature on the Byron statue
First, then, we find that among artists -- by which we mean especially but not exclusively sculptors -- there is an agreement of opinion, very openly and very plainly expressed, that Mr. Belt has not any claim to be considered as a sculptor, and that he is, in fact, only an ingenious and successful sculpture-broker, who presents to the public, as his own, work that has invariably been designed and executed by other hands than his. This opinion appeared to warrant further investigation which, being pursued resulted in the following being communicated to us as Mr. Belt’s history in the arts.
Mr. Belt, in 1870, when about the age of nineteen, obtained employment in the studio of Mr. Foley, the sculptor. Here he remained, as a monumental mason, for ten months, when Mr. Foley intimated to him that he had no further need of his services. Mr. Belt accordingly left Mr. Foley with whom this was his only connection.
In the spring of 1871 however he applied to Mr. Lawes (a former pupil of Mr. Foley’s) for a situation in his studio. This he obtained, and he remained with Mr. Lawes in the capacity of general attendant for four years. Mr. Lawes states that during that period Mr. Belt neither executed, nor was able to execute, any artistic work whatever.
After leaving Mr. Lawes’s studio in 1875, Mr. Belt began to do business on his own account. He published as his own work a statuette of Dean Stanley, of which a good deal has been lately heard. This statuette however was worked up for him by Mr. Brock, as Mr. Brock himself declares. In like manner, the memorial busts of Charles Kingsley and of Canon Conway which also pass as the work of Mr. Belt, were in fact invested by Mr. Brock -- as Mr. Brock himself declares -- with whatever artistic merit they possess. Mr. Brock, equally with Mr. Lawes, declared that Mr. Belt was himself incapable of doing anything in the shape of artistic work.
In 1876 Mr. Belt took into partnership Mr. Verhyden. Mr. Verhyden states that the drawings which procured for Mr. Belt the Conway monument (the bust of which was, as already stated, worked up by Mr. Brock) were his, and not Mr. Belt’s at all. Mr. Verhyden further declared that he (Mr. Verhyden) and not Mr. Belt entirely modelled the sketch which enabled Mr. Belt to gain the victory over all the artists of the day in the Byron competition; and that he (Mr. Verhyden) also entirely modelled the Byron statue itself.
In short, we are assured that all Mr. Belt’s works from the year 1876, when he began business on his own account, up to the year 1881, were executed by Mr. Brock and Mr. Verhyden.
Mr. Verhyden states, equally with Mr. Lawes and Mr. Brock, that Mr. Belt was quite incapable of doing any artistic work whatever.
The names we have cited are those of only some among a number of men of the highest position in the artistic world, among whom our inquiries have been made. And we feel bound to say that in the face of the detailed statements made to us, the bare outlines of which we have here set down, we find it difficult to believe that Mr. Belt has any good claim to the authorship of the works given to the public as his, or to any other title than that of a purveyor of other men’s work, an editor of other men’s designs, a broker of other men’s sculpture. If he declared himself to be this there would be no harm in it. But the point is that, if our information is correct, he has systematically and falsely claimed to be the author of the works for which he was only the broker, that he presents himself as a sculptor and an artist when in reality he is but a statue-jobber and a tradesman.
If, then, the statements made to us are true -- and we frankly avow that at present we fully believe them to be perfectly true -- Mr. Belt has been guilty of a very scandalous imposture, and those who have admired and patronised him as a heaven-born genius are the victims of a monstrous deception.
Why this deception -- if it be one -- should have been allowed so long to exist is a matter which does not concern us -- though we must say that it does very greatly concern those artists and others who were aware of it. But we, having got hint of it, and having upon this hint made very full investigation, should not be doing our duty were we to withhold from the public the result of that investigation. Accordingly, we have set down the information we have obtained, and with it the conviction which that information has produced upon us, that Mr. Belt is not the author of the works that have made him to be believed to be a sculptor of genius. Every paper in London announced on Thursday morning the fact that Mr. Belt had received from the Queen a commission to execute another statue of Lord Beaconsfield. We shall be glad to know that Her Majesty’s choice of an artist is really warranted.
Over the next month, these allegations in Vanity Fair of professional incompetence and palming-off spiralled, as Belt kept quiet. Lawes weighed in September 24:
Sir, -- I am sure that I am expressing the feeling of the whole profession of sculptors when I say that we are extremely obliged to you for finding out and publishing the true history of Mr. Belt’s career. We have always known him to be nothing but an “artistic” impostor, and, by giving us an opportunity of expressing ourselves publicly on the matter, we have been enabled, I think, to remove the imputation of “professional jealousy” upon which he so successfully traded.
There is one thing more that we should like to do, and that is to meet Mr. Belt and his “influential friends” in a court of justice, and satisfy the latter of the truth of the assertions we have lately made in your paper.
We are very sorry to see people in the highest social position pledged to a discreditable affair of this sort; but the reasons that have led them into their position are briefly these --
Firstly. That anybody can do a bad bust.
Secondly. That they have seen Mr. Belt at work.
Thirdly. That they have never been introduced to a “ghost” -- that is to say, a person employed by incompetent artists secretly to do up their work and make it artistic.
These “ghosts” are naturally rarely seen and difficult to catch, but, once in a court of law, it is wonderful what funny stories could be got out of them.
This is not the first attempt that has been made to bring Mr. Belt’s doings into the light of day; for at the time that he signed the drawings for the “Conway Monument,” and passed them off as his own, an attempt was made to do what we are doing now; but it was “bungled,” I believe; the “ghost” was scared and got away, and the affair had to be dropped.
In conclusion I must say that the way in which the work turned out by Belt, Verheyden, and Co. has been extolled in the newspaper is most ridiculous and contemptible, were it not injurious; and Mr. Verheyden himself would, I am sure, be the first to laugh at it; for he is, I believe, a genuine artist, though not a professed sculptor.
Now that the partnership is dissolved, there is, I hear, a great falling off in the quality of work (and it has been described to me as “wretched stuff” by people that understand it). Either Mr. Belt’s present “ghost” is a bad “ghost,” or -- who knows? -- he might be doing the work himself, for, as I said before, “anybody can do a bad bust,” as the quantities exhibited every year bear ample testimony. Finally, if the representatives of newspapers, instead of taking up and puffing the first artist they come across, were to make it their duty to visit the studios of the various sculptors, both high and humble, and make themselves acquainted with the position and workings of the profession, “Belts” would no longer be possible, and statues like the Byron would cease to be produced. --
Yours truly, CHARLES LAWES.
Three weeks later, Belt sued both Lawes and Vanity Fair, but proceeded only against Lawes due perhaps to his deeper pockets and more aggressive, less legally-artful accusations. The case went to trial in mid-June 1882 and immediately became a society and media event (although Vanity Fair remained understandably silent). For one, the judge and key lawyers all appeared in Vanity Fair either before or as a result of the case: Baron J.W. Huddleston (Feb. 28, 1874), the judge; Sir Hardinge Giffard (June 28, 1878) and Montagu Williams (Nov. 1, 1879) (both for Belt); and Charles Russell (May 5, 1883, Mar. 29, 1890, and Dec. 5, 1891) and Richard Webster (May 26, 1883, Nov. 25, 1897, and Jan. 15, 1913) (for Lawes). For another, Belt’s witnesses necessarily included an array of society figures who had sat for Belt or seen him working, while Lawes’ witnesses came largely from the sculptoral elite of the Royal Academy. Belt v. Lawes thus pit the art establishment against some of its society patrons. The trial ran forty-three sittings in the old Westminster law courts.
Just after Christmas 1882, the jury found for Belt and awarded him an unprecedented £5000. Bowles promptly spent a page and a half in Vanity Fair reprinting other papers’ criticisms of Baron Huddleston’s handling of the case. From the Spectator: “[The] charge can be compared only to another and much shorter one, which is said to have been delivered in these words, ‘Gentlemen of the jury, the prisoner at the bar stole the boots. You will find a verdict in accordance with your opinion of the evidence.’” To such remarks Bowles added his own voice, starting with the judge’s favoritism towards Belt’s society witnesses (Vanity Fair, January 6, 1883):
In the first place, he ordered a considerable number of witnesses for the Plaintiff to be examined -- not in the customary manner in the witness-box -- but from seats on the Bench beside himself; and, what was a still greater error, allowed many of these witnesses -- including Mr. Alex Yorke (the principal witness for the Plaintiff) and others of the Plaintiff’s warmest and most undisguised partisans -- to remain seated on the bench day after day subsequent to their having given their evidence, while his own wife, Lady Diana Huddleston, was seated by his and by their side, and engaged with them in conversation and in the exchange of papers. This was an error very apt to lead the jury to form an erroneous estimate of the value of their evidence of these witnesses as compared with those on the other side.
Five months later, in May 1883, Vanity Fair featured Lawes and his lawyers Russell and Webster, offering them praise and encouragement as they moved for a new trial and began to appeal. (Verheyden did all three portraits, the Napoleonic rendering of Lawes imbuing him with a calm but righteous firmness.) Eventually, under prodding from the appellate court that included two Cambridge Blues (Denman and Brett), Belt agreed to a reduction in damages to £500, but Lawes chose to go for broke. Unfortunately for him, that’s exactly what he was forced to do, for in March 1884 the court affirmed the original award (which had by then swelled to £10,000 in damages and costs) and to stave off the ignominy of having to pay Belt anything, Lawes promptly filed for bankruptcy. The fact that one of Belt's leading witnesses, a certain Mr. Schotz, came forward in January 1885 and confessed his testimony was perjured, did not alter the situation. [94] Lawes spent the next sixteen years poor, before inheriting from his father.
References[ edit ]
^ A. Littleton, A. Page, & E. Noel, eds., Fifty Years of Sport: Eton, Harrow and Winchester, p. 99.
^ Dictionary of National Biography.
^ New York Times, Jan. 16, 1885, p. 2.
Dilke CW
Dilke, Charles Wentworth[ edit ]
“A Far Advanced Radical” (Coïdé), November 25, 1871[ edit ]
Sir Charles Dilke is a far advanced Radical, a skirmisher who is ever ready to throw himself out far away from support, and to engage single-handed with the most portentous questions, which he attacks with a jaunty agility that leaves no doubt as to the contempt he feels for them. As a man not yet thirty, he believes in “dear races,” in women, in the English language, and in Greater Britain, the destinies of which he has disposed of airily in a work wherein he has published all that he heard and thought in a rapid voyage around the world. In the House of Commons he has displayed a marked want of reverence for age and prescription; and he is but too well known to whips as the founder and secretary of that compact body of kindred male and female politicians, the Radical Club -- the birth-place of all subversive ideas, and the cradle of all projects for forcing the unwilling Government to carry them into effect.
It was to be hoped that age and greater tactical experience would have made Sir Charles at least an endurable Radical, but his last exploit shows that any such hopes are not likely to be realised. Himself the first inheritor of a title which was conferred through the personal friendship of a Royal Personage, he has, with a singular want of taste, attacked Royalty in a singularly wanton and unjust manner. Sir Charles Dilke is unhappy when dealing with facts. He asserts that the Queen’s pages do not pass examination when they enter the army; whereas they do pass examination. He asserts that the Queen pays no income-tax upon her income; whereas She does pay it. He asserts that the appropriation of savings out of the sums voted by Parliament for the Civil List to the Privy Purse is “directly in the teeth of the Act of Parliament”; whereas the Act expressly authorises such an appropriation. Nevertheless, upon such assertions as these he has founded a suggestion so presented that it almost amounts to a charge of a conspiracy between Her Majesty and the Treasury to form a large private Royal fortune in an unlawful manner. Seldom has so unwarrantable an attack been made, or one so ill-calculated for its purpose. It has found an echo throughout the country which has unexpectedly proved the attachment of the English people to Royal Institutions, and above all to the Lady in whom they are personified; and Sir Charles Dilke in endeavoring to promote a Republic has but disclosed the strength of the Monarchy.
Unlike his Cambridge contemporary C.B. Lawes, Charles Wentworth Dilke (1843-1911) had no rowing experience on going up to Trinity Hall in 1862 but found, according to one of his biographers, that “it offered exactly the sort of purposive, vigorous, comparatively non-time-wasting athleticism which he wanted.” [95] In this effort Dilke found a perfect role model in Leslie Stephen, his academic tutor and rowing coach, who founded the Dictionary of National Biography and had coached Hall crews while running alongside them on the towpath. [96] By the end of the first year Dilke was No. 4 in the Hall crew that entered the 1863 Grand and Ladies’. The next year he was secretary of the club and rowed at No. 3 in the crew that again entered the Grand and Ladies’ and went head of the river (“the ever-memorable May 12th, 1864,” he wrote his father). The boat was later cut up and Dilke kept his section on the wall of his Sloane Street study for the rest of his life. In 1865, Dilke’s crew got bumped the second night by Third Trinity with Lawes and four other university oars. Dilke had a chance to row at No. 7 in the 1865 and 1866 university boats, but “declined on the score of constitution,” he later wrote. “I was strong, but afraid of the rowing in training over the long course, although perfectly able to stand up to the short course work of Cambridge or of Henley. . . . I believe that I was unduly frightened by my doctor, and that I might have rowed.” [97] None of this came at the expense of academic success, as Dilke was Senior Legalist in his third year, the highest honor open to him, and twice served as both vice-president and president of the Union Society. His “methodical bee-like industry,” [98] and ability to read in quantity and remember most of it served him well both at Cambridge and after.
On leaving Cambridge, Dilke toured the world. His Greater Britain: A Record of Travel in English-Speaking Countries During 1866 and 1867, published in 1869 to popular and critical acclaim, included a moment with the 1866 Harvard crew. Dilke measured them, like others whose paths he crossed en tour, with Darwin’s new yardstick of natural selection:
They were in strict training for their University race with Yale, which was to come off in a week; and as Cambridge had been beaten twice running, and this year had a better crew, they were wishful for criticisms on their style. Such an opinion as a stranger could offer was soon given; they were dashing, fast, long in their stroke; strong, considering their light weights, but terribly overworked. They have taken for a rule the old English notions as to training which have long since disappeared at home, and, looked upon as fanatics by their friends and tutors, they have all the fanatic’s excess of zeal.
Rowing and other athletics, with the exceptions of skating and base-ball, are both neglected and despised in America. When the smallest sign of a reaction appears in the New England colleges, there comes at once a cry from Boston that brains are being postponed to brawn. If New Englanders would look about them, they would see that their climate has of itself developed brains at the expense of brawn, and that, if national degeneracy is to be long prevented, brawn must in some way be fostered. The high shoulder, head-voice, and pallor of the Boston men are not incompatible with the possession of the most powerful brain, the keenest wit; but it is not probable that energy and talent will be continued in the future generations sprung from the worn-out men and women of to-day. [99]
Vanity Fair featured Dilke in 1871 just before the less spectacular of the two great crashes in his political life. Elected three years earlier (at age twenty-five) as a Liberal M.P. for Chelsea, he came to see Gladstone’s government as unduly conservative, and in 1870 organized the Radical Club of like-minded members to press for more aggressive reforms in such areas as voting rights and education. At the same time, republican sentiment was on the rise, due in part to the declaration of the French Republic and, at home, an economic slump and working class disillusionment with the Reform Act of 1867. In the summer of 1871, an anonymous pamphlet entitled What Does She Do With It? appeared questioning the Queen’s disposition of her budget, the Civil List. Dilke responded, likely influenced both positively by his grandfather (who had been a mentor and lifelong republican) and negatively by his father (who received a baronetcy for service as a royal commissioner for the 1862 exhibition). In a speech at Newcastle, Dilke called for a parliamentary audit of the Civil List, relying on the pamphlet and an 1855 report by the Financial Reform Association, and concluding: “If you can show me a fair chance that a Republic here will be free from the political corruption that hangs about the Monarchy, I say, for my part -- and I believe the middle classes in general, will say -- let it come.” From an M.P. who shared the podium with working-class leaders at a time of industrial unrest, his remarks were considered beyond the pale. But rather than retreat in the face of such critiques as Vanity Fair’s, Dilke continued to speak on royal finance (with appropriate factual corrections) for the next several months. Tissot’s caricature for Vanity Fair captured the penetrating eyes and aggressive posture of a man on a mission. In March 1872, Dilke formally moved Parliament for an inquiry into the Civil List. Gladstone, a fellow Liberal, cheered on from the Conservative bench, “went ‘smashing’ into him as if he were Chelsea china.” [100] In the end Dilke lost 276 to 2, thereby not only killing parliamentary republicanism but also strengthening the constitutional monarchy, Gladstone’s goal all along.
It took Dilke the better part of a decade to recover. By 1880, his relative moderation on domestic issues and unsurpassed competence in foreign, military, and colonial affairs earned him the Under-Secretaryship at the Foreign Office in the second Gladstone administration. He excelled. Disraeli not only described Dilke as “the rising man on the other side,” [101] but used him as the fictional hero of Endymion (1881): a novel about an under-secretary of state for foreign affairs who becomes premier. In 1882 Dilke entered the Cabinet as head of the Local Government Board, from which post he appeared in Vanity Fair’s 1883 Winter Number, “The Gladstone Cabinet” by Chartran. By 1885, he and Joseph Chamberlain were the recognized co-leaders of the radical wing of the Liberal party, bent on the further democratization of central and local government. In June Dilke drew this barb from Vanity Fair after he and the rest of the Gladstone cabinet resigned, having lost a Parliamentary vote of confidence:
DILKE CUM COBDEN
Dear Charles, pray take no further pains:
Think of our words, and leave our acts,
You’ve reasoned, ranted, thundered, wailed,
Weigh the perfection of our plan,
And yet the solid fact remains
And never mind the stupid facts.
That everything you’ve tried has failed.
I fancy that he will be driven
If nations could be ruled by tongue,
To own that such a set of sages
Then your success would be most splendid;
Never before by heaven were given
But now we’re glad your knell has rung,
To draw our happy country’s wages.
Glad that your plague of words has ended.
Peace and goodwill we’ve always preached,
Fly to some realm where earthly rules
We have gone in for arbitration;
Are dead. Go off (with Weg) to Saturn.
Our manly eloquence has reached
There you may find some simple fools
The heart of every righteous nation.
Who pine for statesmen of your pattern.
The wicked ways of despot kings
But we down here have had enough,
We have denounced with noble candour,
We find your sentiments a bore;
And, in our zeal for holy things,
So, Charles, pray talk no further stuff,
We even raised Prince Bismarck’s dander.
Take yourself off, and come no more.
Read through our miles and miles of jaw,
Choose any speech for your selection,
I challenge you to pick one flaw
That mars our round of sheer perfection.
Weeks later, before Dilke could regroup from this modest political setback, disaster struck: one Donald Crawford filed for divorce on the grounds of adultery, naming Dilke as the co-respondent. Mrs. Crawford was Dilke’s sister-in-law, quite young, and among the allegations was that Dilke taught her “every French vice” and orchestrated a ménage-à-trois with one of her servants. To make matters worse, Dilke had in fact twice had an affair with her mother: for a time before he married, and again after he was widowed. The revelation of the details, through the course of two proceedings, made for “the most sensational trial that has taken place [in the New Law Courts],” Vanity Fair declared afterward, “a trial that will be mentioned years hence in the same breath with the Tichborne case, the Mordaunt case, the Belt case, and other causes célèbres associated with Westminster Hall.” [102] (Vanity Fair’s coverage is excerpted below.)
This time Dilke never fully recovered. He lost his Chelsea seat at the July 1886 general election, though defeat had less to do with the then-pending Crawford case than with more purely political matters. For several years following the scandal he avoided office but turned to his pen, especially in foreign and military affairs. That he might be content as a bystander to history was “a misfortune,” wrote Vanity Fair (January 7, 1888). “There was no clearer head than his in the whole House of Commons, and his grasp of details was phenomenal. ‘Literary and historical work,’ which he has mapped out for himself for some years to come, are useful pursuits in their way, but Nature did not intend the author of ‘Greater Britain’ for a bookworm. He is essentially a man of action, and in his present sphere his powers are to a great extent frittered away.”
Dilke’s self-enforced absence from public life did free up time to row. In 1883 he bought property at Dockett Eddy, an island in the Thames near Shepperton. At his bungalow there, completed just before the lawsuit, Dilke enjoyed a structured regimen of rowing, riding, and fencing, all of which he had continued in true Leslie Stephen fashion since Cambridge days. Among his guests were oarsmen from Trinity Hall (such as Reginald McKenna) and a handful of other Oxbridge colleges (such as S.D. Muttlebury from Trinity, Cambridge). One guest, Charles Boyd, recalled one of these “happiest and healthiest of week-ends or more extended summer holidays,” where “the black and white blazer of his old college carried a certain prescriptive right to share in every belonging of the most famous of old Hall men”:
C.W. Dilke and Bill East, c.1904
Less a country-house, indeed, than a camp of exercise. You did as you pleased, but under Sir Charles’s guidance you were pleased to be strenuous. He called everybody to bathe at 7 a.m., and where was ever better -- fresh-water -- bathing-place than the floating raft below the boat-house at Dockett? Etiquette required you to dive in and go straight across to the other bank, touch, and return; when, like as not, Sir Charles, in shorts and sweater, might be seen very precisely preparing tea on the landing-stage for the deserving valiant. His little kindnesses had an added and affecting quality from his reserve and sternness. A rare figure of an athlete he was, and a rare athlete’s day his was in that retreat. For hours before he called and turned out the morning guard he had been up busy gardening, or reading, or writing. At a quarter to nine he breakfasted. Very shortly after breakfast an ex-champion sculler, the admirable Bill East, would arrive from Richmond, and he and Sir Charles would row in a racing skiff a measured mile or more of the river. One summer at least he changed from the rowing kit to boots and breaches after his rowing, and rode till luncheon. At four o’clock there would be a second bout with East, and thereafter, having changed from his rowing kit into flannels and his Hall cap, he would take Lady Dilke in her dinghy, which nobody else has ever used or will use. [103]
Dilke returned to Parliament in 1892 as Liberal M.P. for the Forest of Dean, where he pursued an independent blend of social radicalism in domestic policy and power politics in foreign affairs until his death in 1911. A recent comprehensive biography credits him with a great deal during this final stage, which historians formerly overlooked due to the denigration he suffered by his contemporaries at the time of and well after the Crawford divorce. Indeed, even the centenary history of the Trinity Hall Boat Club, published in 1930, virtually omits Dilke while showering notice on every other alumnus who made rank in the judiciary, clergy, or politics. For his own unpublished memoir, Dilke chose an epigram from Ibsen that Leslie Stephen could have penned: “We are all of us run over, sometime or other in life. The thing is to jump up again, and let no one see you are hurt.” [104]
Crawford v. Crawford[ edit ]
On the success of Greville’s Memoirs, Dilke remarked that it made one think that “the art of biography consists solely in the reviving of forgotten scandals.” [105] About himself the record has been mixed: his literary executrix who was also his niece did her level best to skip the Crawford case entirely in her 1917 biography, Roy Jenkins did the opposite in 1958, and David Nicholls took a middle path in 1995. The first mention of the case in Vanity Fair (August 1, 1885) reported on Dilke’s withdrawal from public life, his immediate reaction to the refusals of Crawford to agree to a private investigation and of Mrs. Crawford to a retraction:
The very sudden and very unexpected withdrawal of Sir Charles Dilke from all his engagements, from his place in the House of Commons, and from all political activity whatever, is a very serious blow to the Radical section of the Liberal Party. It involves the loss of action in Parliament for which Sir Charles had been counted upon, and will probably involve also the abandonment of that campaign in Ireland from which so much had been expected. It is in every sense a remarkable phenomenon and a portentous one, for Sir Charles Dilke has justly been regarded as the most possible and practicable of all the Radicals. He has governed himself with great judgment and caution, his deliverances have been entirely free from that offensive character which has made so many of his late colleagues to be personally hated, and he has shown much statesmanlike ability in the elaboration and the conduct through Parliament of some of the most important practical measures that have been passed in our time.
It is inevitable that the sudden self-effacement of so important a politician should give rise to gossip and to rumours, and accordingly the town is full of stories affecting to be precise and circumstantial, accounting for it on special personal grounds. It would be however extremely unfair to accept, much less to adopt, any such stories. When a public man retires from public life, either temporarily or permanently, the only reasons for the course he takes which can fairly be entertained or canvassed are those which he publicly assigns for it himself; and in this case the reason assigned is the very probable, natural, and sufficient one of ill-health arising from overwork. It is a reason which must therefore be freely accepted, and which it is equally unfair and ungenerous to question or to override by the adventurous whispering of irresponsible gossip.
Within two weeks, the Crawford case and the allegations concerning Dilke had become public, and Vanity Fair (August 15, 1885) offered its legal and political prediction:
The “Dilke Scandal” seems already to have become a permanent department of news with some of the papers, and the Tories appear to expect that it will be the end of Sir Charles Dilke’s career, and to expect this with all the greater confidence since the publication of Sir Charles’s own letter on the subject.
I do not share these anticipations. My expectation, on the contrary, is that the affair will either be settled out of Court altogether, or else that, if it comes into Court, it will be so conducted as to cause the least possible scandal. My reasons are these:-- This is in every sense a family quarrel. The principal parties to it are all connected by ties of relationship, and all the parties belong to the Liberal ranks. Sir Henry James, the counsel for Sir Charles, is a Liberal who has achieved a high position; Mr. Inderwick, the counsel for Mr. Crawford, is a Liberal who has three times fought constituencies in the Liberal interest, and who is ambitious to achieve a high position; Mr. Crawford is a Liberal who was to have contested East Lanarkshire in the Liberal interest; and Mr. Eustace Smith is the Liberal Member for Tynemouth. Now Sir Charles Dilke is held by all Liberals to be of absolute necessity to their Party. It is certain, therefore, that superhuman efforts will be made to avoid anything that would fatally discredit him and cause the Liberal Party to lose the service of his undoubted talents. It is equally certain that the greatest pressure will be brought to bear upon everybody here concerned to do anything that can possibly be done to arrange the affair either without scandal at all or with as little scandal as possible; and, finally it is no less certain that everybody concerned will only be too anxious to do anything humanly possible to bring about this result. From the chiefs of the Party downwards all will use their best exertions and even Mr. Crawford himself may be expected to be ready to adopt any action in this direction which will at once save his honour and avoid for his Party what would be regarded as a fatal disaster.
Later in the same issue Vanity Fair reviewed the main allegations, declining to take a position on them (due perhaps less to Bowles’ innate editorial restraint than fear of another libel case), but taking a stand on the eternal question of the link between private conduct and public office:
We dismiss therefore wholly any consideration of the truth or untruth of these charges; but what is worthy of attention is the general question of how far charges against the private conduct of a public man should be allowed to weigh in dealing with his public career. It is far too often assumed that the two should be kept entirely separate; that the public man is one entity, and the private man another; and that the one ought to be considered and dealt with wholly apart from the other. Nothing can be more false or more absurd. A man is not two beings; he is one; and if it be proved that he is false, dishonest, cowardly, disloyal, and base in his private capacity, it would be nonsensical to suppose that he could be true, honest, brave, loyal, and noble in his public capacity. All that part therefore of a man’s private doings which comes to public knowledge, fairly may be, and most properly should be, taken into account, so far as it discloses the real character of the man himself, and consequently his fitness or unfitness for the public service. He who is clearly shown to have betrayed private trust may reasonably be held likely to betray also a public trust; he who is clearly shown to be corrupt in private matters will probably also be corrupt in public matters; and if it be that such proof of private misdeeds comes before the public as warrants an evil opinion of the character of a public man, it is not wrong and unnecessary, but eminently right and necessary, that the knowledge thus acquired should be brought to bear upon the claim of the man to public confidence. But if, on the other hand, the facts established only go to show that the man in question is moved by ordinary venial human weaknesses, or has been guilty of ordinary venial indiscretions, then it would be eminently unfair to visit upon him a public penalty for private faults of such a character. The whole question turns upon the character of the acts established. If they be such as affect his character for honesty, honour, and trustworthiness, they are necessary elements in estimating his fitness for public affairs; if they merely affect his discretion or his strength of mind, they are rather to be generously disregarded. A bank manager would be wrong in refusing to take into account proofs that one of his cashiers had cheated a friend; he would be right in refusing to take into account proofs that he had eaten himself into an attack of jaundice.
Thus it may well be that a case of the kind alleged against Sir Charles Dilke may prove to be of such a character as may, upon a right judgment, be regarded as irrelevant to his public position, and unnecessary to be taken into account; or, on the other hand, it may prove highly relevant to it, and very necessary to be taken into account. It all depends upon the complexion of the case, and the degree to which it is established, if at all. It is right to bear these considerations in mind, and especially to bear them in mind now, because the matter is now sub judice, and because in all probability it cannot possibly be brought to a decision until after the General Election takes place. Sir Charles is therefore entitled to the benefit of the doubt that hangs over every undecided case, and of his own denial of the charge.
Mr. Justice Butt heard the case on February 12, 1886. It consisted solely of Crawford’s account of his wife’s confession and the testimony of two witnesses that she had spent certain nights away from home. Mrs. Crawford was not present; Dilke was, but on his lawyers’ advice did not testify. Under the rules of evidence Mrs. Crawford’s confession helped prove Crawford’s case for a divorce, but could not be used against Dilke himself. In addition, Dilke’s lawyers feared that his reputation would suffer more from questions into his private life were he to take the stand (even if overruled as objectionable and thus not requiring an answer), than it would if none were asked. Sir Charles Russell, Dilke’s chief counsel who had also been C.B. Lawes’ in the Belt case, said so to the court, gratuitously noting that “in the life of any man there may be found to have been some indiscretions.” In the end, Justice Butt found the record sufficient to prove Mrs. Crawford’s adultery (Crawford got his divorce) but not to prove Dilke’s (so he was dismissed from the case and awarded his legal costs). To the newspapers, including Vanity Fair (February 20, 1886), this outcome was ridiculous, and proved Mrs. Crawford a fallen but honest and courageous woman, Justice Butt a Liberal patsy who ought to be impeached, and Sir Charles Dilke either dishonest, not a gentleman, or both:
THE SOCIETY VIEW OF THE DILKE CASE.
This is what Society says:--
Society is far from being censorious or over-severe in cases of what Mr. Attorney-General Charles Russell very prettily calls “indiscretions.” It is, on the contrary, most long-suffering and indulgent with regard to them, as many a man and woman now in Society, who otherwise would not be there, can testify. Neither is Society at all disinclined to allow a man -- so long as he “behaves like a gentleman” -- to escape on a flaw in the indictment. There was, not so long ago, a general rejoicing in Society over a case in which it was held that a certain person had “rushed old Hannen,” and avoided, together with the lady, punishment for an offence which all Society nevertheless thought most likely to have been committed.
But Society draws the line nevertheless somewhere, even in cases of this description. Nobody in Society can be found to defend the conduct of a man who debauches a child of eighteen to whom he has access by virtue of his kinship and of his intimate relations with her parents. Society condemns that as being beyond the limits of the fair “indiscretion” at which it may fairly wink. And it condemns such conduct still more uncompromisingly if the man has added to the offence by debasing the child’s mind and by initiating her into the obscene practices of French refinement. All this however, and no less, is what is charged against Sir Charles Dilke by Mrs. Crawford’s confession. The Judge believed that confession and Society believes it too, and (whether rightly or wrongly) treats the matter as though there were no doubt remaining whatever about any part of the confession.
How the confession arose Society holds that it knows exactly. And the belief in Society is this: That Mrs. Crawford, having given up her “indiscretion” with Sir Charles Dilke -- having, in fact, been abandoned by him -- for eleven months, was living, and intending to live, as many another has done, happy ever afterwards with her husband in domestic felicity and forgetfulness. But when that last fatal anonymous letter arrived, she saw it and reflected. She saw that she was pursued by a pitiless, unrelenting enemy, whom she believed to be no other than her mother. She felt that if, after so long as a whole year of good conduct and desire to atone for the past, she was not left alone by her enemy, she never would be left alone. She might indeed destroy this letter before her husband saw it -- but others would reach him (as others had) at his Club or his office. It was clear that there was no peace or truce for her. What should she do? She would do this. She would make a clean breast of it, and would thus at once bring to an end the strain she could no longer bear, and at the same time be avenged both on the man who had debauched and deserted her, and also upon her mother who was so evidently determined to hunt her to despair and ruin. And so it was that she told her story -- and told it, not merely in bare outline, but with all the horrible details which take it outside any common story of debauchery and desertion.
And now, with regard to Sir Charles Dilke, what Society blames is, not his “indiscretion,” nor even so much the fact that this indiscretion was so great and exceptional as to take it beyond the time of all possible toleration; but rather that, when he was brought to book, his conduct was not what Society holds it should have been, but quite otherwise. “Voyou tant que tu voudras -- mauvais genre jamais” [106] is the principle that Society lays down, and it holds that, under the most trying circumstances, a man must behave “like a gentleman.” And Society holds that Sir Charles Dilke has behaved like one who has taken and acted upon the advice of a sharp attorney with an eye to virtuous dissenters; there is nothing about his conduct either of the magnificent impudence or of the generous assumption of blame which in these matters Society expects a gentleman to show.
Suppose the charge to be false -- the mere false invention of an hysterical woman. In that case Sir Charles’s duty, as a gentleman, was to go into the box and deny it all, to prove that the lady was hysterical and deluded, and thus to save her as well as himself -- but her above all. As a gentleman it was his duty to do this -- his duty for his own sake; his duty for her sake; his duty for the sake of her mother, whose name had been so terribly handled in the affair.
Or, again, suppose the charge to be true. Suppose it to be so thoroughly and completely true that Sir Charles could not dare to go into the witness-box to deny it and to expose himself to having brought against him the proofs which in that case would have been easily accessible. Here would be a situation in which his testimony could not avail either to save the lady or to save himself, and in which therefore he could not go into the witness-box at all. But in that case the only course for a gentleman to take was to stand wholly aside; neither to enter an appearance nor to make a defence, but to let the case go by default, and to suffer in silence any penalty that the Court might impose upon him.
But Sir Charles did none of all this. What he did was to deny, and yet not to make his denial in the only effective, the only useful way. And what is worst of all is that his friends, whom Society believes to be prompted by himself, go, and have gone, industriously about to declare that he is an injured innocent; that he is as pure as the driven snow; that the whole charge has originated in no indiscretion of his, but only in the utterly unfounded imaginings of an hysterical woman; that Sir Charles is a maligned man, and Mrs. Crawford a malignant, mad woman -- that all the faults are hers, and none of them his. Society would be quite ready to believe this if Sir Charles had brought any evidence of it, or if he had successfully sworn it; but to ask Society to believe it in the absence of all evidence whatever, and to persevere in asking it, is to act in a way in which Society holds that no gentleman should act.
Moreover, Society does not view with favor any man who, under any circumstances, puts the fault in a case of this kind wholly upon the woman, and refuses to bear any part of it himself. It holds that men and women are alike liable to “indiscretion”; but that if ever such indiscretions are discovered, or alleged, the stronger should shield the weaker vessel, and the man should take upon himself a fair share, and even the major share of the blame. In connection wherewith it remembers the case of Valentine Baker, who, as it holds, did behave like a gentleman.
Under all these circumstances, Society distinctly holds that Sir Charles Dilke has not come up to the necessary standard, and it reprobates him severely.
The case could have ended there but for Dilke’s decision to instigate a second proceeding in a desperate attempt to reclaim his reputation. The legal vehicle was to have the Queen’s Proctor, who represented the Crown in divorce and probate matters, intervene to attempt to show that Mrs. Crawford had not committed adultery with Dilke. The ensuing trial ran from July 16 to July 23 before Mr. Justice Hannen, Dilke testifying “with a complexion not unlke Mrs. Crawford’s dress -- light olive-green” (Vanity Fair (July 24, 1886)):
THE CRAWFORD CASE IN COURT. BY ONE WHO WAS THERE.
The original suit of “Crawford versus Crawford and Dilke,” heard last February before Mr. Justice Butt, had a good deal to recommend it to the evening newspapers; but, compared with the present week’s sensation of “Crawford versus Crawford, the Queen’s Proctor showing cause,” it was tame, inconclusive, shadowy, and unsatisfactory. Dramatically, the first trial was deficient. The principal characters -- good, bad, and indifferent -- were not seen; they did not strut the stage or mount the witness-box. They were merely talked about. That, of course, was a grave fault, but it has been set right in the later proceedings, which have kept all London, and indeed all England, on the alert for a full week. Mrs. Crawford has now told her story in open Court. Sir Charles Dilke has been examined and cross-examined. The redoubtable “Sarah” has shown herself to be possessed of a treacherous memory. We have seen the much-talked-of Mrs. Rogerson in the flesh, and heard about her very, very hospitable house. “Fanny,” it is true, has made another of her mysterious disappearances; but her photograph has been handed round from juryman to juryman, the Junior Bar meanwhile craning their necks to get a glimpse of the scrap of cardboard upon which the lineaments of the interesting absentee were imprinted. That “Fanny’s” presence in Court would have given the finishing touch to a very thorough-going sensation is unquestionable; but it is perhaps captious to complain when the whole wretched story has been so fully and nauseously narrated.
It took the jury of propertied London men fifteen minutes to reject the Proctor’s (and Dilke’s) case and affirm the first decision. Again, Vanity Fair (July 24, 1886):
The daily newspapers have, during the whole of this week, held a daily orgy of filth and foulness in their reports of the Crawford case, and, as usual, these prints, who are always so extremely virtuous and proper in their leading articles, have been as disgusting as the case would allow them to be throughout the rest of their columns. And now the case has been ended by the inevitable verdict which stamps Mrs. Crawford as the witness of truth and so gravely discredits Sir Charles Dilke, these same daily papers will be lifting up their pious eyes and hands at the wickedness out of which they have been coining money every morning and evening by sending it into every household in the land.
It is however too much to suppose that the case is ended with the verdict which merely affirms that Mr. Crawford was rightfully entitled to and shall have his divorce, under circumstances which dismissed Sir Charles Dilke from the case. There are already rumours abroad of prosecutions for perjury, which however I expect will come to nothing. But there will certainly be very strong comments made upon the matter, and it will be a long time, which will probably be marked by startling events, before the excitement is abated.
“Historians who have studied the divorce case in any depth have concluded that Dilke was in all probability innocent of any adulterous relationship with Mrs. Crawford,” David Nicholls concluded in his 1995 biography. Evidence assembled after the second case “leaves no doubt that the divorce court had been misled and had based its verdict upon false information. That Mrs. Crawford wove a net of fabrications in which Dilke became inextricably enmeshed is beyond dispute. . . . [Historians] have therefore been left wondering why she chose him as her victim. Their accounts at this point inevitably enter the realm of speculation.” [107]
^ R. Jenkins, Sir Charles Dilke: A Victorian Tragedy, p. 27.
^ H. Bond, A History of the Trinity Hall Boat Club, p. 24.
^ C.W. Dilke, quoted in S. Gwynn & G. Tuckwell, Life of Rt. Hon. Sir Charles W. Dilke, Vol. I, p. 44.
^ Master of Trinity Hall, quoted in S. Gwynn & G. Tuckwell, Vol. I, p. 28.
^ C.W. Dilke, Greater Britain: A Record of Travel in English-Speaking Countries During 1866 and 1867, Vol. I, p. 54. Harvard went on to beat Yale that year, 18:43.5 to 19:10, over three miles at Worcester.
^ Punch, March 30, 1872, quoted in D. Nicholls, The Lost Prime Minister: A Life of Sir Charles Dilke, p. 55.
^ Barrington letter to Dilke, Dec. 25, 1882 (attributing W.E. Gladstone), quoted in D. Nicholls, p. 105.
^ Vanity Fair, July 24, 1886, p. 47.
^ Charles Boyd, quoted in S. Gwynn & G. Tuckwell, Vol. II, pp. 319-20. About riverside cottages in general and Dilke’s in particular, Theodore Hook reportedly quipped that its advantage is that “in the summer you had the river at the bottom of your garden, and that in the winter you had the garden at the bottom of your river.” A Journalist, Bohemian Days in Fleet Street, p. 288.
^ H. Ibsen, John Gabriel Borkman, quoted in D. Nicholls, p. 312.
^ C.W. Dilke, quoted in D. Nicholls, p. xi.
^ Roughly, “Slum as much as you like -- but never in bad form.”
^ D. Nicholls, pp. 193, 195.
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Effie Crockett was said to have composed which lullaby in 1886? | Effie Crockett - Panjury, A Social Review Site
Effie Crockett
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Effie Crockett (1857 - January 7, 1940), also known as Effie I. Canning, also known as Effie C. Carlton, was an American actress. She is credited with having written and composed the lullaby "Rock-a-bye Baby"; by some accounts she created the song in 1872 while babysitting. Because of "Rock-a-bye Baby", she is credited in over 100 films, many made decades after her death.
ROCK-A-BYE, BABY was composed by Effie Crockett Canning in 1886. Her waltz-lullaby has been sung by millions of mothers.
Effie I Crockett, daughter of Edward and Jennie Crockett, was born 1856 in Rockland, Knox, Maine, and died 7 January 1940 in Waltham, Middlesex, MA. She married 1st 30 July 1881 in Boston, Suffolk, MA to John F. Canning, a Physician, son of John and Mary Canning, born Abt. 1843 in St. John, NB, Canada and died 22 June 1888 in Boston, Suffolk, MA. She married 2nd Abt. 1894 to Harry J. Carlton born Abt. July 1859 in Boston, Suffolk, MA, and died 21 January 1922 in Boston, Suffolk, MA.
Effie I (Crockett) Canning Carlton and her second husband Harry J. Carlton are buried at Mt. Feake Cemetery, 205 Prospect St, Waltham, Massachusetts.
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Effie Crockett
Effie Crockett (1857 - January 7, 1940), also known as Effie I. Canning, also known as Effie C. Carlton, was an American actress. She is credited with having written and composed the lullaby "Rock-a-bye Baby"; by some accounts she created the song in 1872 while babysitting. Because of "Rock-a-bye Baby", she is credited in over 100 films, many made decades after her death. ROCK-A-BYE, BABY was composed by Effie Crockett Canning in 1886. Her waltz-lullaby has been sung by millions of mothers. Effie I Crockett, daughter of Edward and Jennie Crockett, was born 1856 in Rockland, Knox, Maine, and died 7 January 1940 in Waltham, Middlesex, MA. She married 1st 30 July 1881 in Boston, Suffolk, MA to John F. Canning, a Physician, son of John and Mary Canning, born Abt. 1843 in St. John, NB, Canada and died 22 June 1888 in Boston, Suffolk, MA. She married 2nd Abt. 1894 to Harry J. Carlton born Abt. July 1859 in Boston, Suffolk, MA, and died 21 January 1922 in Boston, Suffolk, MA. Effie I (Crockett) Canning Carlton and her second husband Harry J. Carlton are buried at Mt. Feake Cemetery, 205 Prospect St, Waltham, Massachusetts.
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What was former British Prime Minister Margaret Thatcher’s maiden name? | Tin Pan Alley Composer and lyricist Biographies
With "rags" in general we are at enmity, and we pour out the vials of
our wrath on the ragger who invented rag. But seeing that "rags" are on
the market we must acknowledge them. As a sample of this peculiar kink,
Charlotte Blake's "That Tired Rag'" is as good as any of them.
[American Musician & Art Journal, Mar. 25, 1911, p. 18]
After 1919 Charlotte Blake seems to have abandoned her composing career.
She continued living with her family in the Detroit area at least through the early 1930s and apparently never married. Eventually she moved to Santa Monica, California where she died in 1979 at age 94.
Nan Bostick's chronological listing of Charlotte Blake compositions found via titles from the Whitney-Warner and Jerome Remick Library of Congress claimants file, Detroit Public Library's collection of sheets by Detroit composers, or titles in my own, or various other folks' collections:
King Cupid (1903); The Missouri Mule March. (1904); Dainty Dames - A Novelette (1905); The Mascot (March) (1905); My Lady Laughter (1905); Love Is King (1906); Could You Read My Heart (1906); A Night, A Girl, A Moon (1907) Curly March and Two Step (1907); Orchids, Novelette Three Step. (1907); Hip Hip Hooray (1907); The Last Kiss (1907); I Wonder If It's You. (1907); Boogie Man, A Creep Mouse Fun (1907); So Near and Yet so Far (1907); Gravel Rag (1908); In Memory of You (1908); It Makes A Lot of Difference When You Are With The Girl You Love. (1909); Poker Rag (1909); The Wish Bone Rag and Two-Step (1909); Yankee Kid (1909); Honey Bug Song (1910); Bridal Veil Waltzes (1910); You're a Classy Lassie (1910); Love Ain't Likin', Likin' Ain't Love (1910); Meet Me Half Way (1910); Miss Coquette (1910); Love's Dream of You (1910); Roses Remind Me of You (1910); The Road to Loveland (1911); I Don't Need the Moonlight to Make Love to You (1911); That Tired Rag (1911); The Harbor of Love (1911); Queen of the Roses (1913); Land of Beautiful Dreams (1913); Rose of the World (1915); Honey When It's Money (1919).
James A. Bland (b. 1854, Queens NY, d. 1911, Philadelphia) was one of America's earliest and more famous Black composers. He was a performer and member of the "all Negro" minstrel group headed by Billy Kersandis. Bland was at one time, the highest paid minstrel man in America, earning over $10,000 in 1880, a huge salary at that time. He became popular in Europe as well and toured Europe and lived in London for twenty years. It is said he lived a lavish life and in spite of his incredible earnings, in 1901, he returned from Europe, penniless and broke, and went back to Washington, DC. Several of his other songs have also been carried down through history as lasting hits including, Oh, Dem Golden Slippers (1879), Hand Me Down My Walking Cane (1880) and De Golden Wedding (1880). In addition to these songs, he wrote well over 700 other songs. Bland was well educated, attending night classes at Howard University and ultimately receiving his law degree from there. He was the first Black man to be appointed examiner in the United States Patent Office. Bland died of tuberculosis on May 6,1911. He was buried in Marion Cemetery near Philadelphia and in spite of his fame and accomplishments there was not even a death notice in the newspaper to mark his passing.
Walter Blaufuss band leader, composer and radio personality and composed the "Breakfast Club Theme" from the Don Mc Neill radio show of the same name that ran on from June 1933 to December of 1968! Before Garrison Keillor and Lake Wobegon, before Oprah, Jay, Rosie, and Dave, there was Don McNeill and his
Breakfast Club. Walter Blaufuss was an important part of the show as both the orchestra conductor but also as a regular on the show. In the photo here, Blaufuss is on the right, about to eat a donut handed to him by Annette King while McNeill is in the background.
Blaufuss' most enduring hit is no doubt My Isle Of Golden Dreams (scorch) from 1919 but he is credited with a number of other great hits from the period including; Your Eyes Have Told Me So, 1919 with Egbert Van Alstyne, popularized by John McCormack in the Film, I'll See You In My Dreams and who also recorded Blaufuss' When You're in Love in 1927.
As the NBC Musical Conductor for several years, Blaufuss' orchestra also recorded a number of popular and classical works for major record labels including a 1935 recording of Strauss' Blue Danube on Calumet.
P. P. Bliss ( Philip Philipp) (b. 1838, Rome, PA - d. 1876, Ashtabula, Ohio) His father was Isaac Bliss, a practicing Methodist, who taught the family to pray daily. Isaac loved music and allowed Philip to develop his passion for singing. At age 10, while selling vegetables to help support the family, Bliss first heard a piano. At age 11, he left home to make his own living. He worked in timber camps and sawmills. While working, he irregularly went to school to further his education. Inspired by a revival meeting at age 12, Bliss joined the Baptist Church. Bliss had little formal education and was taught by his mother, from the Bible.At 17, Bliss finished his requirements to teach. The next year, in 1856, he became a schoolmaster at Hartsville, New York, and during the summer he worked on a farm. In 1857, Bliss met J. G. Towner, who taught singing. Towner recognised Bliss’s talent and gave him his first formal voice training. He also met William B. Bradbury, who persuaded him to become a music teacher. His first musical composition was sold for a flute. In 1858, he took up an appointment in Rome Academy, Pennsylvania. In 1858, in Rome, Bliss met Lucy J. Young, whom he married on June 1, 1859. She came from a musical family and encouraged the development of his talent. She was a Presbyterian, and Bliss joined her Church. At age 22, Bliss became an itinerant music teacher. On horseback, he went from community to community accompanied by a melodeon. Bliss’s wife’s grandmother lent Bliss $30 so he could attend the Normal Academy of Music of New York for six weeks. Bliss was now recognised as an expert within his local area. He continued the itinerant teaching. At this time he turned to composition. None of his songs were ever copyrighted. ³His fame as a composer was in writing gospel songs, many of which persist to this day. Yjough he was a Baptist, some of his songs have crossed over to other sects. He perished in the fire of the great Ashtabula train wreck in 1876 along with his wife Lucy
Henry Blossom (b. 1866, St. Louis, MO, d. 1919 New York City) Blossom is best known for his one lasting hit The Streets Of New York ("East side, West side, all around the town.") from the 1906 production The Red Mill, also in collaboration with Victor Herbert. Blossom was primarily a librettist and lyricist in the musical world but his original profession was that of an insurance broker. His Kiss Me Again (Scorch format) was from the show Mlle. Modiste, first staged in 1905. Blossom wrote the libretto (book) for no less than sixteen shows, with his last, The Velvet Lady, staged shortly before his death in 1919. Some of Blossom's works have been performed as recently as 1981.
Carrie Jacobs-Bond suffered many tragedies in her life but managed to overcome them all through courage and determination. Her life is inspirational and her ability to overcome the odds made her one of America's most loved composers. We've featured many of her works on ParlorSongs and still have many more to present. We recommend you spend the time to learn much more about this remarkable woman by visiting our in depth biography of her and our June, 2000 feature on her music. For even more of her songs we've published, use our search page and search for "Carrie Jacobs-Bond."
Otto Bonnell though mentioned often in musical contexts, it is almost always in the context of his writing of this arrangement of Turkey in the Straw. It seems that most of his lasting works were arrangements rather than outright original composition. He arranged The Cat Came Back in 1893 for Harry S. Miller and that same year, Divorced with Charles Moreland. We found at least two songs he wrote that were published. In 1891 Bonnell wrote the music for She's More Than 7 with W.C. Robey's lyrics. In 1892, he wrote The Man In The Moon May Be Looking with John A. Fraser Jr. I've been unable to find any biographical data on Bonnell.
William Boyce (1710 - 1799) Composer of the melody to The Liberty Song, Boyce is best known as one of England's greatest dramatic composers. He was an accomplished organist and studied under a number of luminaries of the period. He was appointed composer to the Chapel Royal and the King in 1736 and the following year was chosen as the composer for the Goucester, Worcester and Hereford choir music festival. In 1758 he became organist at the Chapel Royal. He held a doctorate of music from Cambridge and composed a number of works that are still in the repertoire. Among them are twelve symphonies, a violin concerto and a number of oratorios.
Edward I. Boyle I've found little about Boyle but for one very intriguing statement calling him the " Celebrated Blind Entertainer" and two other titles besides Roguish Rosie Ray by him, A Ride in a Jitney For Mine (1915) and Jimmie Boy (1918). Surely there is a story worth finding and preserving about this man but unfortunately, I've had no luck finding it.
Stanley Carter and Henry Braisted are another pair of "lost" songwriters. Both are credited with a few other songs written together; The Girl I Loved In Sunny Tennessee published in 1899, You're Not The Only Pebble On The Beach (18??), Whisper Your Mother's Name (18??), At The Cost of a Woman's Heart (18??), The Sporty Widow Brown (18??) and The Maiden Didn't Know A Single Thing in 1895.
John W. Bratton, Born in Wilmington, Delaware in 1867, Bratton enjoyed substantial popularity in the 1890's. . Bratton was educated in Wilmington and at the Philadelphia College of Music. Early on, he was a stage performer in both plays and as a singer. His primary musical activity was as a composer and writer of Broadway shows in the early 20th century. many of his published songs had little circulation and popularity beyond the context of hsi shows. Some of his most notable shows were, Hodge Podge and Company (1900), The Liberty Belles (1901), The School Girl (1904), Buster Brown (1908) and The Newlyweds and Their Baby (1909).
Among his most popular songs were, I Love You In The Same Old Way, Darling Sue with lyricist Walter H. Ford in 1896, My Sunbeam From The South, In A Garden Of Faded Flowers, I Talked To God Last Night, In A Pagoda and The Teddy Bear's Picnic. Unfortunately, few of his songs other than the Teddy Bears Picnic have passed into the present as lasting hits. Bratton died in 1947 in Brooklyn, NY.
J. Kiern Brennan ( b. 1873, San Francisco, d. 1948, Hollywood) began his musical career as a vaudevillian singer and turned to writing lyrics. His biggest hit was A Little Bit Of Heaven, Sure They Call It Ireland, written for the stage show The Heart Of Paddy Wack in 1914. The music for that song was by Ernest R. Ball and with that start, the two teamed for a long line of songs that were popular and lasting hits. Though Ball did write some songs on his own and a few with other lyricists, Brennan in generally considered to be Ball's chief lyricist. As a youth, Brennan worked as a cowboy and took part in the Klondike gold rush. He worked as a singer in a number of Chicago publishing houses and also wrote a number of stage show scores including White Lilacs (1928), Boom! Boom! (1929) and Luana (1929). In 1929, he focused his efforts on writing songs for Hollywood.
Ethel Bridges (1879 - 1951) Bridges greatest collaboration was with the lyricist Dorothy Terriss (Theodora Morse)with whom she wrote several other songs; Hawaiian Lullaby (MIDI) (1919); Beautiful Hawaiian Love (1920); Ching a Lings Jazz Bazaar, (1920) with Howard Johnson; Whispering and Hawaiian Lullaby, 1919. Among her other works are Soldier's Life (1941) with lyricist Tom Woodburn. With so many best selling works to her credit, you would think that she would rate mention in more than a few reference volumes about American popular music yet I could find no mention of her beyond song titles in the over 30 reference works I have. What a slap in the face!
Clara M. Brinkerhoff (1830 - ?) Born Clara M. Rolph in London, was a music teacher, soprano vocalist and translator. She performed actively in New York from 1855 to 1860. Brinkerhoff translated musical reviews from French and Spanish for the New York Musical World. The famous composer and pianist Louis Gottschalk composed a piece for her to sing as did several other notable composers of the day. Interestingly, during this same general era, another woman with the identical name was an inventor of telegraphic equipment improvements. I've had some difficulty finding other titles by Brinkerhoff but among those I could find were; Darling I am Sad, One Flag or no Flag (1864) and Charley, or, A Mother's Fears. Romanza (1864)
James Brockman (1886 - 1967) studied music at the Cleveland conservatory and early in his career was a comedian in stage musicals. His most lasting hit, I'm Forever Blowing Bubbles (MIDI) was introduced by June Caprice in the Passing Show of 1918. Among his other hits were, Down Among The Sheltering Palms, Feather Your Nest (Scorch Format) and the great novelty song, I Faw Down An' Go Boom. Brockman had a long and successful career, turning to film scores later in his life. His partner, James Kendis (b. 1883, St. Paul, MN, d. 1946, Jamaica, NY) had some of his greatest success in his collaborations with Brockman. Kendis formed his own publishing company, Kendis Music Company. Some of his other hits not collaborated with Brockman include, If I Had My Way, Angel Eyes, and Come Out Of The Kitchen, Mary Ann.
Lester Brockton was actually a pseudonym for Mayhew Lester Lake (1879 - 1955) who was one of the most prolific arrangers and composers of band music. Lake was born in Southville Massachusetts in 1879. After studies at the New England Conservatory of Music, Lake played violin in the Boston Symphony Orchestra. He later became well-known as a conductor, first at the Payret Theater in Havana, Cuba, and then with a number of stage performers, including Sophie Tucker, Al Jolson, and Mae West. After moving to New York, Lake made arrangements for some of American popular music's greatest performers and songwriters including Victor Herbert, George M. Cohan, Percy Grainger, Edwin Franko Goldman, John Philip Sousa, Henry Hadley, and Paul Whiteman.
For thirty-five years, beginning in 1913, Lake was also editor-in-chief of the band and orchestra department at the music publisher Carl Fischer. The manuscripts in this collection were used by Lake's concert band, the Symphony in Gold, which he conducted for NBC radio. Lake's autobiography, Great Guys: Laughs and Gripes of Fifty Years of Show-Music Business was published in 1983. His music is featured on volume 79 of Robert Hoe's Heritage of the March series. Lake published pieces under several pseudonyms including Lester Brockton, Paul DuLac, Charles Edwards, William Lester, Robert Hall, and Alfrey Byers. (Information from the University of Maryland Universities Site, American Bandmasters collection . Lake biography and page written by Patrick Warfield, ABA Project Manager )
Shelton Brooks ( b.1886, Amesburg, Ontario, Canada d. 1975.) A child of Native American and Black parents, Brooks learned his keyboard skills on the family pump organ. His father was a Preacher, and Shelton and his brother would play the organ at services. (Shelton played, and his older brother pumped the Bellows pedals which Shelton couldn't reach.) His family emigrated to Detroit, and the 15 year old Shelton made some appearances as a child prodigy. In time, he became a cafe pianist, and a very famous black performer. He performed as a pianist, playing Ragtime around 1909 and began his composing career with mainly Ragtime numbers.
Shelton wrote his first big hit in 1910, Some of These Days with his own lyrics. He had already introduced the song in his own vaudeville act, when Sophie Tucker's maid, introduced both him and the tune to Sophie. Tucker loved it and she made it her theme song. Brooks also tried his hand at performing is stage roles such as Plantation (1922), Dixie To Broadway (1924), and Ken Murray's Blackouts of 1949. Perhaps Brook's best known hit was his 1917, hit The Darktown Strutter's Ball. Among hos other great songs were Walkin' The Dog, There'll Come A Time and Jean. Brooks enjoyed a long recording career as well. Many of his recordings were comedic for example the Okeah record 4632 carried the titles, Collecting Rents and Chicken Thieves both comedy skits, not songs. Shelton died on On September 6, 1975. (Biographical facts from kinkle V. 2, p. 625)
Arthur A. Brown, the composer was born in 1877 and died in 1954. His best known composition is Glad Light and that is the sum total of information I've been able to find about him.
A. Seymour Brown (b. 1885, Philadelphia - d. 1947, Philadelphia) Brown was an actor and lyricist. In addition to his lyrics for the 1914 work, Rebecca of Sunnybrook Farm, his best known work is Oh You Beautiful Doll (Scorch format) (1911). Brown also wrote lyrics for a number of Broadway productions including; Rufus LeMaire's Affairs (1927), Adrienne (1923) and A Pair of Queens (1916). As an actor he starred in a number of productions including the 1907 musical The Grand Mogul. Among his other songs are Gee, But I Like Music With My Meals with Nat D. Ayer.
Lew Brown (1893 - 1958) wrote lyrics for some of the most popular songs of the 1920s and 1930s as part of the song writing team of De Sylva, Brown, and Henderson including The Best Things in Life are Free, I Used to Love You But Its All Over Now, Life Is Just a Bowl of Cherries, Youre the Cream in My Coffee and Sunny Side Up.
He was born Louis Brownstein in Odessa, Russia on December 10, 1893. His family brought him to America in 1898 at the age of five and he attended De Witt Clinton High School in the Bronx, New York. While still in his teens, he began writing parodies of popular songs of the day, and eventually began writing original lyrics. His first songwriting partner was Albert von Tilzer, an already established composer fifteen years his senior, and in 1912 they had a hit with I'm The Lonesomest Gal In Town. In 1916 the pair had another big hit with If You Were the Only Girl and in the course of the next few years they had a number of successful songs, one of which, Give Me the Moonlight, Give Me the Girl, was revived in the 1950s by the popular British singer Frankie Vaughan.
In 1922, Brown met Ray Henderson, a pianist and composer, and they quickly started writing songs together. Their first hit was Georgette, introduced in the Greenwich Village Follies of 1922. In 1925, Brown and Henderson were joined by lyricist Buddy De Sylva, creating one of the most influential and popular songwriting and publishing teams in Tin Pan Alley.
With De Sylva and Brown collaborating on the lyrics, and Henderson writing the music, the threesome contributed songs to several Broadway shows including such as George Whites Scandals of 1925 and 1926 which featured the songs The Birth of the Blues, "Black Bottom, and Lucky Day. In 1928 the threesomes own Broadway musical, Good News, with a book co-authored by De Sylva, opened in 1927 and ran for 557 performances. Among its hits were The Best Things In Life Are Free, Good News, and Lucky In Love. In 1928, Hold Everything! (book by De Sylva and John McGowan) opened and ran for 413 performances, making a star of Bert Lahr. The songs included Youre the Cream in My Coffee. 1929's Follow Thru, again with a book co-authored by De Sylva, ran for 403 performances and introduced Button Up Your Overcoat and in the 1930 production of Flying High, Brown for the first time joined De Sylva and John McGowan as book writer, as well, of course, as collaborating with De Sylva on the lyrics. Once again Bert Lahr was in the cast, and the show ran for 347 performances.
In 1929, De Sylva, Brown and Henderson sold the publishing firm they had founded in 1925 and moved to Hollywood under contract with Fox studios. Their first film was The Singing Fool, starring Al Jolson, and included the trios hit songs Sonny Boy and It All Depends On You. Say It With Songs, another Jolson film, including the songs Little Pal and Sunny Side Up and Just Imagine (the film version of Follow Thru based on their Broadway hit), were both released in 1930.
In 1931, De Sylva left the team to work with other composers, and Brown and Henderson continued working together producing Life Is Just a Bowl of Cherries and The Thrill is Gone (included in George Whites Scandals of 1931).
Brown collaborated with other composers, including Con Conrad, Moe Jaffe, Sidney Clare, Harry Warren, Cliff Friend, Harry Akst, Jay Gorney, Louis Alter, and Harold Arlen. In 1937, with composer Sammy Fain, he wrote one of the enduring classics of the American popular song, That Old Feeling. In 1939, Yokel Boy opened on Broadway with a book by Lew Brown, and lyrics by Lew Brown and Charles Tobias (additionally, Brown produced and directed the show himself). Songs included in this production included Don't Sit Under the Apple Tree With Anyone Else But Me and The Beer Barrel Polka (with music by Jaromir Vejvoda).
In 1956, Hollywood produced a biographical film about the legendary threesome of De Sylva, Brown and Henderson, entitled The Best Things in Life Are Free. Lew Brown died two years after the release of the film on February 5, 1958 in New York City. (Biography from the songwriter's Hall of Fame at: http://www.songwritershalloffame.org/ )
Alfred Bryan (b. 1871, Ontario Canda - d. 1958, New Jersey). A prolific and prominent lyricist of early Tin Pan Alley, Bryan collaborated with some of the best composers including Percy Wenrich and Fred Fisher. Bryan's most lasting hit was the classic, Peg O' My Heart (MIDI) from 1913 with Fisher. Some of his other works include Rainbow (1908),and It's A Cute Little Way Of My Own sung in 1917 by the great Anna Held in the show Follow Me.
Dan Bryant (1833-1875) Bryant was christened Daniel Webster O'Bryant. He founded the Bryant Minstrel troupe and by the time this song was published had left minstrelsy and had taken to the stage to act in plays. Among the plays he performed in were, Handy Andy, Rory O'More, The Irish Emigrant and (of course) Pat Malloy. Appropriately, all of the plays he performed in had room for a few Irish songs for Bryant to sing. Here is what The New York Times had to say about his performances: July 27, 1865
"WALLACK's THEATRE. -- Mr., DAN BRYANT's appearance here last evening attracted one of the largest audiences we have ever seen within the walls of this popular establishment Mr. BRYANT is already so great a favorite in another sphere of art, that the audience, reinforced with the lieges thus obtained, was kindly not only to the gentleman himself, but to all his surroundings. As the surroundings were not of the best, they have every reason to be thankful to the lieges.
Mr. BRYANT played in two pieces -- the "Irish Emigrant" and "Handy Andy," both of which have previously introduced the gentleman to a dramatic audience. They were played a few months since at the Academy of Music, on the occasion of a complimentary benefit which was tendered to Mr. BRYANT, who, we may now add, displayed then all the geniality that was noticeable in his excellent performance of last evening. We have many Irishmen on the stage, and the best are those who in their impersonations mark certain peculiarities of character in the Hibernian mode of doing and saying things. Mr. BRYANT unquestionably brings a fresh stock of manner and "business" to Irish parts. He is always occupied with the bye-play of the scene, without thrusting himself too prominently upon it, and his bye-play is extremely good. For the rest he speaks a brogue which, if it be open to criticism, is at all events very pleasant, and unusually quiet, genial, humorsome and telling. It is hard to criticize such pieces as the "Irish Emigrant" and "Handy Andy," but we may say that for Summer weather they are acceptable, and peculiarly so when rendered with the heartiness that marked the performance of the principal parts last evening. Mr. DAN BRYANT's success was indeed unmistakable and deserved. It will be his own fault, or the fault of a versatility that leads him into other channels, if he does not speedily become one of the best comedians on the American stage.
Ernie Burnett (b. Cincinnati, Ohio 1884 - d. Sarnac Lake, New York, 1959) Like many composers of the era, Burnett spent a few years as a vaudeville performer. He left the United States while still a teenager to get a formal education in music abroad. He studied in Italy, Austria and at the Charlottenburg Conservatory. On his return in 1901 he performed as a pianist in vaudeville. He led his own orchestra and founded his own publishing company. In WWI he served in the 89th division of the AEF. Melancholy appears to be his only song composition of note.
Earl Burtnett (b. 1896, Harrisburg, IL - d. 1936, Chicago) Perhaps best known as a popular band leader in the 20s and 30s, Burtnett also was a pianist in jazz bands, arranged music for Art Hickman and wrote many very popular works, several of which are well known today. Educated at Pennsylvania State College, he arranged music for Art Hickman and his band till 1929 when he took over the band. Their good ensemble sound assured them of play in some of the leading ballrooms in the midwest including the Drake Hotel in Chicago. His many songs include; Canadian Capers (1915), Down Honolulu Way (1916, ) Do You Ever Think Of Me? (1920), Leave Me With a Smile (1921), Mandalay (1924) and 'Leven Thirty Saturday Night (1930). Unfortunately, Burtnett's career was cut short by his untimely death at only age 39.
Charles Wakefield Cadman (1881-1946) A native of Pennsylvania, Cadman was educated in Pittsburgh, where he spent time as a church organist and music critic. In 1904, he began publishing organ pieces and ballads. But it was an interest in American Indian lore than really launched his composing career.
Inspired by the various ethnological inquiries then in vogue in America's ill-fated quest to preserve the dwindling Native American culture, Cadman spent the summer of 1909 collecting and recording Omaha and Winnebago tribal melodies and studying American Indian music. With a Native American princess, the mezzo-soprano Tsianina Redfeather, he toured the country between 1909 and 1916, giving music-talks on Amerindian music .
Any reputation left to Charles Wakefield Cadman is based on a pseudo-Indian song popular in the 1920s, called From the Land of the Sky-Blue Water (Scorch format). In the 1930s, though, he was San Diego's leading musical celebrity. (From an article by Welton Jones in the San Diego Union Tribune and from PBS / WNET.org, reprinted at sandiegohistory.org )
Anne Caldwell (b. Aug 30, 1867 Boston - d. Oct 22, 1936 Beverly Hills ) I add this entry and vent, as I often have about the infuriating loss of information about so many woman composers from America's past. It often seems that we can find information on some of the least significant, sometimes inept male composers while women of prodigeous talent are ignored. None of my references provide any biographical information for Ms. Caldwel,l and what a loss that is for all of us. I do know that she wrote a number of books and lyrics for Hugo Felix and other composers. In fact, her credits include many more works than Felix, as many as twenty-seven productions yet she has been virtually ignored. Among her many credits (having written the book and lyrics and in some cases the music as well!) are; The Top o' th' World, she composed the music for this musical show in 1907, The Nest Egg, an original play(1910), The Lady of the Slipper (1912), Chin Chin (1914), The Lady in Red (1919), Hitchy-Koo (1920), The Magnolia Lady (1924), Take the Air (1927) and Three Cheers (1928). A 1975 (39 years after her death) revival of Very Good Eddie included song lyrics from some of her prior works.
Hughie Cannon, an American composer from Detroit (b. Detroit, 1877 - d. Toledo, OH, 1912) was a pianist for many vaudeville performers. Next to "Bill Baily", his other greatest hit was He Done Me Wrong, written in 1904 for the musical Frankie and Johnny. Cannon also wrote Just Because She Made Dem Goo-Goo Eyes with John Queen in 1900 and I Hates To Get Up Early In The Morning in 1901 also in collaboration with Queen.
Richard Carle ( b. Jul 7, 1871 Somerville, MA, USA - d. Jun 28, 1941 North Hollywood, CA, USA ) Was a prominent producer, writer, lyricist and composer who is best known for his many musicals, musical revues and stage plays. He enjoyed a fairly long and productive career and staged many works from 1899 to 1930. Among his works are; The New Yorkers, 1930; Adrienne, 1923; The Broadway Whirl, 1921; The Cohan Revue of 1916, 1916; Jumping Jupiter, 1911; The Hurdy-Gurdy Girl, 1907 and Children of the Ghetto, his first staged work in 1899.
( Biographical data and play list from the Internet Broadway Database at http://ibdb.com/person.php?ID=8297 )
Bob Carleton (1896 - 1956) did publish at least three other songs during his career, Struttin' Jim in 1923, Teasin' in 1922 which enjoyed a popularity similar to Ja-Da as a jazz work and was regularly played and recorded by a number of bands of the jazz age, and a late life hit, Where The Blues Were Born In New Orleans in 1947. The latter was introduced by Louis Armstrong and his band in the film New Orleans and also on record. Phil Harris also featured a version on record and radio. I've been unable to find much more on Carleton.
Harry Carroll was born born Nov. 28, 1892, Atlantic City, New Jersey and died 1962, Mount Carmel, Pennsylvania. Self taught, Harry was playing piano in movie houses even while he was still in grade school. He graduated high school and went to New York City, where, during the day, he found work as an arranger in Tin Pan Alley, and, during the night, playing in the Garden Cafe on 7th Avenue and 50th Street. In 1912, the Schuberts hired him to supply songs for some of their shows. He collaborated with Arthur Fields on his first hit On the Mississippi, with lyrics by Ballard MacDonald (for the show The Whirl of Society). Among Carroll and MacDonald's best known compositions, are 1913's There's a Girl in the Heart of Maryland (midi), and The Trail of the Lonesome Pine (midi), and It Takes a Little Rain With the Sunshine to Make the World Go Round.
In 1914, he wrote By the Beautiful Sea , (Scorch format) with lyric by Harold Atteridge. In 1918, Carroll produced his own Broadway musical Oh, Look!, and the classic I'm Always Chasing Rainbows , (Scorch format) was written with the lyric by Joseph McCarthy. Harry married Anna Wheaton, and the two starred in vaudeville for many years. After the decline of vaudeville, Harry was a 'single' act in various cafes, where he sang his own songs.From 1914 thru 1917, Harry was the director of ASCAP. Carroll is a Songwriters' Hall of Fame member.
Ivan Caryll (b.1861 in Liège, d. 1921, New York City) Felix Tilkins, which was Caryll's real name, had emigrated to England from Belgium in his youth. At first he had known hard times and earned his living by giving music lessons to women in the suburbs; he was so poor that he of ten had to go without a proper meal. Then he sold some numbers to George Edwardes and was put under contract. Though the public knew him as lvan Caryll, everybody in the theatre called him Felix. When conducting he used to sit as near the footlights as possible and watch the artistes like a hawk when they were singing. Though not a big man, great force radiated from him; when he was conducting his big concerted numbers and finales, he would suddenly swing his body right round and appear to sweep the orchestra along with him during the passage.
Caryll prided himself on being one of the best dressed men in town; he was most extravagant and spent money as soon as he earned it. This peacock was in his element driving up to the Gaiety in his Victoria, then hearing the audience's applause as he walked on to the stage and took his bow. He became renowned for his lavish hospitality; he used to entertain his theatrical friends in princely style, was an excellent host and very popular. Geraldine Ulmar, his first wife, has been mentioned as a Gilbert and Sullivan star. (Preceeding biography and photo courtesy of The Gilbert and Sullivan Archive at http://diamond.boisestate.edu/gas , Curator Paul Howarth, used with permission.)
As a composer of light opera and Broadway shows, Caryll was quite productive. From those productions many of his songs became popular. His lifetime works include the songs; Golden Moon (1887), Everything's At Home Except Your Wife (1912), The Boy Guessed Right (1898), Venus Waltz (1912), The Piccaninnies (1898), Thy Mouth is a Rose (1913), The Runaway Girl (1898), Goodbye Girls, I'm Through (1914), Daisy With the Dimple On Her Chin (1901), Love Moon (1914), The Toreador's Song (1901), Oh, This Love! (1914), Coquin de Printemps (1905), Ragtime Temple Bells (1914), Experience (1906), Along came Another Little Girl (1917), Do You Know Mr. Schneider? (1907), Come And Have A Swing With Me (1917), Come Back To Me: Do You Recall? (1909), Follow The Girls Around (1917), By the Saskatchewan (1910), Wait Till The Cows Come Home (1917), My Beautiful Lady (1910), Some Day Waiting Will End (1918), Oh, Rosalie (1910), There's a Light in Your Eyes (1918), The Kiss Waltz (1910), The Girl I Never Met (1920), The Pink Lady (1911) and The Girl Who Keeps Me Guessing (1920)
James G. Clark. In researching Clark, I encountered an 1880 edition of Potters American Monthly, an illustrated magazine. Potter devoted several pages to Clark's life and career as an American composer. The article is somewhat lengthy but in my opinion, merits re-publication here to shed light on an otherwise forgotten composer and to enjoy the style of writing of the period.
"No introduction to the readers of the 'MONTHLY' will be necessary for the subject of Mr. James G. Clark. As poet and recitationist, song composer and vocalist, he has made himself heard and known from one end of the land to the other. For many years he has recited his own poems and sung his own songs throughout nearly every State in the Union, until with them, his face and voice have become familiar and home-like. To this acquaintance already made, it is but natural that the public should feel interested in adding some knowledge of the former life of one who bas done so much to give them entertainment and enjoyment.
James G. Clark was born in Constantia. Oswego County, New York State; and there. on the shores of the beautiful Oneida Lake he spent his early years: until he attained his majority.. His father was a prominent farmer and surveyor, and the: son's boyhood was passt'd between his studies and assisting about the farm. It is to his mother perhaps that he owes principally his poetical and musical tastes and inclinations, as they are to some degree inherited. She was of a highly sensitive, poetical and musical organization, and was a remarkably sweet and expressive singer. While attending to her household duties she was constantly singing,. and her children were born with her gift, and were natural musicians. When be was but three years old she taught James, seated upon her knee, to sing Kirke White's "Star of Bethlehem" to the air of " Bonnie Doon ", reciting every word distinctly - a trait, by the way, that still marks his public entertainments. 'Tis pity that it should be an uncommon one.
He was first led to compose music, or rather to improvise it, by becoming acquainted with poems that he longed to sing, but for which he knew no tune. Among them were many of Tom Moore's. These lyrics he would commit to memory, and at work or at play, at home, in the woods. or on the lake. he would sing them to melodies of his own invention; for the music already set to them was unknown to him. The poems of Tom Moore and of Ossian, in little pocket volumes, were constant companions of his toil, and made all labor seem light. After satisfying himself with the melodies he bad set to his favorite poems, be would try their effect upon his companions and then upon his parents and an elder sister, Mrs. Haynes, to whom he was devotedly attached. At home he seems to have met with every encouragement, the. family considering his efforts something remarkable for a boy of sixteen, as he then was. Of this time he writes, "My parents and this noble and beloved sister saw promise in my crude efforts at composition, and were always ready to lend me their aid and sympathy. The idea of ever publishing any of my improvised tunes had not entered my brain. I was fascinated with the wealth of imagery and of melody expressed in the poetry, and sang them almost involuntarily, simply because they seemed. to burst into melody of their own accord as I repeated them over and over in solitude or in company with other boys." The songs of Moore that charmed and haunted him most were " Araby's Daughter," "Dear Harp of my Country," "The Minstrel .Boy," "Let Erin remember the Days of Old," "O Breathe Not his Name" and that exquisite lyric referring to Robert Emmett's betrothed, "She is far from the land where her young Hero sleeps."
During all this time he never supposed that he should subsequently set music to his own poems. and sing them and hear them sung by others in all parts of the land. In fact, he seems to have had no ambition in that direction, never having made any attempts in the way of poetry until after e was seventeen years old. It was then the "spirit manifestations began to appear and make themselves felt, and resulted in innumerable verses on "Time," "The Tempest," "Lost Ships" and kindred topics. They were crude enough, as may be supposed, but always musical, for his ear was so attuned that he could not write otherwise. These he generally submitted to his fa!her, who had some taste for poetry, and a rarely intelligent and critical mind; but as for music, he never learned but three tunes in his life, and those his wife taught him, after many trials that be might join in the family worship. To quote again from a letter of Mr. Clark: "My good father, of blessed memory, always found something to commend as well as criticize in my efforts. and like my mother and elder sister. always encouraged me. At last I wrote a poem of some three hundred lines" called "The Maiden of the Wave, an Indian Tale of Oneida Lake." It was mostly composed as I walked up and down the shores of that beautiful sheet of water 'by moonlight alone.' After rewriting and revising the poem, I took it to Syracuse. New York, and offered it in person to the Daily Standard for publication. It is now an influential Republican newspaper. but was then a little sheet, of limited circulation, edited by Moses Sommer's, who is one of the most genial and generous of men, treated the verdant and embarrassed young poet with great kindness and consideration, and after reading a few lines of the production, accepted it with thanks. It was published. and made me for a time quite famous among tube readers of the paper and in my native village."
Soon after this his father began to think it about time he should choose some business pursuit, and, to that end, he apprenticed him to a country merchant, Mr. H. S. Conde in the village of Central Square, some ten miles west of the old farm. Mr. Conde, an excellent and intelligent man, who perfectly understood his business, did his best to make of the young clerk a. successful merchant; but all his efforts were of little avail. It wasn't in our budding poet to keep store for a living. Nothing pleased him better than to be excused from business and to stroll off by himself through the beech and maple grove at the edge of the village and dream over the poems and songs that, in spite of work, seemed striving for expression within him. And besides, he had something else to dream about. Yes he was in love. But let him give his reminiscence in his own words: "I was in love with Deacon Mcfarlane's sweet·faced adopted daughter, Mary. Between Mary in my heart, and the poetry in my head, I contrived to be but a poor clerk for Mr. Conde. One night after the store was closed, an intense longing came over me to see my ladye love. She was only ten miles away like Sheridan. It was moonlight in June, and Mr. Conde's gray mare was in the barn. Asking no questions, for conscience' sake, concerning my right to appropriate the steed without permission, I saddled the creature and galloped off. I reached the house of Mary at about midnight, and, as was my romantic custom, awoke the good Scotch family with a serenade. Mary dressed herself as speedily as possible and came down to the front door to meet me. After we had watched the moonlight on the lake for an hour or so, I bade her good-night and returned to my place of business. It was after three o'clock in the morning before I and Conde's mare were safely stabled. The face of my employer looked serious when I met him in the morning. It seems that one of the other clerks had seen my departure and arrival and had told of it. The good hearted merchant took me to one side, and without once alluding to my escapade, quietly suggested that he had grave doubts about my being able to make a success of mercantile pursuits, and that I had better give it up. I agreed with him, as I had long been of the same opinion, but did not care to 'break it to him suddenly.' His action saved me the trouble. He was more than just to me in our settlement, and we parted good friends."
And so ended the attempt to make a business man of him. He now had time and opportunity to devote to his studies, that had been for some time neglected; and also to take thorough musical instruction under good masters, of which he eagerly availed himself. It was about this period that he wrote the beautiful and familiar hymn, "The Mountains of Life." His mother had suggested to him to write a hymn, and it was to gratify her that he undertook to do so. For months the subject haunted him, and at last the three stanzas were committed to paper, and presented to his mother for a first reading. "I shall never forget." he writes, "the effect they produced upon her, she read them over several times and literally baptized them in tears. It would seem as though the blessing she imparted to that poem was prophetic of its future career." "The Mountains of Life" was first published in the Syracuse Journal, and has since gone all over the land through the press, and in educational works and church tune books. It has been plagiarized by a dozen hymn-writers, and, as an eminent doctor of divinity has expressed it, "been seed corn for the production of more than a score of popular hymns and revival songs."
It was not long after this that he composed both words and music, that ever popular song, "The Old Mountain Tree." It was published by Oliver Ditson, of Boston, who gave great encouragement to its young and inexperienced author, just started in life, and for which he still feels grateful. The song was received with great favor; and his ambition once fired by the spark of success, he had not long to wait for a new inspiration. "The Rover's Grave" was his next song, and equally well received; and then he followed "The Rock of Liberty," and "Meet Me by the Running Brook."
These songs were first introduced by "Ossian's Bards," a very popular concert troupe, of which Mr. Clark himself was musical director, and the famous humorist, Ossian E. Dodge the organizer and proprietor. When "Ossian's Bards" were disbanded, Mr. Clark took to the field alone, and has given musical readings and ballad entertainments throughout the States ever since, with the exception of a few months in 1839, when he was again associated with Mr. Dodge, with Mr. Charles F. Browne ("Artemus Ward") as advance agent. On the tour he met Coates Kinney, editor of the Zenia (Ohio) News , and author of that beautiful song, ""Rain on the Roof." Mr. Clark set it to music, and the song became very popular, and has since gone into many music and glee books.
Mr. Clark's solo concerts, if they may be so termed, are in the form of musical lectures, combining lecturing, singing and recitation, so as to present a pleasing variety of sentiment, song and humor. They are in no way sensational, and never fail to attract and interest the more cultured and refined of the communities in which he gives hid entertainment.
His last tour with Mr. Dodge was cut short by a cold on the lungs which led to a severe attack of lung fever. His family were then located at Dansville, New York, to which place he hastened. On the morning after his arrival he was prostrated with congested lungs; and for six days he fasted in order to break up the fever. It was during those six days that he composed the words and music of "The Beautiful Hills," perhaps the best song he ever wrote. He says: "As I lay upon my bed, the words, melody, and harmony were all clearly and distinctly revealed to me as though a band of singers had been rendering them within my hearing; and before the impression left me, I had transferred it to music-paper. The song was afterwards published, and dedicated to Dr. James C. Jackson, in whose care I had been, and who had saved my life." Mr. Clark regards "The Beautiful Hills" as his most successful song, and one that has sold more largely than any other, unless it be "The Old Mountain Tree."
"Where Have the Beautiful Gone?" "'Tis Sweet to be Remembered," "Moonlight and Starlight," and "We Cannot Give Thee Up," a temperance song, were all well received, while "Marion Moore," one of the most perfect of his lyrics, was never generally popular.
Among his contributions to the songs of the war, and which were widely copied by the press, are; "Let Me Die With My Face to the Foe," "Freemont's Battle Hymn," "The Voice of the Army" (afterwards reissued as "Logan's Gathering," with a portrait of General Logan on the title page); and "The Children of the Battle-field."
Mr Clark almost invariably wrote the poetry as well as the music for his songs. Among the few exceptions, and which have been successes, might be mentioned the following songs, to which he composed the music; "When the Mists Have Rolled Away," by Anna Herbert; "Dare to Say No," by Horace M. Richards, and "Nowhere to Go," by Mary Sarvossa, both temperance songs; and "We've Drunk from the Same Canteen," a camp song by Charles G. Halpine ("Miles O'Reilly)."
Among Mr. Clark's latest popular songs are "The Isles of the By-and-By," and "Where is Home?" an exquisitely beautiful song, by Father Ryan, the "poet priest." He has also lately composed a campaign song, published by Root & Sons of Chicago called "The Solid North," which promises to be very popular as a political campaign song.
Perhaps Mr. Clark's more enduring fame will rest rather on facility as a songwriter and ability as a poet than as a composer of music. He says himself that his music is only the imperfect incident of sentiment embodied in lyric poetry by himself and others, and that he is never satisfied with his efforts at musical composition. However that may be, the people seem to differ with him in that respect, for few are those whose melodies carry with them a greater charm or give more real, unalloyed enjoyment, They never have the general flashy popularity of many for a time better known but ephemeral productions; but they live, and are in demand by the intelligent and thoughtful year after year, when as his publisher, Oliver Ditson has remarked, "the so-called 'popular songs' are forgotten."
Some of his poems excel in beauty of figure and expression, and will always retain for their author a place in future poetical anthologies. Among his best known poems, some of which travel annually through the press from one end of the Union to the other are "Leona," "The Boatman's Dream," a glowing and beautiful tribute to the Martyr-President, the length of which only precludes its reproduction here; "Art thou Living Yet?" "Marion Moore," "November," "The Mountains of Life," The Beautiful Hills," and "Going Home."
Mr. Clarks poems have appeared in collected book form, though many of them have place in collections and school readers. Several selections may be found accompanied by a graphic sketch of the poet in a volume lately issued by D. Lothrop & Co., Boston, entitled "Waifs and their Authors," edited by A. A. Hopkins of the American Rural Home, Rochester, New York.
He has lately written his most lengthy and important poem, called "The Mount of the Holy Cross," the subject being one of the Colorado mountains of that name, and composed while visiting in that region a short time since. The poem has not as yet been published, but is recited by Mr. Clark at his entertainments, receiving a gratifying reception, not the least of which being a complimentary letter from the poet Longfellow. It is Mr. Clark's intention to issue the ode in book form, illustrated, during the coming season.
Mr. Clark is a man of family, being blessed with a wife and two children living. His present home is at Minneapolis, Minnesota, where he is on the editorial staff of the Saturday Evening Spectator, a first class weekly, literary and family newspaper. At the age of sixteen he was confirmed in the Episcopal Church; but in a characteristic letter, he says, "In religion I am an Independent - a sort of guerilla, fighting error of all kinds, but working either outside or inside of organizations as circumstances may direct. I respect all beliefs through which people find help and inspiration, from the Roman Catholic to the most liberal; but do not choose to confine myself to any one method or set of methods, believing that they all contain a mixture of truth and error, and not wishing to place myself in such relations to them that I will be blinded to the faults or virtues of any."
In the cause of good he has sung like a Sankey; in the cause of temperance he has talked like a Murphy. The portrait of Mr. Clark at the head of this article will give the reader a tolerably fair idea of his personal appearance. He is tall, nearly six feet in height, muscular and robust, weighing one hundred and eighty pounds, and well proportioned. His health is excellent and he prides himself on having always been a total abstinent from stimulants and narcotics. His admirable organization gives him a remarkable power of endurance, whether the call be made upon his intellectual or physical faculties. In conversation he is remarkable for graceful fluency and brilliant expression, while few are gifted with a more ready wit, or with better faculty for agreeable repartee."
Grant Clarke ( b. 1891, Akron, OH - d. 1931, California) who was also a major hit lyricist from the period. Clarke wrote material for such greats as Bert Williams and Fanny Brice. He was a publisher and also a staff writer for several NY music publishers. His hits include a number of classics including Am I Blue? and Second Hand Rose .
George Linus Cobb ( b. Mexico, New York on August 31, 1886, d. Brookline, Mass. December 25, 1942) was best known for his Ragtime works such as Russian Rag (Midi) featured in our Ragtime Edition in June, 1999. Educated at Syracuse University, he won a composition contest in Buffalo with the song Buffalo Means Business. He started out writing mostly Rags then moved to NYC and started writing songs in Tin Pan Alley. He went to work for Boston publisher Walter Jacobs and later became editor for Jacob's music magazine The Tuneful Yankee, later changed to Melody. and wrote a monthly column giving advice to would be songwriters. His first published Rag was Rubber Plant Rag, in 1909. That was followed by Canned Corn Rag in 1910 and Bunny Hug Rag in 1913. That same year he collaborated with the great Jack Yellen and wrote the hit song All Aboard For Dixieland. Cobb seemed to find a "zone" with the Dixie songs and wrote several other big hits with Dixie themes including the million seller, Alabama Jubilee in 1913 and a later hit Are You From Dixie? in 1915. The afore mentioned Russian Rag was written in 1918 and it too sold over a million copies and became a perennial vaudeville virtuoso favorite for many years. The song was such a hit that the publisher asked Cobb to write another Rag using the same Rachmaninoff prelude as a basis. Cobb then penned The New Russian Rag. Both Russian Rags are considered masterpieces and are still favorites of skilled pianists the world around.
Will D. Cobb (1876 - 1930) Cobb, a Philadelphia native was educated at Girard College there. He was a department store saleman who wrote song lyrics on the side. One of his earlest works was Goodbye Dolly Gray with Paul Barnes in 1897. His career really took flight when he met Gus Edwards and they began collaborating on songs. their greatest hit is probably School Days (scorch format) in 1906 but they had many other hit songs as a team. Cobb also collaborated with other important composers of the period. Cobb died in New York City in 1930.
George M. Cohan was born in Providence, RI on either the 3rd or 4th of July 1878. Cohan always used the 4th as his birthday and it certainly served him well to do so throughout his career and after as he became our "Yankee Doodle Boy". From boyhood, he toured New England and the Midwest with his parents and sister in an act called The Four Cohans. By 1900, the Cohans were one of the leading acts in vaudeville. He also played the violin, wrote sketches for the family show and started writing songs by age 13. It was during these early years that he adopted the swaggering and brash image that was so well portrayed by Cagney. His first original musical was Little Johnny Jones (1904), which he wrote entirely himself and in which he starred as the lead. It was successful and included the hit Yankee Doodle Boy and Give My Regards To Broadway (Scorch format). In 1906, his reputation was improved more with the productions George Washington Jr., and Forty-five Minutes From Broadway.
Cohan continued to write and star in musical comedies into the 1920's but at the same time had formed a publishing house in collaboration with Sam Harris with whom he also opened a number of playhouses and theaters including the George M. Cohan Theater in New York. Cohan wrote over 500 songs and it is said that Over There (Scorch format) was the most popular morale song for BOTH world wars. Interestingly, Cohan was untrained as a musician and he professed to write only simple songs with simple harmonies and limited ranges. Regardless, his contribution to vaudeville, musical theater and popular music is undeniable and profound. Cohan died in New York on November 5, 1942.
Lincoln Colcord, the lyricist of the University of Maine's Stein Song , (MIDI) may well have the most unique birthpace of any composer from the Tin Pan Alley years. He was born in 1883 at sea off Cape Horn, South Africa. "Captain Lincoln Alden Colcord and his new wife, Jane Sweetser Colcord, departed on a two-year voyage on the bark Charlotte A. Littlefield in June of 1881. The voyage would take them around the world and witness the birth of their daughter Joanna in the South Sea Islands and young Lincoln's arrival during a treacherous winter storm off Cape Horn."( http://home.gwi.net/~tilbury/letters ). Lincoln (jr) attended the University of Maine and graduated in 1906. The arranger of the music, A.W. Sprague later joined the U of Maine faculty and chaired the Department of Music. It would appear that the Stein Song was his only foray into songwriting.
Edward W. Corliss should not be as elusive as he seems to be. Having written three Broadway shows and several popular songs, it would seem that the available resources would at least mention him however, none in our library so much as mention his name. However, we have found evidence of a number of songs he published and at least one, written for Brown University's Hocky Team in 1895, Ki-Yi-Yi (To be sung when the hocky team scores.) From that, I assume he attended Brown around that time. Among his other known songs are; The Man Behind The Gun (1899), Rosalie (1901), , Katrina (1902), Psyche (1902, Scorch format) and Life Is Quite Endurable (1908).
Con Conrad (b. 1891, New York City, d. 1938, Van Nuys, CA.) was born Conrad K. Dober and came to Tin Pan Alley by way of vaudeville where he had starred since age 16. His first published song was Down In Dear New Orleans in 1912. He was a partner in a publishing firm, The Broadway Music Corporation, with Henry Waterson (later of Berlin, Waterson & Snider) and by 1918 was associated with other publishers, including Shapiro Bernstein. Conrad's 1920 hit Margie was a resounding hit and established Conrad as a major songwriter of the era. Margie was written for Eddie cantor and the name came from Cantor's five year old daughter. Cantor introduced the song at the Winter Garden and later included it in the 1921 revue, The Midnight Rounders. Conrad wrote a number of other big hits from 1920 through the 30's till his death. Some of his big hits included, Barney Google, 1923 with Billy Rose , Ma! (He's Making Eyes At Me), 1921 and Prisoner of Love in 1931.
Lynn Cowan is yet another of those elusive composers for whom I've been unable to find any substantial biographical information. There was a Lynn Cowan who performed in a number of film musicals as well as silent films from 1924 to 1934 but I've been unable to make a connection to this composer. Cowan is credited with at least three songs I have found; first, his wonderful 1918 work, Kisses (Scorch format) with Alex Sullivan, then in 1928 he published Dream House with lyrics by Earl Foxe and then in 1929, a song for the film The Great Gabbo; I'm In Love With You with lyrics by Paul Titsworth.
C. (Carl) Cramer was the brother of Johann Baptist Cramer (1771 - 1858) a prominent German composer and musician and son of Wilhelm Cramer a celebrated composer, violinist and conductor. Carl was a also a celebrated violinist and a respected music teacher. He also composed a number of works including Le Petit Rien, a set of Etudes for piano and the melody for How Can I Leave Thee as arranged by Petri. What is unknown to me at this time is whether or not this song was originally titled as the same and whether or not the lyrics were the same when originally written by Cramer.
Henry Creamer was born in 1879 in Richmond, Virginia. One of America's most prominent African American songwriters and performers, his career spanned the golden age of Tin Pan Alley and he was involved in just about every aspect of the music business. He worked for the music publisher Gotham-Attucks for a while, sang, danced clowned and performed in Vaudeville with his pianist and co-composer, John Turner Layton. He also wrote material for Broadway productions from 1920 to 28. His compositions include That's a Plenty (1909), After You've Gone (1918), Dear Old Southland (1921), 'Way Down Yonder In New Orleans (1922) and If I Could Be With You (1930). Creamer died in New York City October 14, 1930. (Life facts from kinkle, Vol 2, p. 758)
Effie Crockett (pseudonym Effie Canning) (1857 - 1940) About all that any reference on the net has to say about Canning-Crockett is that; "she was an American actress and baby-sitter. She wrote and composed the song "Rock-a-Bye Baby" in 1872." I was about to name her as a one hit wonder but did manage to find a few other songs she wrote that were published by Chas. Blake in Boston. Blake published a folio of her works in 1887 that included; Safely Rocked in Mother's Arms, Don't Tread on the Daisies and Tapping on the Panes.
Joseph M. Daly wrote a number of other works, most of which were songs rather than instrumental rags. Included in his credits are Scented Roses Waltzes 1909, Good Fellowship; March and two-step, 1912, Just for a Dear Little Girl, 1910 and The Chicken Reel from 1910 which gained a certain amount of notoriety in being performed by Garrison Keillor et. al on the Prairie Home Companion in January of 2000. As well as having written many contemporary works, Daly also had his own publishing house and had some distinction in publishing at least one of Joplin's Rags.
Benny Davis (1895 - 1979) Davis was primarily a lyricist having written some of Tin Pan Alley's greatest hits. His earliest start in the music business was at age 14 touring with Benny Fields' Tours as an accompanist to Blossom Seeley. He later focused almost entirely on writing lyrics after writing the smash hit Margie in 1920 with Con Conrad. He collaborated with some of the greatest composers of the era including Milton Ager, J. Russel Robinson, Billy Baskette and Harry Akst. He wrote the lyrics for several Broadway productions including Artists and Models of 1927, Sons o Guns and 3 editions of Cotton Club revues. Davis' output was prodigeous and resluted in one of the largest catalogs of credits from that era. Many of Davis' songs were performed in motion pictures and his film credits include older as well as some very recent films including The Cotton Club, The Lady In Red and Son of Mask. His hit songs include; Goodbye Broadway, Hello France (Scorch version) (1917), Margie (Scorch) (1920), Angel Child (1922), Baby Face (1926), I Still Get A Thrill (1930), Chasing Shadows (1935), All I Need Is You (1942) and his last, Follow The Boys (1963). Davis was inducted into the Songwriters Hall of Fame in 1975.
Gussie Lord Davis, (b Dayton, Ohio, 1863 - d. New York, 1899) one of the late 19th century's first commercially successful African-American songwriters. Davis was probably the first Black man to gain success in Tin Pan Alley. He held a number of jobs before becoming involved with music. At one time he was a Porter on the Railroads, and later was a janitor at the Cincinnati Conservatory of Music. It was while sweeping the floors at the conservatory, that he managed to pick up bits and pieces of musical knowledge, and was soon writing ballads. The only musical training he gained was from private study provided him by teachers at the Cincinnati Conservatory. His first published work was in 1880, We Sat Beneath The Maple On The Hill. He later became a protégé of songwriter James E. Stewart who helped Davis break into the music publishing world,. In 1890n he moved to New York and soon became one of Tin Pan Alley's top songwriters. In 1895 he won second place in a contest for the ten best songwriters in the USA. He was the first Black songwriter to win international acclaim for his ballads. The New Grove Dictionary Of American Music describes his music as " sweet lyrical melodies in waltz rhythm with heart wrenching texts. Among the over 300 songs Davis published were a number of other popular works including; If I Only Could Blot Out the Past, 1896, My Creole Sue, 1898, My Little Belle Creole, 1900 and another wedding tearjerker, She Waited at the Altar in Vain in 1897. Davis'greatest hit was the 1896 In The Baggage Coach Ahead (also a supreme tear jerker). Supposedly, when Davis was a railroad porter, he found a young child crying. The child's mother was "in the car ahead', in a coffin. A fellow porter, moved by the tale, wrote a poem about it. Years later, Davis set this poem to music, and sold it outright to publisher Howley, Haviland and Dresser for just a few dollars. Howley induced Imogene Comer to use the song in her act, and it brought a small fortune for the publisher, but nothing more for Davis.
Jessie Bartlett Davis unlike many woman performers and composers is well remembered and we have a good biographical sketch thanks to the 1893 book, A Woman of the Century Edited by Frances E. Willard and Mary A. Livermore. In that tract the authors say the following about her. "DAVIS, MRS. JESSIE BARTLETT, prima donna contralto, born near Morris, Grundy County, Ill., in 1860. Her maiden name was Jessie Fremont Bartlett. Her father was a farmer and a country schoolmaster. He possessed a remarkably good bass voice and had a knowledge of music. The family was a large one, and a sister about a year older, named Belle, as well as Jessie, gave early evidence of superior vocal gifts. Their father was very proud of their talents and instructed them as well as he could. Before they were twelve years of age they were noted as vocalists throughout their neighborhood. They appeared frequently in Morris and surrounding villages and cities in concert work, and they soon attracted the attention of traveling managers, one of whom succeeded in securing them for a tour of the western cities to sing in character duets. The older sister was of delicate constitution and died soon after the engagement was made.
Jessie Bartlett then went to Chicago in search of fame and fortune, and was engaged by Caroline Richings, with whom she traveled one season. She was ambitious to perfect herself in her profession, and she soon returned to Chicago and devoted herself to the study of music, and at the same time held a good position in a church choir. During the "Pinafore" craze Manager Haverly persuaded her to become a member of his original Chicago Church Choir Company, and she assumed the role of Buttercup. That was the beginning of her career as an opera singer. Since that time, through her perseverance and indefatigable efforts, aided by her attractive personality, she has steadily progressed in her art, until she is one of leading contralto singers of the United States.
Her histrionic powers are not in the least inferior to her vocal ability. She is one of the best actors among the singers now on the American stage. She made her debut in grand opera in New York City with Adelina Patti and the Mapleson Opera Company. Adelina PATTI sang Marguerite and Jessie Bartlett Davis sang Siebel. Other grand operas in which she won distinction are "The Huguenots," "Martha," "The Merry Wives of Windsor," "Il Trovatore," "Dinorah" and others. In comic opera she has probably a more complete repertoire than any other singer now before the public. For the last four years she has been the leading contralto of the Bostonians.
Jessie Bartlett became the wife of William J. Davis, a Chicago theatrical manager, in 1880. Her home is in Chicago, with summer residence in Crown Point, Ind. Mr. Davis owns an extensive stock farm at that place. Her home life is very pleasant, and she divides her time into eight months of singing and four months of enjoying life in her city home or on the farm in Indiana. She is the mother of one son, eight years of age. Besides her musical and histrionic talents, Mrs. DAVIS has decided literary gifts. She is the author of Only a Chorus Girl and other attractive stories and a number of poems. She has composed the music for several songs."
Uriel Davis Cited by one website as the "Dance Master," Davis wrote a number of works that were based on dance fads of the 1910s. At least two of his works were original dances fopr which he wrote the music; The Davis Foxtrot (1914), and The Horse Trot (1912.) Among his other dance works are, One Wonderful Night. Hesitation Waltz (1914.) He also is credited with a few songs, among them was Broadway Is My Home Sweet Home (1915)
Arthur Deagon, (b. ca. 1873 probably in Ayr, Waterloo, Ontario, died in Boston, 1927) a Canadian actor/singer and a fascinating figure of Canadian and American theatre history. He was the son of Scots-Irish parents Hiram and Elizabeth and used his upbringing to great effect in his career (as an "ethnic" character actor and as a storyteller). In interview, he claimed to have sung in the church choir and studied singing in Rochester, New York, and have worked in the lumber camps and mines of Michigan and as a professional wrestler before launching his career as "The Cowboy Singer" at age 20. From the start he was a highly physical performer (despite his huge size), and a singer of the first order. Newspapers from across the United States and Canada were noticing him as early as 1898. One of his earliest reviews (provenance unknown) called him a new Irish star, "the sweetest of all singing comedians" in a production of Dion O'Dare. Tours were already taking him back and forth across the border including to cities in New Jersey, to Saratoga, New York, and to the Toronto Opera House. He played in vaudeville musicals, comedy and melodramas like The Highwayman (1899), King Dodo (1900), The Belle (1901) and the smash sensation The Time, The Place and the Girl (1907) which toured America and Canada. He recreated his career (c. 1912) as a monologuist, telling stories of his life before and during his career. He appeared in the Ziegfeld Follies productions from 1909 to 1914. In 1913, he toured to Great Britain with Come Over Here. In 1922 he appeared in the George M. Cohan musical Little Nellie Kelly and in the 1924 Arthur Hammerstein production of the Oscar Hammerstein II/Rudolf Friml sensation Rose-Marie which also toured to Great Britain with its so-called "All-American cast" in an all-Canadian story about Mounties. (Deagon biographical information used with permission from the excellent site, The Canadian Theater Encyclopedia )
Reginald De Koven (b. Middletown, CT, 1859 - d. Chicago, IL, 1920) was a prominent composer and with Harry B. Smith(b. 1860, Buffalo, NY, d. 1936, Atlantic City, NJ) as librettist, wrote this operetta as well as a large number of others including Don Quixote in 1889, Robin Hood, 1890, Rob Roy, 1894 and TheHighwaymen, 1897. His most famous song is Oh Promise Me from Robin Hood. De Koven was also the conductor of the Washington,DC Philharmonic orchestra from 1902 -05. Smith also was librettist for the great Victor Herbert and collaborated with a number of other songwriters of the period. He was responsible for a number of hits including the novelty song, A Woman Is Only A Woman, But A Good Cigar Is A Smoke. I'll bet he made a lot of female friends with that winner!
De Koven was musically trained in Europe and was a graduate of Oxford. In 1827 he travelled to Europe and studied piano and composition in Stuttgart. He earned his degree at Oxford in 1879. During his time there he also studied with Von Suppé, Felibes, Genée and Vanuccini, all operatic composers. In 1882 he returned to the US and was employed primarily as a music critic with Harper's Weekly, The New York World, Herald and Journal and the Chicago Evening Post from around 1889 to 1912. He founded and conducted the Washington (DC) Symphony Orchestra in 1902.
At the same time he was writing and conducting, DeKoven was composing well over 400 songs, orchestral works, sonatas, ballets and two grand operas, most of which have faded into obscurity. It is Robin Hood though, his operetta set in Europe that dominated DeKoven's popularity. His music draws on both traditional opera as well as folk melodies. Banking on
the success of Robin Hood, de Koven later produced Rob Roy(1896), The
Highwayman (1897) and Maid Marian in 1901. None of them ever rose to the
popularity of Robin Hood.
William Richardson Dempster (1809-1871) I've not found so much information about Dempster. He was a very popular performer cited as a "popular singer of Scottish ballads" who did live in Scotland on at least two occasions. Despite the lack of biographical information, he composed quite a few songs including; The Blind Boy (1842), I'm Alone, All Alone, The May Queen, Let Us Love One Another and of course, the Irish Emigrant. One of his works, Cheer Boys, Cheer! was recorded by the American Brass Quintet in 2005.
John Hopkins Densmore (1880 - 1943) Densmore attended college at Harvard (1904) where he wrote Veritas, "the Harvard football song" which has since been replaced as the primary song by Ten Thousand Men. His commercial songs include April, If God Left Only You and I Know Where A Garden Grows.
George Gard ("Buddy") De Sylva (b. 1895 New York City - d. 1950, Hollywood) Though New York born, De Sylva grew up in California and attended USC. He gained an early interest in show business and tried writing a few songs. He met Al Jolson around 1917 or 18 and Jolson convinced him to go to New York and used several of De Sylva's songs in Sinbad and other shows. Jolson and De Sylva collaborated on many songs over the course of their association. In addition to Jolson's shows, he wrote songs for a number of other productions over the twenties and wrote a number of individual songs that became big hits. In 1925 he teamed with composer Ray Henderson and fellow lyricist Lew Brown to write several show scores into the thirties. In the mid 1930's, De Silva turned to the movies and became a producer and produces several of Shirley Temple's best films. He ultimately rose to head of Paramount Pictures and was an executive with Capitol records.
De Sylva enjoyed a nearly lifelong association with Al Jolson and wrote many of his biuggest hit songs. However, Jolson's hits were only a small part of his famous songs, many of which are still popular today. His many hits include, The Best Things In Life Are Free (1927); Button Up Your Overcoat (1928); You Are My Lucky Star (1928); California Here I Come (1922) and If You Knew Suzie Like I Know Susie (1925). His last song was the 1939 song Love Affair from the movie Wishing.
Charles Dibdin (1745 - 1814) Dibden was a prominent composer and writer born in Dibdin, near Southampton, England. He studied music at Winchester College under Kent and Fussell. He appeared at Richmond and Birmingham as an actor and went to London where in 1765 he was employed by Bickerstaff as a composer and singer. In 1788 renounced the stage and began giving medley monodramas in London. Dibdin, according to his son, wrote over 1300 songs and in addition, wrote the music to accompany his entertainments. Of all his songs, few if any are heard today and only a very few became popularized to the extent that they survived into the early 20th century. Among his most popular works were his musical dramas; The Shepherd's Artifice, Love In The City, Damon and Phillida, and Padlock. His literary works include; Music Epitomized, a school book in which the science of music is explained and a history of the stage in five volumes. In 1803, Dibdin published an autobiography of his professional life which included the lyrics to over 600 of his songs. At the time, Dibdin was recognized as the most sucessful seafaring and folk song composer. His skill was also recognized by the King of England during the American Revolution who commissioned him to write war songs as propaganda for England. Interestingly, some of those songs also found favor in the colonies. See our April, 2004 issue about Music as Propaganda for one example.
John Dickinson (1732 - 1808) is perhaps one of the least likely people you would expect to have been a songwriter. One of America's founding fathers and a signatory of the Declaration of Independence, Dickinson is more remembered for his contributions to the building of our country than as a songwriter. His family were English, having settled in the seventeenth century in Maryland; Dickinson himself was born in Talbot County, on November 8, 1732. He grew up at Poplar Hall, the elegant brick mansion of his father, Judge Samuel Dickinson. His initial education consisted of private tutelage but later his parents sent him to London for a proper education. In London he studied law and returned home to practice law in Philadelphia. It was at this time he became involved in politics and was elected to the Pennsylvania Assembly. He distinguished himself in the Assembly, siding with the Proprietary party against the faction led by Benjamin Franklin that sought to turn Pennsylvania from a commonwealth governed by the Penn family to a colony immediately under Royal control. Dickinson, eloquent and stubborn, stood his ground and kept his standing in Philadelphia society.
Later, elected to the Continental Congress, Dickinson proved his skill in drafting declarations in the name of the Congress. One notable one was written with Thomas Jefferson, Declaration on the Causes and Necessity of Taking up Arms, with a conclusion that Americans were resolved to die freemen rather than live slaves. When Richard Henry Lee proposed a declaration on independence, Dickinson opposed it, saying the timing was bad. Dickinson suggested the colonies form a confederation amongst themselves before declaring independence from the Crown. While Jefferson, Franklin, John Adams, and others were appointed to a committee to draft a Declaration of Independence, Dickinson, Roger Sherman, and others were put on a committee to draw up Articles of Confederation. The document Dickinson prepared was heavily amended and revised before being accepted by the full Congress.
When the war began, Dickinson enlisted as a private in the Continental Army, having been a colonel in the provincial militia. Dickinsons company served under General Caesar Rodney, notably at the Battle of Brandywine. In 1781 Dickinson was elected president of Delaware; the next year he resigned that post to be elected president of the Supreme Executive Council of Pennsylvania. While Dickinson was president of Pennsylvania, his old colleague from the Congress, Benjamin Rush, suggested founding a new college in Cumberland County. Rush approached Dickinson about naming the new college John and Marys College, in honor of the president and his lady. Dickinson, appalled at the parallel with William and Mary, demurred, saying that the new Republic should avoid allusions to monarchy. Rush won approval for calling the college Dickinson.
The 1790s saw Dickinson in retirement, living with his wife and two daughters in a townhouse in Wilmington, Delaware. John Dickinson died February 14, 1808, at his home in Wilmington. President Jefferson expressed his sorrow, and both houses of Congress resolved to wear black armbands in mourning. He was buried in the cemetery of the Friends Meeting House, Wilmington.
Harold Dixon wrote a number of other songs including; Ignorant Mama, Papa's Gonna Educate You (1925) , Fireside Blues (1921), Along The Gypsy Trail. Beyond that, I've been unable to find much more about him. It's possible that after writing that 1925 song, he was abducted and tortured by righteously incensed females.
Walter Donaldson (1893 - 1947)
Born in Brooklyn, New York. was one of the most prolific American popular song writers of the twentieth century. He wrote more than 600 songs in his long career. He composed most of his best during the years between the two World Wars, when he collaborated with many of the best known lyricists of his day (among them Gus Kahn, Edgar Leslie, Bud de Sylva, and Johnny Mercer), but he also wrote many of his own lyrics, such as for At Sundown, Little White Lies, and You're Driving Me Crazy.
Donaldson inherited a certain amount of musical skill as both of his parents were musically inclined. Though he received no formal training in music, he began by writing songs and music for school productions. After graduation from High School, he went to work in a brokerage houseon Wall Street. Soon after, he became a "song plugger" on Tin Pan Alley but was fired for writing songs on company time. His first published song, Back Home In Tennessee , (MIDI) in 1915 was an immediate hit and he published two other hits that same year; You'd Never Know The Old Home-Town of Mine and We'll Have A Jubilee In My Old Kentucky Home .
During the First World War, Donaldson performed as an entertainer at Camp Upton New York and he wrote a number of war related songs including Don't Cry Frenchy (Scorch format) and How Ya Gonna Keep 'Em Down On The Farm (Scorch format). After the war Donaldson joined Irving Berlin's firm and stayed with them for a decade. It was this period that Donaldson wrote his biggest and most lasting hits. His Jolson song, My Mammy set the stage for his rise and then his collaboration with Gus Kahn beginning in 1922 established him (and their team) as one of America's greatest songwriters. Some of the hits they generated during this period were; Carolina In The Morning, My Buddy, Yes Sir, That's My Baby, Makin' Whoopee and My Baby Just Cares For Me. Like many songwriters of the period, as soon as movies began incorporating sound, Donaldson went to Hollywood to produce music for the movies.and he contributed a number of songs to movies including, Follow The Boys and The Great Ziegfeld.
Donaldson also collaborated with a number of other lyricists, a list of which reads like a who's who of American popular music; Billy Rose, Lew Brown, Howard Johnson, Ballard MacDonald and George Whiting with whom he wrote My Blue Heaven. In 1928 Donaldson resigned from the berlin organization and formed his own publishing house (Donaldson, Douglas and Gumble). By 1946, Donaldson was plagued with illness and he withdrew from all activities. He died in Santa Monica, California on July 15, 1947.
Donaldson's music lives on today, over a half century since his passing. Many of his songs have been, and still are recorded and the singers who have recorded his songs include the greatest singers of our times including Frank Sinatra, Fats Domino, George Shearing, Django Reinhardt, Fats Waller, Ella Fitzgerald, Bix Beiderbecke, and Louis Armstrong.
Louis A. Drumheller composed and arranged many popular works during the early 20th century, among them are The Old Oaken Bucket, Nearer My God To Thee (MIDI) and In The Sweet Bye And Bye. We know from his Opus number on this work and others we have that he published well over 100 works and yet very little can be found about him in numerous reference works or the web.
Paul Dresser (1857 - 1906) Was born in Terre Haute Indiana. Born Paul Drieser, his brother was the famed novelist Theodore Dreiser (Sister Carrie, An American Tragedy). Dresser's father was a religeous man and urged his son to become a priest. Dresser however would have non of it and put his life energy into his love for music. He loved to play piano, guitar and sing. At age 16, he ran away from home to join a medicine show that sold "wizard oil" and it was then that he changed his name to Paul Dresser. He spent several years wandering from troupe to troupe and in his spare time took to writing songs. His first published work was Wide Wings, published in Evansville.
In 1885 he joined a minstrel troupe and performed in black face and wrote songs for the show. His first hit came in 1886, the sentimental ballad, The Letter That Never Came. Lore has it that he was inspired to write the song over a failed love affair. Regardless of the songs provenance, it established his reputation as a songwriter and success upon success followed. Most of his songs were popular during the grand period of the sentimental ballad from 1890 to 1900 and the titles reflect that sentimentality. Such songs as I Wonder if She'll Ever Come Back to Me, I Wish That You Were Here Tonight and Just Tell Them That You Saw Me were some of his most popular.
By 1901, Dresser had joined with his publisher as a partner and the frim Howley and Haviland became Howley, Haviland and Dresser. Unfortunately, by this time Dresser's popularity was waning and his creativity seemed to have been used up. Dresser's prior success had allowed him to live a lavish lifestyle and he lived in grand style. As a result he squandered his fortunes and ultimately ended up bankrupt. As a result, he had no funds to fall back on and the firm ended up bankrupt also and Dresser's health and spirit seemed broken. He did have one last hurrah left, and it was his best. In 1905 he wrote My Gal Sal and published it at his own expense. A huge hit, selling millions of copies, Dresser did not live to enjoy the success and died in January of 1906 of a heart attack in abject poverty at his sister's home in Brooklyn. In 1942, a screen biography, My Gal Sal was released starring Victor Mature as Dresser.
Though Dresser was a prolific songwriter and one whose songs were quite successful in their time, few of his songs have stayed in the repertoire to this day. The two exceptions are My Gal Sal and On The Banks of The Wabash (1899), now the official state song of Indiana. (Basis for this biography and essential facts from Popular American Composers, Ewen, David, see our bibliography for complete details.)
Jack Drislane (dates unkn.) As with many of Tin Pan Alley's songwriters, Drislane's fairly prolific production did nothing to assure that the details of his life would survive beyond his name association with many important songs of the era. His songs include Arrah Wanna (1906), Keep A Cozy Corner In Your Heart For Me (1905) and Nobody's Little Girl (1907) all in collaboration with Theodore Morse. All of my references make scant mention of Drislane other than his association with Morse. Quite a shame and as always, if any relatives or others who know more about Drislane can inform us, we'll be happy to update our composers database .
Al Dubin (b. 1891 Zurich, d. 1945 New York, NY) Dubin is considered one of the most important lyricists of the Tin Pan Alley (and beyond) era. His output is described by Kinkle (V. 2, p.839) as astonishing. He collaborated with some of the greatest composers of the period and wrote an also astonishing number of lasting hits.
Dubin's family emigrated to the US in 1893 and settled in Pennsylvania. Dubin was educated at Perkiomen Seminary in Pennsburg, Montgomery County, Pa. Dubin worked as a staff writer for a number of New York publishers and served in World War I. His success is described as moderate till he teamed up with Harry Warren at which point his career skyrocketed. Though he wrote many songs before the 20's, it was after 1920 that he was most productive and successful. He wrote many songs for movies including one large score for the film Stage Door Canteen in 1943. Among his collaborations are Jimmy McHugh, J. Russel Robinson, Joe Burke and Jimmy Monaco. Dubin was a large man and was characterized by his own daughter as a glutton. At one point his weight exceeded 300 lbs. and was also a heavy drinker. It is likely his lifestyle contributed to his untimely death.
Some of his many greatest hits are; Tiptoe Through The Tulips With Me, 42nd Street, Shuffle Off To Buffalo, I Only Have Eyes For You, Lullaby of Broadway and Indian Summer. Dubin continued to write songs up to his death at age 53 of pneumonia.
Will E. Dulmage (1883–1953) Songwriter ("Holding Hands"), composer and publisher, educated in high school and in private music study. He was a staff member and later an executive of a Detriot, Michigan publishing company. Joining ASCAP in 1946, his other popular-song compositions include "When It's Night Time in Nevada", "Faded Love Letters", "On the Highway to Galilee", "Golden City", and "Tenderly Think of Me". He wrote film soundtracks for The Gene Autry Show (TV series), Night Time in Nevada (1948) and The Black Rider (1950) (From IMDB )
John S. Duss (b Zoar, Ohio 22 Feb. 1860; d Economy, PA, 1951) was a popular cornetist, bandmaster and composer. Largely self taught, he successfully pursued a career and teacher and bandmaster. In 1902, he conducted several concerts at the Metropolitan Opera and St. Nicholas Rink in NY. In 1903, he toured the US and gave a number of concerts at Madison Square Garden with the Metropolitan orchestra. His programs are described as eclectic with operatic excerpts, overtures and marches. He formed a number of bands during the 1906 and 1907 seasons and gave numerous concerts at popular parks and resorts in the East, Midwest and Canada. In 1907 he retired to Economy to devote himself to composing religious music and the writing of an autobiography. He enjoyed a 44 year retirement before dying at 91 in 1951.
Mary Earl (1862-1932). Back in 1998, I said; "After researchingMary Earl , I'm wondering exactly what does a woman composer have to do to merit mention as an important, even unimportant, songwriter in America? Again, we have a successful composer who wrote a number of popular works who has been virtually snubbed by compilers of American music history. In addition to Love Bird, Dreamy Alabama and Beautiful Ohio (Both MIDI) Earl also wrote My sweetheart is somewhere in France (1917). I hope that someone, somewhere with the resources can correct these grievous oversights and capture the lost heritage of these fine composers and songwriters before it is gone forever."
Someone did! One of our helpful readers, David Meyers from Columbus Ohio's Columbus Senior Musicians Hall Of Fame , sent us a kind note identifying the "real" Mary earl. Mary Earl was a pen name for Robert A. "Bobo" King (b. Sept. 20, 1862 New York, NY, d. April 13, 1932 New York, NY) Nee: Robert Keiser At only age six, Robert was already taking piano lessons. He took a job in Ditson's music store as a young boy. A little later, Leo Feist, the Tin Pan Alley publisher, hired the younster, and before long, he was writing pop songs. In 1903, he had his very first hit song with "Anona".
King was one of those truly prolific composers whose output is not counted.
He wrote songs under his own name, under pseudonyms (very often a feminine
name), and even anonymously! As a result, there is now no way to estimate
his total output.
During WW1, King, like other composers, wrote inspirational war songs. Among them, we find: Lafayette, We Hear You Calling and When the Boys Come Home.
In 1918, he went to work for Shapiro-Bernstein Music Publishers under a
contract to produce 4 songs per month. Two of the songs he composed under
this contract were big hits: the 1918 Beautiful Ohio , (Midi) with lyric by Ballard Smith and his 1919 Dreamy Alabama , (Midi) words and lyric by King. ( both published under the pseudonym of Mary Earl.)
Some of the songs that are directly traceable to King are: Beautiful Hawaii, In Old Manila, Isle Of Paradise, Hawaiian Smiles, I Ain't Nobody's Darling, Why DiId I Kiss That Girl, Just Like a Rainbow, Apple Blossoms, I Scream, You Scream, Ain't My Baby Grand and Moonlight on the Colorado.
During the course of his career, he also composed various concert pieces
including Gavottes; Polkas; Marches, and Waltzes. (many thanks to David for this information, see his Columbus (Ohio) Musicians site at: http://seniormusicians.homestead.com/CSMHOF.html )
Nellie Richmond Eberhart was a poet and considered to be Charles Wakefield Cadman's primary lyricist. With him she produced a number of poems to accompany his music including the most famous of their collaborations, From The Land of the Sky-blue Water (Scorch format). Among her other lyrics for Cadman was At Dawning (1906) which was later recorded in 1912 by the famed Irish tenor, John McCormack.
Gus Edwards (1879 - 1945) Was born in Hohensalza, Germany and at the age of eight his family brought him to America. Considered by some to be the most important songwriter to come out of vaudeville, as a boy he worked as a tobacco stripper at an uncle's cigar store. Gus used to sneak into theaters and somehow made friends with several vaudelville performers, anong them, Lottie Gibson who used the boy as a boy stooge in her act. Blessed with a fine voice, Edwards soon was performing in an act, "The Newsboy Quartet". During this period, Edwards met and received coaching from some of the most prominent performers of the time including George Cohan, Emma Carus and Imogene Comer. With Cohan's encouragement, Edwards began writing songs and his first song was All I Want Is My Black Baby Back in 1898 and performed as a part of the Newsboy act. Edwards did not know how to read or write music so had to enlist someone else to notate the melody for him. During the Spanish American war, Edwards was entertaining troops bound for Cuba and met Will D. Cobb, at the time a department store salesman who wrote songs as a hobby. The two hit it off and decided to work together writing songs. From that collaboration came a long list of hit songs including this featured song and Goodbye, Little Girl, Goodbye (scorch format) in 1904. Edwards worked with other composers and with each, wrote other hits. Among his greatest hits are In My Merry Oldsmobile (see our February, 2001 feature ), By The Light Of The Silvery Moon in 1909 and Tammany in 1905. Edwards continued to stay involved in vaudeville till it finally died out in the late 30's. He retired in 1938 and lived to see his life story made into a movie, Star Maker (1939), starring Bing Crosby. Edwards died in Los Angeles in 1945.
Julian Edwards (1855, Manchester England - 1910 Yonkers NY) wrote a number of operas and operettas as well as one symphony and an overture. Edwards was born D. H. Barnard and adopted his stage name while still in England. Edwards was conductor of the Royal English opera company in 1877. He came to the US in 1889 where he produced a number of comic operas in New York and Boston. His main works were: Corinna (1880), Victoria (1883), King Rene's Daughter (1893), The Patriot (1907), Madeleine, or The Magic Kiss (1894), The Jolly Musketeer (1898), Dolly Varden (1901), When Johnny Comes Marching Home (1902), Love's Lottery (1904), The Girl and the Governor (1906), The Gay Musician (1908), Miss Molly May (1909) and The Motor Girl (1909).
Raymond B. Egan was born in Windsor, Ontario, Canada in 1890 and was mainly a lyricist, most active during the 1920's and 30's. Egan's family came to the US in 1892. Egan grew up in Detroit and began his musical career as a boy soprano at St. John's Episcopal church there. He was a graduate of the University of Michigan and had various early jobs including a bank clerk till he became a staff writer at Grinells Music Co in Detroit and worked with many of the major composers of the period. His most famous song is arguably The Japanese Sandman , (Scorch format) written with Richard Whiting. Also with Whiting he wrote the lyrics for And They Called It Dixieland (Midi) (1916), Mammy's Little Coal Black Rose (1916), Sleepy Time Gal (1918) and the great, Till We Meet Again , (Scorch format) also in 1918. Egan had a number of other extremely well known hits that have lasted till modern times including the great songs, Ain't We Got Fun, Sleepy Time Gal and Three on A Match. Egan collaborated with many of the best composers of the Tin Pan Alley Era, among them were Walter Donaldson, Ted Fio Rito and Harry Tierney. Egan died in Westport, Connecticut in 1952.
Hans Engelmann wrote a number of works that were for children and several other works, one of which has remained in the popular repertoire for a century, his Melody of Love (MIDI) from 1903 which we featured way back in '98. In addition, we have several other works by him; Day Dreams (1901) , Rosebud Schottische (1898), Dolly Varden, a Sunday newpaper supplement from 1903, an arrangement of Gounod's Flower Song from 1902 and Rose of Normandy (1906). In addition, we are aware of at least one march he wrote that is in the current marching band repertoire; Philadelphia Record (1902). In spite of what is clearly a large catalog of works (The Little Hostess is marked as Op. 556), I can find little to no other information about him which really is quite puzzling.
Daisy M. Pratt Erd, is listed on most of her works as a Chief Yeoman, USNRF. Interestingly, the F was for "Female." Secretary of the Navy Josephus Daniels took advantage of the fact that the 1916 law which created the Naval Reserve used the word personnel rather than male when referring to Navy Yeoman and authorized the enlistment of woman as Yeoman (F) on March 19, 1917. Within a month the Navy swore in the first officially recognized enlisted women in U.S. history. The 11,274 Yeoman (F), popularly known as "Yeomanettes", who served in W.W.I were recruited to "Free a Man to Fight". Some of the Yeoman (F) served as chief petty officers but none were commissioned. Daisy Pratt Erd was made Chief Yeoman in charge of women at the Boston Navy Yard with more than 200 women under her supervision and was recommended for an officer�s commission by Congressman James Gallivan but Secretary Daniels explained, "I have no authority to make a woman an ensign and I have given orders that no men shall be made ensigns who do not pass the examinations necessary to qualify them for important duty at sea." Erd wrote several songs during WWI that were designed to instill patriotic responses. Among Them are The Ships of Uncle Sam (1918) and We'll Carry The Star Spangled Banner Through The Trenches in 1917.
(above information obtained from http://www.gendergap.com/military/USmil4.htm ) Photo Daisy May Pratt Erd, 1918 from http://www.history.navy.mil/photos/pers-us/uspers-e/dm-erd.htm
Ernie Erdman wrote a large number of popular hits in the early 20th century, many of them with lyricists Roger Lewis and Gus Kahn. Among his greatest hits are The Hours I spent With Thee, (1915) with Roger Lewis , Tee Pee Blues , (MIDI) 1922, That Peculiar Rag, (1910) lyrics F.M. Fagan, , Toot-Toot-Tootsie (Goo'bye) (Scorch format) (1922) with Gus Kahn and Nobody's Sweetheart in 1923, also with Gus Kahn.
George Evans (b. 1870, Wales - d. 1915, Baltimore) Evans' family brought him to the US at age seven. He became a performer before he was a composer. Known as a blackface minstrel, he starred in Lew Docstader's Minstrels at one point in hios career.According to histories, Evans was well known for his comedic routines which he also performed on vaudeville. In 1894 Evans wrote the song I'll Be True To My Honey Boy which became quite popular and resulted in him gaining the permanent nickname of Honey Boy. Some of his compositions are still well remembered and have become classic "gay 90's style songs. Almost all of his songs were in collaboration with Ren Shields. Among them are In The Good Old Summertime (1902), In The Merry Month of May (1903), Come Take a Trip In My Air-Ship (1904), You'll Have to Wait Till My Ship Comes In (1906) and of course, Waltzing With The Girl You Love (1905).
Bernard Eyges (1893 - 1994) Shown here at the piano with his band, circa 1925, Eyges came to America with his parents (who had first emmigrated to England, where Bernard was born) in 1902. An industrious lad, Bernard worked his way through college in Boston by playing piano, singing and writing his own songs. Around 1923, he formed a band called Bernie's Bunch and managed get his group a gig on WGI, Boston's first radio station. Bernard realized that radio was one way to gain a larger audience and he was right; the group became quite popular. Unfortunately, in 1925 WGI went bankrupt and Bernie's Bunch found themselves unemployed. The members of the band went their separate ways and Bernard was hired to sing on another station, WNAC, first as a solo act and later as a duo with Jack Flynn. In 1926, Bernard formed another group, the "Eyges Entertainers." This group performed on Boston's WNAC from 1926 to 27. Bernard married his dear Jennie about this time and they started a family. Eyges was actually a lawyer by schooling and began to spend more time on being a lawyer to suppport his family. He continued to perform in and around Boston at various clubs with the "Bernard Eyges Orchestra" on weekends well into the 1930's. He ultimately abandoned his musical career to devote himself to his legal career. Besides his Woodlad Rose in 1918, he wrote other songs with lyricist Robert Levenson, including the 1925 Drifting 'Neath the Silver Moon. Eyges died in 1994 at the mature age of 101! (Biographical details and photo provided by Donna Halper , Contributing Editor, Boston Radio Archives .)
John. S. Fearis (b. 1867 - d. 1932) Fearis was a publisher as well as composer, having his own house in Chicago, J. S. Fearis & Bros. It seems that much of his work was focused on children's or teaching works for that is mainly what seems to have survived to today. His most famous works are Beautiful Isle of Somewhere (1897) and Little Sir Echo (1917). Among his other works are; Girl With The Curl (1914), a series of six pieces titled The Flower Garden (1905), Bachelor Sale (1911) and Six Little Playmates (1906). Fearis also wrote one operetta, The Treasure Hunters.
Hugo Felix (b. 1866, Vienna - d. 1934, Los Angeles.) Felix had his first success in Vienna with the operetta Husarenblut (1894) and in Berlin with Rhodolphe (1900). As with so many continental composers, Felix emmigrated to the US to bring his talents to the burgeoning stage musical industry. His first contribution here was a remake of a 1902 Berlin work, Madame Sherry which he rewrote and staged in New York in 1910. Quicly learning the American idiom, he went on to stage at least six other shows including Tantalizing Tommy (1912), Pom-pom (1916), Lassie (1920), The Sweetheart Shop (1920), Sancho Panza (1923) and his apparently final Broadway production, Peg-O'-My-Dreams in 1924.
Arthur Fields (1888 - 1953) primarily made his mark in the music industry as a vocalist and performer. During the 1920's he specialized in novelty songs, minstrel and rhythmic numbers. As a child, he became a professional performer at age 11. As a recording artist he did extensive freelance work and at one point had a record lable under his name, Fields teamed up with Fred "Sugar" Hall in the 20s and co-hosted a morning radio show with Hall in 1937. Despite his recording and performing, Fields also wrote the lyrics to a number of popular songs including Aba Daba Honeymoon (Scorch), On The Mississippi (MIDI), Auntie Skinner's Chicken Dinner and I Got a Code Id By Dose. Fields also wrote a serious work titled 48 Hymns to Happiness.
Fred Fischer (1875- 1942) was born in Cologne, Germany of American parents. Fisher ran away from home at age 13 and enlisted in the German Navy and later, the French Foreign Legion before coming to the US in 1900. He began composing in 1904 and also wrote the words to many of this songs. His first hit was If The Man In The Moon Were A Coon (1905). In 1907, he started his own publishing company with the lyricist of the song Norway , Joe Mc Carthy as a partner for a short time. In the 20's Fisher moved to Hollywood and wrote music for silent movies and early sound musicals. Though early in his career he made his name through ethnic songs, later he made something out of geographic topics such as Norway, Siam (1915)and Chicago (1922). Fisher's music endured well into the forties and one of his songs, Peg O'My Heart (midi, 1913) has become a continuing classic. Fischer wrote it after seeing Laurette Taylor in the Broadway play of the same name and he dedicated it to Taylor. Though a very successful song when published, it was even more successful when it was recorded in 1947 by the Harmonicats and also by Peggy Lee. Sometime around the First World War, Fischer dropped the "c" from his name and used "Fisher" from then on to avoid the stigma of a Germanic name. Known as a contentious, eccentric and excitable person, one of his songs was involved in copyright litigation that continued from 1919 to the 1960's, more than 20 years after his death in NY in 1942. His music is best known for his musical comedic gifts and his ability to make quirky rhythms to highlight creative lyrics.
Most respectfully yours.
Wm. C. Bryant”
Unfortunately, we do not know whether Bertrand ever actually met with the President. Among Bertrand's musical compositions aref: Anderson March 1861, The National Hymn 1861, The Centennial Presentation Hymn 1876, When He Told me that he Loved Me 1882 and Electric Age March 1883.
In 1918, Bertrand's son Bernhard rearranged, renamed and republished some of his pieces. The National Hymn became Peace Forever. The Centennial Presentation Hymn became The Stars and Stripes. Also republished in 1918 were Victory Call, New National Hymn, and Welcome Brave Boys.
Bertrand is believed to have written The National Hymn of 1861 as part of a contest for a new national hymn soon after the Civil War started. The total prize was $500: $250 each to the composer and lyricist. A committee of prominent New Yorkers was formed to review the twelve-hundred submissions that were received. In the end, they didn’t choose any of the submissions and awarded no prize money! The committee didn’t find any of the pieces suitable! Bertrand must have been terribly disappointed.
In addition to his music, Bertrand wrote a play in German (published in 1864) called Enthüllung, oder Rot, Weiss und Schwarz. Ein Trauerspiel in 5 Aufzügen. A tragedy in 5 acts. A copy of the play in the NY Public Library at http://catnyp.nypl.org/record=b4767392 .
Hoffacker died in 1892 in New York City.
(The above biography was researched and provided to us by members of Hoffacker's family. We are extremely grateful for their efforts in sharing this information with us so that Mr. Hoffacker's musical legacy can be properly credited and preserved)
Will M. Hough (1882 - 1962) Was educated at the University of Chicago and wrote material for vaudeville and Broadway productions. His best known work is I Wonder Who's Kissing Her Now with Will M. Hough and Joseph E. Howard (1909). He also wrote a number of books for stage productions that include; The Goddess of Liberty (1909), The Land of Nod (1907) and A Modern Eve (1915).
Frank Howard as is the case with almost all of the pre 1900's composers, is elusive. I've found no biographical facts to share with you but he is credited with quite a few works from as early as 1848 through 1889. The majority of his works seem to have been published in the 1860's. Among his published songs are; Little Bare-foot (undated, 19th century), Uncle Tom's Glimpse of Glory (1852), Golden Leaves of Autumn (1868), Who Says The Darkies Won't Fight? (1862), Profit and Loss (1866) and When The Robins Nest Again (1883).
Raymond Hubbell (b. 1879, Urbana, Ohio - d. 1954, Miami, FL.) Worked originally in Tin Pan Alley for Charles K. Harris as a pianist and arranger and in many respects wrote the music for many of Harris' songs. As a composer he wrote the music for a large number of successful Broadway musicals including Chow Chow (1902), Fantana (1905), A Knight For A Day (1907), Hip Hip Hooray (1915), The Bid Show (1916), Cheer Up (197), The Elusive Lady (1922), Yours Truly (1927) and Three Cheers in 1928 starring Will Rogers and Dorothy Stone. In total, he wrote music for over 30 Broadway productions including several editions of the Ziegfeld Follies. Perhaps his most enduring hit was Poor Butterfly witten in 1916 for the production The Big Show.
Herbert Ingraham (1883 - 1910) has fared somewhat better over time and we do know a little about him. Ingraham was born in Aurora, Illinois in 1893 and was considered a musical prodigy early in life. As a child he conducted his own theatrical company and organized an orchestra in Chicago. He moved to New York and became a staff composer for Shapiro, Bernstein & Co. and was on his way to spectacular success when he contracted tuberculosis and he died at only 27. In the last year of his life, he had several hits including, All That I Ask Of You Is Love, You Are The Ideal of My Dreams and Good-by Rose. Roses Bring Dreams of You was one of his greatest hits and a couple of comedy songs; Because I'm Married and Hoo-oo! Ain't You Coming Out Tonight? His untimely death ended a very promising career.
Harry Jentes (1887-1958) Harry Jentes was an American vaudeville performer and composer of popular music. He wrote a number of rags the best known probably being The Rhapsody Rag (1911) , The Soup and Fish Rag (1913 ) which he co-authored with Pete Wendling and Bantam Step (1916). His best known song is probably I Don't Want To Get Well (1917). Jentes also wrote for some Broadway productions including Earl Carroll's Vanities in 1925 During the 1920's, Jentes cut several piano rolls. He was born and died in New York City.
M. K. Jerome (1893 - 1977) Jerome began his career in 1911(at 18) working as a song plugger for Waterson, Snyder, and Berlin and broke out in 1918 with Just A Baby Prayer At Twilight which, over the next two years, sold three million copies of sheet music and was the most popular song in America.
Throughout the 1920s he wrote with many of the men you've included on your list: Grant Clarke, Sam M.Lewis and Joe Young, Harry Ruby(who he continued to write with in the 1950s) and Bert Kalmar, Fred Ahlert, Harry De Costa and more. Among his other hits during this period were Jazz Baby, Old Pal(Why Don't You Answer Me)which was recoded by Henry Burr and Al Jolson, Bright Eyes(also recorded by Jolson),which made Billboard's chart for seven weeks in 1921) and Dream Kisses( the first song sung by Ginger Rogers on screen.)
In 1929, he was part of the first group of song writers chosen by Warner Brothers-Vitaphone to write for their films. He worked there for the next eighteen years and was twice nominated for Oscars for his songs "Some Sunday Morning" and "Sweet Dreams,Sweetheart" (Biography provided by Jerome's grandson, Gary May)
William Jerome (b. 1865, Cornwall-on-the-Hudson, NY - d. 1932, New York, NY) One of Tin Pan Alley's and early Broadways most important lyricists, he collaborated with many of Tin Pan Alley's greatest composers including Walter Donaldson, Andrew B. Sterling, Harry Von Tilzer and Lewis Hirsch. His main collaborator from 1901 too the 20's though was Jean Schwartz. Early in his career, like many of his fellow songwriters, Jerome performed in Vaudeville and Misntrel shows. He formed his own publishing house who's best known publication is George Cohan's great hit war song, Over There. He wrote music for a number of the Ziegfield follies as well as many stage shows including, In Hayti (1909), Piff! Paff! Poof! (1904), and Vera Violetta ( 1911). His most famous songs include Bedelia (MIDI), Chinatown, My Chinatown (MIDI) and Get Out And Get Under The Moon.
Al Jolson, was the number one performer on the American song stage for many years. A song sung by Jolson was almost guaranteed to be a hit. Jolson billed himself as The Worlds Greatest Entertainer and who could argue? Working in blackface, he sang songs about his southern Mammy with a passion that endeared him to Broadway audiences. His voice, was probably the most imitated and parodied in the world. As a musical comedy star, he belted out songs like Swanee and Is It True What They Say About Dixie? with flair and always demanding applause for his songs and jokes, he was rarely disappointed. Electric, dynamic energy and like a cyclone were some of the terms used to describe his performances on stage; and after singing for three hours with incredible energy, he could still call out: You aint heard nothin yet. Though kind and sentimental, he left much to be desired as a human being. His was an enormous ego. He could be arrogant, surly and a braggart and many of his contemporaries disliked him. But he was a giant in the entertainment world, a hit maker, and always last on the bill because no one could follow him. Though four times married, the love of his life was an audience - any audience. He needed applause the way a diabetic needs insulin.
Al Jolson did not just sing songs - he rattled your backbone and made you want to get up and dance. He was probably the greatest entertainer the world has ever known. (from the Al Jolson site at: http://www.times1190.freeserve.co.uk/jolson. For more about Jolson, see our in depth Jolson biography as well as ourspecial feature on his music.
Burges Johnson (B. 1880 - d. ??) has fared better in history than some of our composers, not perhaps so much as a song writer but as a poet and writer. Also a humorist, Johnson wrote a number of poems, limericks and other works. His works include titles such as; Rhapsody On A Dog's Intelligence, Contentment, A Lyric of The Llama, The Lost Art of Profanity and The Funny Froggy Bubble Book (with Ralph Mayhew). The Funny Froggy Bubble Book (1917) and a second issue, The Second Bubble Book (1918) were compilations of songs, poems and stories for children.
Charles Leslie Johnson was born in Kansas City, Kansas on December 3, 1876. He started taking piano lessons at age six and at sixteen was studying composition and music theory. Incredibly talented, he taught himself to play the violin, banjo, guitar and mandolin. He not only was a composer and performer but also an important patron of the arts in organizing a number of string orchestras. Like many great composers of the times, he was a song plugger early in his career, playing for J.W. Jenkins Sons' Music Company. His first published rag was Scandalous Thompson, published by Jenkins in 1899. Later, Johnson was associated with Central Music Publishing and then Carl Hoffman Music Company. While working at Hoffman in 1906, Johnson was working on a new rag when the bookkeeper walked in and asked him what the name of the new work was. Johnson had not named the song yet but noticed the man carrying a carton of dill pickles. Johnson supposedly replied, "I'll call it 'Dill Pickles Rag.' " After the success of Dill Pickles (Sibelius scorch format), Johnson started his own publishing firm which was purchased by Will Rossiter in 1910 with the stipulation that Johnson not re-enter publishing for at least one year.
Johnson became one of the most prolific composers of the period and expanded his compositions to cover all types of music other than rags. He was published by all of the major firms and was so productive he even resorted to using pseudonyms to make it look like he had a staff of composers working for him. In all, Johnson wrote thirty two rags including Porcupine Rag in 1909 and Blue Goose Rag in 1913. His biggest money making song was Sweet and Low in 1919. Considered a clever and creative composer, Johnson's high sense of humor was often reflected in his works, as it is in Dill Pickles. Always a homebody, Johnson stayed in his hometown of KC for his entire life and died there on December 28, 1950.
Herbert Johnson (1857 - 1904) Ave Maria (scorch format) may have been one of the last songs written by Johnson for he died the year after its publication. We know that he wrote many other hyms and sacred songs, many of which are stunning such as Ave Maria and Face To Face (scorch format) yet very little seems to have been retained about his entire output and life. There also appears to be some evidence of a few secular songs by Johnson although a catalog of his output seems to be lacking.
Howard Johnson (b. 1887, Waterbury, CT, d. 1941, New York,NY) (not the restaurant man) was also one of the greatest lyricists of the period, also with many hits to his credit. His name appears over and over in our collection in such famous works as M-O-T-H-E-R, When The Moon Comes Over The Mountain, Where Do We Go From Here ( Scorch format, featured in the first installment of our three part essay about World War I music ) and Freckles.
Rosamund (1873 - 1964) and J. W. (James Weldon) Johnson (1871 - 1938) were brothers from Jacksonville, Florida. In the vanguard of black popular song composers, the Johnson's enjoyed a rare success in the world of early 20th century Tin Pan Alley. They were teamed with Bob Cole in Vaudeville from 1901 to'06.They primarily worked together during their entertainment careers, separating only on James' was appointed U. S. Consul to Venezuela in 1906 and then on his death in 1938. Rosamond was educated at the prestigeous New England Conservatory of Music in Boston. Together the Johnson's wrote a number of popular and classical works. Among their works were; Walk Together Children (for orchestra and chorus, 1915), Florida Cakewalk (piano solo), De Chain Gang, Under the Bamboo Tree, Since You Went Away, and Lift Every Voice and Sing, often called the "Negro national Anthem." They also collaborated on two stage productions, The Shoo-fly Regiment (1906) and The Red Moon (1908).
Isham Jones (1894 - 1956)Isham Jones was best known as a dance band leader in the twenties well into the thirties. At the same time, a number of his compositions have Jones was born in Coalton, Ohio but the family moved to Saginaw, Michigan when he was very young.
Isham Jones & Orchestra
Passionate about music from an early age, at 18, young Isham started and led his own band. Then in 1915, he moved to Chicago where he played tenor Sax and led a trio. Later he led an orchestra at Green Mill, and at the Rainbow Gardens in Erie, Pennsylvania. By the twenties, Jones was well established and was sought after by some of the best venues. In 1924, he appeared in New York before sailing to London, England.
During this time Jones and his band appeared on many recordings and he became very popular. Jones became equally important as a composer during this period and many of his songs have become standards. He managed to compose hits every year through the twenties and thirties. His hits include; I'll See You In My Dreams (1924), It Had To Be You (1924), My Castle In Spain (1926), Song Of The Blues (1929), Let's Try Again (1932) , No Greater Love (1936) and How Many Tears Must Fall (1948). After the 30's Jones involvement in music became spotty and he led bands at intervals between near obscurity, mostly on the west coast. Jones died in 1956 in Hollywood, Ca. (Essential biographical facts from kinkle, V.2, pp. 1196-1197 and The Wolverine Antique Music Society ).
Albert Jungmann (B. Langensalza, (Prussia) Germany, November 14, 1824; D. Pandorf, Austria, 1892 ) Jungmann studied music theory with Liebrock and piano with Gotthilf W. Körner who later was one of his primary publishers along with G. A. Spina, music publishers in Vienna. Jungmann moved to Italy and was professor of music at the St. Cecilia Acadamy in Rome for some time. He returned to Vienna in 1853. Jungmann also managed one publishing house, Diabella & Co and ultimately succeeded Spina as owner and he changed the publishing house's name to Jungmann and Lerch. He wrote hundreds of salon pieces for piano. His music was quite popular due to its melodiousness and practical technique. He composed some songs and orchestral music but it seems his piano work Heimweh, is his most remembered work.
Gus Kahn (1886 - 1941) is one of America's greatest lyricists. Born in Coblenz, Germany, his family came to the USA and settled in Chicago in 1891. He worked mostly in non-music related jobs but persisted in seeking outlets for his song lyrics. His first song was published in 1907 and after that, he concentrated on writing lyrics for vaudeville performers in Chicago first, then in New York in the 1920's. In 1933, he moved to California and focused on writing for movies. The many eminent composers he teamed with over his long career include, Isham Jones, Walter Donaldson (My Buddy) , Egbert Van Alstyne, George Gershwin and Ernie Erdman (Toot -Toot -Tootsie). Many of his songs have become standards with Pretty Baby (1916) being perhaps the most notable. Other standards by Kahn include, Carolina In The Morning (1922), Makin' Whoopee, 1928 and Liza (1928). His movie biography, I'll See You In My Dreams (1951) starring Danny Thomas and Doris Day is an engrossing story that is filled with many of his hits. Kahn died in Beverly Hills in 1941.
Bert Kalmar (b. 1884, NYC - d. 1947, Los Angeles)Kalmar was one of Tin Pan Alley's more prolific and successful lyricists. Though he primarily collaborated with Harry Ruby, he also collaborated with many of the other great songwriters of the period such as Ted Snyder, Oscar Hammerstein II, Con Conrad and Pete Wendling. Kalmar ran away from home at age ten and worked in a travelling tent show as a magician. He performed in vaudeville primarily as a comedian and began writing material for his own and other performers. He was quite unsuccessful at writing songs till he met Ruby and they began working together. Some of his best known hits include, Oh! What A Pal Was Mary (MIDI), Who's Sorry Now?, I Wanna Be Loved By You and Three Little Words. Kalmar's success as a lyricist also brought him into the Broadway show business and he wrote the scores for a number of very successful shows including Helen Of Troy New York (1923) and Animal Crackers (1928). He also wrote scores for movies, his most memorable being Check and Double Check starring Amos and Andy. One song from that film, Three Little Words, is considered by most to be his greatest hit. His last song, A Kiss To Build A Dream On became popular four years after his death after it appeared in the 1951 film, The Strip. (basic facts from kinkle, V.2, p.p. 1217-18 and Claghorn, p. 247)
James Kendis (b. 1883, St. Paul, MN, d. 1946, Jamaica, NY) had some of his greatest success in his collaborations with James Brockman with whom he composed his greatest hit, I'm Forever Blowing Bubbles (MIDI). Kendis formed his own publishing company, Kendis Music Company. Some of his other hits not collaborated with Brockman include, If I Had My Way, Angel Eyes, and Come Out Of The Kitchen, Mary Ann.
Amanda Kennedy had a successful career as a composer, unusual for a woman during these times. Her greatest hit is Star Of The Sea (Scorch format) (1883), but she also wrote a number of other works such as the Adrienne Polka (1885), Beyond the Stars (1883) and I'll Sleep 'Neath the Soft Grassy Turf also published in 1883.One thing I have discovered in reserching composers and lyricists from this period is the tremendous gap of information related to women composers. Whereas men of feeble ability and few publications are easily found in vbooks from the period, feminine composers are almost entirely ignored, no matter how accomplished or successful. It is only grudgingly that we find refernce to women composers and then only when they simply cannot be ignored. I find this shameful but worse, we have lost valuable musical history and have done the memory of these wonderful composers a terrible injustice.
Jerome Kern (b. Jan. 27, 1885, New York City, d. Nov. 11, 1945, New York City) Kern was one of the most important pioneering composers of American Popular Song, Jerome Kern was writing for Broadway shows in 1904 (age 19). He wrote his first complete score for a Broadway musical in 191l. The Kern/Hammerstein score for the musical Showboat was a landmark in the Broadway theater. He starting writing for Hollywood as early as 1935. After his last Broadway show Very Warm For May, Kern wrote exclusively for motion pictures. During 1913, Kern and other composers and lyricists were experimenting, in the small Princess Theater in New York, with American subjects for musicals. Kern's first big hit was They Didn't Believe Me from the 1914 show The Girl from Utah. In 1919, Kern had a minor hit with the song Ka-Lu-A, with lyric by Anne Caldwell. The huge success of that year was the song Dardanella (midi). Kern used the bass line of Dardanella in his Ka-lu-a, and the publishers of Dardanella sued him. The case went all the way to the Supreme Court where Kern eventually lost. (He was never accused of plagiarizing the melody, only of using the Bass Line.) That case was a landmark for copyright interpretation and protection. Several other hit shows followed in the late 1910's and twenties before his biggest hit musical Showboat. By the end of the thirties Kern had composed his last Broadway musical.
The son of an upper-middle class new York family, Jerome studied at Heidleberg University in Germany, returning to the U.S. with a Master of Music degree. His first published song appeared in a Broadway show, 'Silver Slipper'. Jerome was 19 years old at the time. During the next eight years, he had melodies in over 24 Broadway shows before having his first big hit "They Didn't Believe Me" from the 1914 show The Girl From Utah.
In the 1920's, he wrote material for many shows, but his greatest achievement came with 1927's Show Boat, one of the finest shows Broadway has ever produced. By this time, he had already written such songs as Look For The Silver Lining, Ol' Man River,"Only Make Believe", and "Smoke Gets in Your Eyes." In 1932, he wrote The Song Is You with Oscar Hammerstein for the Broadway show Music In The Air. That same year he signed with RKO Pictures for the films Roberta and, in 1936, Swingtime with it's twin hits of The Way You Look Tonight and A Fine Romance, both sung by Fred Astaire. His last Broadway show was in 1939 Very Warm For May.
In the 1940's: Kern's Hits included: The Last Time I Saw Paris, Dearly Beloved
Long Ago and Far Away, "Just The Way You Look Tonight, Pick Yourself Up and Start All Over Again, I'm Old Fashioned and the Judy Garland hit vocal. "More and More."
In 1945 Kern suffered a fatal Stroke. He was 65 years old.
Albert Ketelby (b 1875, Birmingham, England - d. 1958, Isle of Wight )displayed a talent for music at a young age, and by his teens was composing classical pieces. He attended Trinity College of Music in Oxford, beating out Gustav Holst in a scholarship competition. Although he achieved some critical recognition for his choral and chamber works, his greatest success was in descriptive pieces, much along the lines of Delius's "In the Fens," but with much more exotic subjects. His "In a Persian Market," "In a Chinese Temple Garden," and "In a Monastery Garden" were very popular with theater orchestras and in sheet music form. Although this type of music is now out of style, it was well considered at the time--Ketelby was in some ways the last of a line that included Johann Strauss and Franz Lehar.
Francis Scott Key (1779-1843) was born in Frederick, Maryland, and after an education at St. John's College, Annapolis, he worked as an attorney, first in his home town, and then in Georgetown, in Washington, D.C. In 1814 the British seized Dr. William Beanes in retreat from Washington, and Key was dispatched to arrange his release. This accomplished, Key spent the night of September 13-14 on an American ship as the British shelled Baltimore. In "The Star-Spangled Banner," written on an envelope as he was taken ashore and revised in his hotel after night fell, Key recorded his feelings when dawn broke and the American flag still flew. His sister-in-law, Mrs. Joseph Hopper Nicholson, took it to a printer the next day. After being published on handbills, the anthem was printed in the Baltimore American on September 21. The manuscript fair copy now rests in the Walters Gallery in Baltimore. This poem was not Key's only effort; his Poems were posthumously published in 1857. Married to Mary Tayloe Lloyd in 1802, Key had 11 children. He died on January 11, 1843, and was buried in Mt. Olivet Cemetery in Frederick.
Ray Klages (1888 - 1947) Klages was an active songwriter during the 1920's and 30's. Educated at Baltimore City College, he first began songwriting in his 20's and as with many songwriters of the period, began in vaudeville. Klages served in the military in WWI and during his early musical career worked for various song publishing houses in New York. Klages also collaborated and wrote a few Broadway productions including the score for Sally in 1922. He collaborated with many of the best songwriters of the period. Some of his more important works were; Doin' The Racoon, Just You, Just Me; Pardon Me Pretty Baby and Early In The Morning Blues .
Henry Kleber (1816 - 1897) There is some evidence that Stephen Foster had instruction in music from Henry Kleber, a concert artist, piano teacher and music dealer of Pittsburgh. It was Kleber who brought the first upright pianos to Pittsburgh in 1849, one of which was purchased by Mary Woods, in whose home Stephen Foster often played. Beyond that bit of information found on-line, there is no mention of Kleber in any of my references but did find his obituary published in The Pittsburgh Bulletin, 27 February 1897 which said: "He was born in Darmstadt, Germany, in 1816, coming to this city when a child, and at an early age manifesting his talents as a musician, teacher and composer. In 1845, with his brother, the late Augustus Kleber, he established the firm of H. Kleber & Bro., which, for half a century, has enjoyed a prosperous career. In the necessarily brief limits of this notice, an extended review of the worth and works of Henry Kleber cannot be given." In addition to The Atlantic Telegraph other works by Kleber include; I Am Coming, I Am Coming (1868), Meet Me March (1854) and Unfurl the Glorious Banner (1856). His most popular Schottisch was The Rainbow Schottisch which first appeared in 1852 and was issued in 120 editions. Kleber also wrote a funeral march on the occasion of the death of President Garfield who was assassinated in 1881.
F. Henri Klickmann (1885 - 1966) also wrote, Floatin' Down to Cotton Town in 1919 with Jack Frost and Waters of The Perkiomen in 1935. Klickman was an extremely versatile composer having written many instrumental and ragtime compositions such as A Trombone Jag (1910) and High Yellow Cake Walk and Two Step (1915) as well as a wide variety of songs. Interestingly, Waters of The Perkiomen was originally a work for accordian. Klickmann wrote quite a few pieces for accodian and is one of the more popular composers for that instrument. In addition to all this, he also wrote "classical" style music, including a concerto for tenor sax. Klickmann wrote a large number of ragtime works that are popular in today's resurgence of ragtime interest. A simple search of the internet will return many, many references to his music and a number of sites that feature his music.
He was well known as not only a composer but as an orchestrator and arranged music for a number of acts including the famous Six Brown Brothers who were responsible for the popularization of the saxophone in vaudeville and recording. Klickmann composed a number of pieces they recorded in 1916 and 1917 as well as published commercial arrangements of them including the tune Chicken Walk. There is an audible improvement from 1914-15 in the sophistication of the writing attributed to Klickmann. Klickmann composed in a wide range of popular styles and his hits include; Sweet Hawaiian Moonlight (Sibelius scorch format); Good-Bye (1914) a "hesitation waltz"; Knockout Drops Rag; The Dallas Blues (1912), and My Sweetheart Went Down with the Ship, a 1912 tear jerker about the Titanic. With a long and fruitful life, Klickmann turned to arranging in later years and arranged some of Zez Confrey's great piano jazz works such as Kitten On The Keys.
Louis Koemmenich was born in Elberfield, Germany in 1866 and emigrated to the US before 1890. He set down his roots in NYC and studied with Anton Krause and Barmen. By 1890 he was a teacher and conductor at Kullak's Academy. He held various other conducting posts, most notably conducting the Brooklyn Sangerbund (1894), the New York Oratorio Society (1912 - 17) and the New York Beethoven Society (1917 - 22). Along with his composition of marches and other popular works, Koemmenich also composed a number of choruses and a cantata. He died in NY in 1922 .
Ted Kohler (b. 1894, Washington, DC, d. 1973) Kohler was raised in NYC and Newark, NJ. He was an accomplished pianist and early in his career worked as a song plugger. He wrote a number of popular and lasting hits including Get Happy in 1930; I LOve A Parade in 1931 and the incredible Stormy Weather in 1933, all in collaboration with Harold Arlen. Kohler also worked with other famous songwriters including Burton Lane and Ted Fiorito. He also wrote for films in Hollywood. Kohler's list of recognizble hits is impressive and also includes, The Devil and The Deep Blue Sea, 1935; I've Got the World on a String, 1933 (considered the song that propelled Sinatra to his greatest popularity); Don't Worry 'Bout Me, 1939 and Animal Crackers In My Soup in 1935.
Clare Kummer ( b 1873 New York, d.1958 Carmel, California) Related to Harriet Beecher Stowe, the author of "Uncle Tom's Cabin," Kummer was born Clare Rodman Beecher and married Frederic Kummer, also a writer of novels and short stories. Kummer was also related to William Gilette, a film writer and actor.With so much talent in the family, it's no surprise that Kummer herself was a writer, somposer and also a notable director of Broadway stage works. Her credits span a long career from 1903 til the mid fourties with no less than twenty-three plays and musicals to her credit. Some of her more successful shows/plays were; A Knight For A Day (1907), The Rescuing Angel (1917), Bridges (1921), Annie Dear (1924), Her Master's Voice (1933) and her final play, Many Happy Returns in 1945. Many of her most popular songs also came from her shows including Only With You, My Very Own, Dearie, Cheating , The Garden of Dreams and her most whimsical song from 1904, In the Dingle-dongle-dell. Many of Kummer's papers, scores, manuscripts and poems are maintained at the Manuscripts Division, Department of Rare Books and Special Collections at Princeton University Library.
Arthur J. Lamb (b. 1870, Somerset, England - d. 1928, Providence, R.I.) is perhaps most well known as the lyricist for the famous and still popular, Asleep In The Deep (for a German version, see Des Seemanns Los in our feature about music of the sea). This song though, was his best selling hit song at the time. As with many songwriters, Lamb followed up the success of "Asleep" with At The Bottom Of The Deep Blue Sea in 1899 and another sea themed song, Out Where The Billows Roll High (Scorch format) in 1901, both with music by W.H. Petrie. Other popular songs by Lamb include Dreaming Of Mother And Home, 1898, When The Bell In The Lighthouse Rings Ding, Dong, 1905, The Bird On Nellie's Hat, 1905, You Splash Me and I'll Splash You , 1907 and the 1917 War song, Good Luck To The USA.
R. (Ring) W. Lardner (1885 - 1933) an incredibly versatile and talented man of letters, was an author, composer, poet and playwright as well as writer of the lyrics for Little Puff of Smoke Good Night. In 1916 he published a book, Gullible's Travels (New York: Charles Scribner's Sons, 1917, 1925) and was a Sports Writer in Chicago for a time. Lardner actually wrote several other books and short stories as well as lyrics for at least 20 other songs. Among his other song titles are; I Wonder What My Stomach Thinks of Me (1910), Gee! Its A Wonderful Game (1911, music by "Doc" White), Lydia Pynkham (1913), Teddy Youre A Bear (1916), No Place Like Home (1917, for which he also wrote the music), Prohibition Blues (1919), June Moon (1929) and If I Were You, Love (Id Jump Right in the Lake) (1930). Lardner died in 1933 of a heart attack. For very much more about this fascinating man, visit the "Lardnermania" site which details his life and works.
Edward Laska ( dates unknown) Laska, a composer and lyricist is probably most famous for his prohibition era hit, The Alcoholic Blues (1919). However he wrote many other songs, several in collaboration with some of Tin Pan Alley's greatest lyricists including several with Jerome Kern. Laska also wrote at least one Broadway musical, We've Got to Have Money, staged in 1923. Among his other works are; The Landlord Blues (1919), How'd You Like to Spoon With Me? (1905) and Do Something (1917)
Charles B. Lawlor was part of a vaudeville team including James Thornton. The lyricist, James Blake was a salesman in a hatter's shop who liked to write verses. Lawlor, described as a "buck and wing" performer² and amateur composer also had written some verses about New York. Lawlor whistled the original tune to Blake, who took their combined ideas and created the full lyrics we know today. The two convinced Gilson to perform the song and it is said that the audience became so enchanted that they joined her in singing a repeat of the chorus. As with many of the lasting hits, it is the choruses that are most remembered. Very few people have heard the full verse and choruses so we are pleased to present the complete songs and lyrics to you through the scorch presentation format. Frederic Knight Logan (1871 - 1928) also wrote the famous Missouri Waltz, (1916, actual title Hush-A-Bye Ma Baby) and a popular song titled Pale Moon in 1920. The Missouri waltz figured prominently in the 1939 movie, The Story Of Vernon And Irene Castle, starring Fred Astaire and Ginger Rogers (who else?). As well, president Harry Truman was responsible for a revival of the tune as he played it frequently and it became his theme song. Born in Oskaloosa, Iowa in 1871, Logan was a prominent pianist and conductor as well as composer. His musical studies were mostly with private tutors and he was also a music director for a number of theater companies. Logan died in 1928. The "Missouri Waltz" became the state song under an act adopted by the General Assembly on June 30, 1949.
John Turner Layton was born in 1894 in Washington DC.One of the few successful Black composers of the period, he was teamed with the lyricist of After You've Gone, Harry Creamer in a vaudeville act. Both Creamer and Layton left the United States (due largely to constraints on them due to race) and settled in England where both enjoyed very successful careers. With Creamer he also wrote another enduring hit, Way Down Yonder In New Orleans in 1922 and Dear Old Southland in 1921. Layton died in 1978.
Grace LeBoy (1908 - 1932) seems to be another of those casualties of lack of female respect. Though we do know that she composed a number of very popular songs such as I Wish I Had A Girl (1908), Everybody Rag With Me (1914), Early in the Morning, and On The Good Ship Mary Ann, (1914) as well as many others. She also is credited with several instrumental only compositions. She seemed to have a long lasting collaboration with lyricist Gus Kahn, about whom much is known. Interestingly and somewhat ruddely, though Le Boy wrote the music for I Wish I had a Girl, it is listed as "Gus Kahns first hit." Duh, wouldn't that make it Le Boy's hit too? Am I the only one that notices the incredible sexism that exists related to woman composers?
Jean LeFavre (dates unknown) LeFavre seemes to have been exclusively the lyricist for works by W.C. Polla as all references to works by LeFavre are also composed by Polla with Dear Heart (1919 Scorch format), Buddy (1919) and My Sunshine Rose (1920) topping all lists. Few if any other works by LeFavre can be found.
Marvin Lee Little is published about Marvin Lee. We do know he wrote both words and music to the 1917 song Livery Stable Blues which is distinguised by having been recorded by the Original Dixieland Band and W.C. Handy's Orchestra. That song was briefly revived in 1938 by Bunny Berigan and his band.
Franz Lehár (30 April 1870 - 24 October 1948) was an Austro-Hungarian composer, mainly known for his operettas. Lehár was born in Komárom (Hungary) as the eldest son of a bandmaster in the Austro-Hungarian army. He studied violin and composition but was told by Antonin Dvorak that he had better give up playing and focus on writing music. After 1899 he lived in Vienna. He was also wrote a number of waltzes, the most popular being Gold und Silber as well as waltzes drawn from some of his famous operettas. The era in which his music thrived came to be known as the Silver Age.
Among his more famous operettas are; The Merry Widow (Die lustige Witwe) (1905), The Count of Luxembourg (Der Graf von Luxemburg) (1909), Frederica (1928) and Land of Smiles (Das Land des Lächelns) (1929). Individual songs from some of these have become standards, notably Viljafrom The Merry Widow and You Are My Heart's Delight ("Dein ist mein ganzes Herz") from The Land of Smiles. (From Wikipedia, available under the terms of the GNU Free)
Edgar Leslie ( b. Dec. 31, 1885 Stamford, CT., d. 1976)
Leslie was educated at Cooper Union in New York and published his first song, Lonesome in 1909. Among his many hit songs are; He'd Have to Get Out - Get Out and Get Under , (scorch format) co-lyricists were Grant Clarke and Maurice Abrahams; the great hit For Me and My Gal , (scorch) music by Ray Goetz and Geo. W. Meyer; Oh What a Pal Was Mary , (MIDI) with Pete Wendling. In 1927, Leslie traveled to England. While there, he wrote some songs with composer Horatio Nicholls, a pseudonym for music publisher Lawrence Wright. Among their work was: Among My Souvenirs, the same song that became a Connie Francis hit in 1959; Mistakes, a Vera Lynn hit record and Shepherd of the Hills. Leslie continued writing hits well into the 30'a and beyond. His trademark style included many "place named songs such as Kansas City Kitty, Rose of the Rio Grande and of course, California and You as well as the great America, I Love You (MIDI) and humorous titles such as When Ragtime Rosie Ragged the Rosary and Where Was Moses When The Lights Went Out? Among the many composers with whom Leslie worked, are: Harry Ruby; Fred Ahlert; Joe Burke; Jimmy Monaco, and Walter Donaldson. (Adapted from the Tunesmiths database, http://nfo.net/.CAL/index.html )
Henry David Leslie (1822 - 1896) Though many American composers were developing during the mid 19th century, much of our music was still deeply rooted in England and to a lesser extent, Europe. Leslie was a very prominent and successful conductor and composer born in London. His parents were John Leslie, a tailor and enthusiastic amateur viola player, and Mary Taylor Leslie. He had eight brothers and sisters. He attended the Palace School in Enfield Town and worked with his father. As a teenager, he studied the cello with Charles Lucas and later played that instrument in concerts at the Sacred Harmonic Society for several years. Leslie began to compose music, and was best known for his large scale choral works (operettas, and oratorios), his conducting and his many successful popular songs.
Edith Maida Lessing is credited with a few other works besides Oh! You Circus Day . Perhaps her most lasting song was Just as the Ship Went Down, a 1912 an emotion laden tribute piece to the Titanic's lost souls. Also in 1912 she published Goin' to the Country Fair and When Crazy Joe Did The Alligator Slide (music by Dennison Cook). In 1915, she wrote the lyrics to The Jitney Bus with music by Roy Ingraham. Her dates and biographical information seems to be well hidden.
Maurice Levi, was a relatively prolific writer of Broadway shows and also wrote the music for at least three of Ziegfelds musical revues, 1908, 1909 and 1911. His other credits include; The Soul Kiss (1908), Twiddle-Twaddle (1906) Higgledy-Piggledy (1905) The Rogers Brothers in Harvard (1902) The Rogers Brothers in Washington (1901) and The Rogers Brothers in Central Park (1900). Aside from his many credits, I've been unable to find out anything else about his life.
Robert Levenson (1897 - 1961) was born to Samuel and Paulina Levenson in Boston, Ma. (Dorchester/Roxbury area) on July 19, 1897. He had two brothers, an older one, Louis, and a younger one, Henry. The three of them used to play music at social occasions in the area. Henry went on to be a professional musician, playing piano and singing solo with his whiskey baritone voice (he wasn't a drinker, just sounded that way). You could see him 35 years ago as the regular piano player at Bill's Gay Nineties Bar in New York. Brother Henry wrote music too and Rudy Vallee liked one song enough to tinker with it and added his own name as a co-composer.
Robert attended Brimmer School in Boston and later Boston Latin School, the oldest public school in the country. In the early 1900s a student had to pass an entrance exam to attend. Graduating in 1913 he was accepted at Harvard (Class of 1917). It was during this time that he began to haunt the Boston music publishers with his lyrics, particularly, succeeding in winning first prize for his words to the famous WW I marching song, The National Emblem March (Scorch format) by E.E. Bagley, Jr. This march is easily the equal of any American march and is also one of the most popular and often played marches from our early musical heritage. After Levenson wrote the lyrics, all future editions of the march included them.
After Harvard, Levenson worked in Boston, particularly as a salesman. He continued to write songs in collaboration with others who appreciated his poetic talent and gracious personality. He did some acting and directing of plays and reviews, continuing also to write fun lyrics for many organizations' annual meetings and music nights.
He moved to New York City in the mid-1920s, met and married, Evelyn Lippman, and though he ended up working for Boston Knitting Mills, stayed in NY as their top salesman and designer of polo shirts and other knit clothing. He was very active in the community in which he lived, Lawrence, LI, serving as Village Trustee, Village Historian, and Honorary Fire Chief. He put in a great deal of time in the Jewish community as well, as Treasurer, Board Member, Chairman of the Music and Religious School committes of Temple Israel of Lawrence, as well as President of Long Island Lodge, B'nai B'rith.
Robert Levenson continued to sing wherever he went, performing his own songs as well as opera, and Broadway numbers at the invitation of local organizations. He died suddenly at the age of 63 in the airport in Rome, Italy in 1961 as he was returning home with the Temple group from a pilgramage visit to Israel and Jerusalem. He is survived by two children, Paul and Judith, five grandchildren, and three great-grandchildren. Among his other credits are a 1925 song Drifting 'Neath the Silver Moon
(Levenson biography graciously provided by his son, Paul Levenson)
Sam M. Lewis (b. 1885, New York, NY, d. 1959, New York, NY ) As with many songwriters, Lewis was a performer first and he sang gigs in nightclubs in New York before song writing took over his life. Lewis was actively writing from 1912 through the 1930's. From 1916 into the 1930's, his principal collaborator was Joe Young, but he did write with some other well known composers including Walter Donaldson, Ted Fiorito and Harry Warren. Sam Lewis and Joe Young were a powerhouse Tin Pan Alley combination. They collaborated only on lyrics but the list of lasting hits for them is astounding. Among their many hits are; Rockabye Your Baby With A Dixie Melody (Scorch format) 1918 , music by Jean Schwartz sung by Al Jolson in B'way play 'Sinbad'; Dinah, with music by Harry Akst, from the Broadway show Sinbad starring Al Jolson later, also in Plantation Revue starring Ethel Waters; Five Foot Two, Eyes of Blue, music by Ray Henderson and I'm Sitting on Top of the World, again with Ray Henderson's music (1926). Sam Lewis is a deserved inductee into the Songwriters' Hall of Fame.
Lieurance, Thurlow Weed (b. 1880; d. 1963) Lieurance studied music as a young man in Iowa. In 1897 he was appointed bandmaster of the 22nd Kansas Volunteer Infantry. He served with that regiment during the Spanish-American War. Then he studied at the Cincinnati College of Music where he worked with Preston Ware Orem. In 1902 he became interested in Native American music. During the rest of his life he made thousands of field recordings of Sioux, Crow, Cheyenne, and Taos Pueblo tribes among others. He also collected Native American flutes. He came to Nebraska in about 1917 and was a member of the faculty of the University School of Music from 1918 to 1927. In 1927 he was named Dean of Fine Arts at Wichita State University and was there until 1945. In 1952 he moved to Colorado. He married Edna Wooley in Omaha in 1917. They toured throughout the country specializing in Indian music. He wrote several hundred pieces, more than half of which are examples of Indianist Movement compositions. (Lieurance biography From Zoominfo.com .)
Harry J. Lincoln also published under the name of Abe Losch and also as a Vandersloot. Writer of a number of works we have featured over the years, his most famous work may arguably be The Midnight Fire Alarm (Scorch format), written by Lincoln in 1900 and republished by E.T. Paull in 1908. Lincoln did write a few songs including; Jennie (1920), In The Valley Where The Robins Used to Sing (1908) and Triumphant Lindburg (1928) but it is his rags and marches that he is best known for. All the works written as Losch were also marches.
Eugene Lockhart, the lyricist for The World Is Waiting For The Sunrise was best known not as a songwriter but as a playwright and actor on stage and screen. Lockhart was Born in London, Ontario/Canada July 18, 1891. He is immediately recognizable to fans of old movies as the kindly and cornered Judge who must decide if "Santa" is real from Miracle on 34th Street, but it's likely that the vast majority of people under 60 would recognize him. His biography mentions nothing of his songwriting and I believe the lyrics for this song were simply an outgrowth of his having writen a play by the same name. Among his plays are; The Pierrot Players, Heigh-Ho, and The World Is Waiting for the Sunrise . During the 1920s and 1930s, he appeared in a number of Broadway productions, including Sun Up, The Little Father of the Wilderness, The Way of the World, Uncle Tom's Cabin, and Ah, Wilderness. Among the films he appeared in were; Algiers, Meet John Doe, The Sea Wolf and The Devil and Daniel Webster. Lockhart began a career in TV in 1955 but unfortunately, a heart attack took him in March of 1957 cutting his last acting activities off while he was still quite popular.
George Loder, (1816 - 1868) the composer of Take Your Time Miss Lucy (1842) is titled simply as "Music Director" inside the sheet on the title page. He was in fact, the music director of the Olympic Theater in New York and listed there as an arranger, composer, producer and writer. He is credited with the production of several stage shows at the Olympic and other New York theaters from 1840 through 1851. His first production here was La Musquito, a musical comedy, in May of 1840 at the Olympic. Loder was born in Bath, England in 1816 and emigrated to the US in 1836 and settled in Baltimore. He first appeared on the musical scene in New York as a composer and conductor in the 1839-40 season. In 1842, he was a founding member of the New York Philharmonic Symphony Society and also played double bass in the orchestra for several seasons. He conducted the American premiere of Beethoven's Ninth Symphony in May of 1846 and continued as a conductor for the Philharmonic for seven seasons.In 1844 he became the principal of the New York Vocal institute and compiled The New York Glee Book for them in 1843 . He also published The Philadelphia and New York Glee Book in 1857.
In 1856 Loder traveled to Australia to conduct an opera company and then in 1860 was in London where he published two comic operettas, Pets of the Parterre and The Old House at Home for performance at the Lyceum. In 1863 he returned to Australia for another visit and conducted the first Australian performance of Les Hugenots. While in Australia he contracted a lingering illness and died in Adelaide in July of 1868.
Though Loder was not a native American, he is one of the more prominent contributors to the development of music in America during the 1840's and it was certainly our loss that he was unable to return to America to continue writing, producing and leading the continued development of the musical society in New York. (Principal biographical facts from the New Grove Encyclopedia of American Music, Vol3, p.97)
Frank Hoyt Losey was born in Rochester,NY in 1872 and died in Erie, PA in 1931. Known as a composer arranger and teacher, his primary instruments were brass. He composed and arranged for Fischer publishing as well as Vandersloot. In 1914, he founded Losey's Military Band School in Erie. He became most famous for his marches, many of which are still played by marching bands. His most famous march, is Gloria. Losey made more than 2500 band arrangements some of which were for Edison Phonograph Co. and Henry Ford's personal orchestra. He wrote over 400 original compositions. If you have the patience for an MP3 download, you can get an MP3 copy of Gloria as well as Losey's The Magnet at: March Music Online The USAF Heritage of America Band site. If you have a 56k connection, the download will take 12 - 15 minutes. It might be easier to go buy the CD!
Gustav Luders (b. Dec. 13,1865 Bremen, Germany d. January 1913, New York, NY.) wrote a fairly large number of musicals and stage plays from the period 1900 to 1913. After a long abscence, he produced one work in 1930 and nothing after that. His work, Sho-gun opened October 10, 1904 at Wallack's Theater and ran for 125 performances (Internet Broadway Database).
Musically trained in Europe, Luders emigrated to Milwaukee, WI, in 1888, when he was 23 years old, and started conducting theater and beer hall orchestras. The eminent composer, Charles K. Harris (After the Ball) encouraged him to follow career in music publishing, in Chicago. He found work as an arranger, in the Chicago office of Isidore Witmark Publishing, but also continued to conduct theater orchestras there
In 1899, Luders' first operetta Little Robinson Crusoe opened in Chicago. It starred Eddie Foy. Henry W. Savage heard it and commissioned Luders to score the operetta 'The Burgomaster', which also opened in Chicago. At this time, Luders formed a team with Frank Pixley, the editor of the Chicago Times-Herald Newspaper, with Pixley writing text and lyrics.
Ballard MacDonald (1882 - 1935) was born in Portland Oregon. He was educated at Princeton and became best known as a lyricist who collaborated with some of the greatest Tin Pan Alley composers of the period. His best known works are The Trail Of The Lonesome Pine , (MIDI) writtten in 1913 with Harry Carrol and Back Home Again In Indiana with James M. Hanley, 1917. He also wrote Play that Barber Shop Chord in 1910 which resulted in an interesting court case. In 1910, publisher/composer Fred Helf published Play That Barbershop Chord, by Lewis Muir and William Tracey, or at least that is how Helf published it. Songwriter Ballard Macdonald had begun work on the song and had written dummy lyrics before leaving the song behind. The piece was finished by Lewis Muir and William Tracey, and Macdonald was incensed that Helf left his name off the sheet music. He sued Helf successfully, and the award of $37,500 forced Helf into bankruptcy thus ending his foray into publishing. MacDonald died in Forest Hills, New York in 1935.
Alexander MacFayden (1879 - 1936) pianist, composer, music teacher, b. Milwaukee. He received his musical education under Julius Klauser and William Borchert in Milwaukee, and also studied under Rudolph Ganz, Felix Borowski, and Arthur Friedheim in Chicago. He graduated from the Chicago Musical College (B.Mus., 1905), and the same year made his debut as piano soloist in the Auditorium Theater in Chicago. He taught in Milwaukee at the Wisconsin Conservatory of Music (1912-1921), and at the Wisconsin College of Music (1922-1935), as well as in conservatories in New York and Chicago. MacFayden appeared frequently as soloist with the Chicago Symphony and with many other well-known orchestras, and toured with the Leonora Jackson Concert Company and Orpheum Circuit. He was a member of numerous musical organizations, and was the composer of more than 100 piano works, men's choruses, violin compositions, organ pieces, and songs. Among his best known songs are "Inter Nos," "Love is the Wind," "Cradle Song," "Spring Singing," and "Daybreak." He died in Chicago. Who's Who in Amer., 19 (1936); Wis. Blue Book (1929); A. E. Wascher, Who's Who in Music and Art in Milwaukee (Milwaukee [1927]); Milwaukee Journal, June 7, 1936; N.Y. Times, June 7, 1936.( Wisconsin Historical Society )
Edward Madden (b. 1878, New York City, d. 1952, Hollywood, CA.) was a charter member of ASCAP and a respected lyricist best remembered for a pair of moon songs"; By The Light Of The Silvery Moon, a 1909 collaboration with Gus Edwards, and Moonlight Bay (Scorch format) a 1912 collaboration with renowned composer Percy Wenrich Madden collaborated with a veritable who's who of American popular song composers including Theodore F. Morse, Harry Von Tilzer, Louis A. Hirsch and Jerome Kern. Madden was educated at Fordham University and was a writer for the great Fanny Brice and other singers as well. He founded his own publishing firm and enjoyed great success as a key member of the Tin Pan Alley inner circle.
Frank Magine History has not been kind to Magine for little can be found about him. Magine had one other megahit besides the 1922 song Dreamy Melody , (Sibelius scorch format) Save The Last Dance For Me in 1931. This is not the 1960 song by the Drifters. In our very first Parlor Songs edition in October of 1997, we featured one other Magine song, Venetian Moon from 1919 (MIDI).
Jack Mahoney was the pen name for Ruben Kusnitt, born in Buffalo New York in 1882 and died in New York City in 1945. Mahoney's greatest lyrics hit was When You Wore A Tulip , (Scorch format) with Percy Wenrich but as one of the early 20th century's more popular lyricists, he also wrote a number of other popular (at that time) works including, Kentucky Days (1912, MIDI), A Ring On The Finger Is Worth Two On The Phone (1911), On A Monkey Honeymoon (1909 scorch format) and While Others Are Building Castles In The Air in 1919, The Girl I Left Behind Before, with Bob Miller (1937), The Statue of Liberty Is Smiling, with Halsey K. Mohr, (1918), Good bye Betty Brown, with Theodore Morse (1910), and The Ghost of The Terrible Blues, with Harry Von Tilzer in 1916.
Julia Marion Manley as with many of the woman composers of the Tin Pan Alley era is nearly lost to us as far as any meaningful information about her life. I did manage to find one other work by her published as a newspaper supplement to the Chicago American on March 31, 1901. That song was I Guess You'd Better Hush, Hush, Hush. Interestingly, some 19 years later, the same performer, Norma Whalley is on the cover.
Alex Marr is another off the many enigmas from the early days of music in America, by him. In 1921 he published Who's That Pretty Baby? in collaboration with Bobby Heath. His partner on this work, Bernie Grossman collaborated on a few other songs including at least one other war song, We're Going Over.
Henry Marshall and Stanley Murphy were a successful songwriting team from the early teens. In addition to this song, they also collaborated to write Be My Little Baby Bumble Bee, also in 1912. Alone, Marshal wrote a popular train related son titled On the 5:15 in 1914. In 1915, Marshal and Murphy again were together for Loading up The Mandy Lee, a song that saw a rather short lived success. Murphy also collaborated with Harry Von Tilzer (They Always Pick On Me, 1912), Percy Wenrich (Put On Your Old Gray Bonnet, 1909) and Albert Von Tilzer with Oh, How She Could Yacki Hacki Wicki Woo , in 1915.
Michael Maybrick , (1844 - 1913) born in Liverpool, England in 1844. He completed his music studies there and moved to Leipzig and Milan to study further. He became a well known baritone singer. His first appearance was in the New Philharmonic Concerts in London in 1870. His songs were popular in both England and America. (from the Our Lady Of Fatima Parish Website where you can hear a beautiful recording of the hymn) There is a rather bizarre theory abroad that Maybrick's brother, James may have been the elusive "Jack The Ripper." Very few of Maybrick's songs ever reached the lasting level of The Holy City but a few do survive. Among them are
To The Front, The Star Of Bethlehem, The Midship Mite and Mona
. Maybrick also wrote songs and hymns under the name of Stephen Adams.
Jack McGowan (b. 1894 - d. 1977) started his career in Broadway primarily as a performer and writer. His first few years from about 1919 to 19276 were as a performer in such shows as Take it From Me (1919), The Blue Devil (1920), George White's Scandals (1922) and The Rise of Rosie O'Reilly (1923). In 1926, McGowan began writing shows and continued to write, direct and produce Broadway shows up till his last, Say When in 1935. His other Broadway credits include; Mama Loves Papa (1926), The Lady Lies (1928), Heads Up (1929) and Girl Crazy (1930).
In 1933 McGowan began writing screenplays for Hollywood. "After collaborating on the script of Paramount's Sitting Pretty (1933), he moved to MGM, where he'd spend the rest of his movie career. He contributed gags and storylines to such big-budget MGM musicals as Born to Dance (1936), Babes in Arms (1939), Little Nellie Kelly (1940), Girl Crazy (1943) and Broadway Rhythm (1944). Jack McGowan also co-wrote the 1936, 1938 and 1940 editions of MGM's Broadway Melody series." (Qote demarked information by Hal Erickson, All Movie Guide as found on Yahoo! Movies )
I found one other song attributed to Mc Gowan; I Have To Laugh, from 1931.
F.W. Meacham was born around 1850 in Buffalo New York and his death occurred sometime after 1895. Meacham's primary fame came with the famous American Patrol (Scorch version) but he composed other works, among them There Is No Place Like New York After All in 1895 and obviously many, many other works as American Patrol carries Opus number 92.
Felix Mendelssohn-Bartholdy (born Hamburg, 3 February 1809; died Leipzig, 4 November 1847). Born into a prominent family in Berlin, he grew up in a privileged environment (the family converted from Judaism to Christianity in 1816, taking the additional name 'Bartholdy'). He studied the piano with Ludwig Berger and theory and composition with Zelter, producing his first piece in 1820; thereafter, a profusion of sonatas, concertos, string symphonies, and piano quartets revealed his increasing mastery of counterpoint and form.
A period of travel and concert-giving introduced Mendelssohn to England, Scotland (1829) and Italy (1830-31); after return visits to Paris (1831) and London (1832, 1833) he took up a conducting post at Düsseldorf (1833-5), concentrating on Handel's oratorios. During this period he composed a number of excellent works that reflected the influence of his travels.
With its emphasis on clarity and adherence to classical ideals, Mendelssohn's music shows alike the influences of Bach (fugal technique), Handel (rhythms, harmonic progressions), Mozart (dramatic characterization, forms, textures) and Beethoven (instrumental technique), though from 1825 he developed a characteristic style of his own.
Mendelssohn found inspiration in art, nature and history for his orchestral music. The energy, clarity and tunefulness of the Italian have made it his most popular symphony. In his best overtures, essentially one-movement symphonic poems, the sea appears as a recurring image, from Calm Sea and Prosperous Voyage and The Hebrides to The Lovely Melusine. Less dependent on programmatic elements and at the same time formally innovatory, the concertos, notably that for violin, and the chamber music, especially some of the string quartets, the Octet and the two late piano trios, beautifully reconcile classical principles with personal feeling; these are among his most striking compositions. Of the solo instrumental works, the partly lyric, partly virtuoso Lieder ohne Worte for piano are elegantly written and often touching.
Blanche Merrill wrote lyrics for a number of Broadway productions including parts of at least two of Ziegfeld's famous follies series. She also wrote complete songs as for example her 1936 song Trailing Along In A Trailer. She wrote a number of songs in collaboration with a number of major composers including Jazz Baby (1919) with M. K. Jerome and Just 'Round The Corner From Broadway (1914) with Gus Edwards. Jazz Baby was later revived by Carol Channing in Thoroughly Modern Millie in 1967.
J. Messina could be Joe Messina but the two are listed separately in most library collections and there is no cross duplication in the titles attributed to them. "J." has a nuimber of later works attributed to him as composer and several where he is credited as the arranger. The original works by him include the Twentieth Century (1900), Love and Passion (1902), In The Valley of Roses With You (1919) and Wayside Chapel Reverie (1930). He arranged a number of other popular works including one arrangement of the famous Robin's Return in 1926.
Florence Methven is listed in "Lissauers" (see our resources page for details) as "Methuen"(the listing is incorrect) , and this is the only song attributed to her in that reference work. The work is stated to be "The Melody Ballad Hit of The Better Ole" which I assume is a stage work. In searching other sources, I did find one other work by her, Little Lights of Home, date unknown. This song was a very popular one and one of the biggest hits of 1918. It was recorded a number of times. Theodore H. Metz (b. Hanover, Germany, 1848 - d. New York, 1936) was the bandleader for a popular minstrel group, the McIntyre and Heath Minstrels who first introduced the song (hence the coon song structure).
George W. Meyer (b. 1884 Boston, Mass.- d. 1959 New York, NY) was one of the more prolific composers of the period with many, many hits to his credit that spanned many years. Meyer's biggest hit was probably For Me and My Gal in 1917 but he also wrote many favorites that have lasted such as; My Song Of The Nile, Lonesome, My Mother's Rosary and the great novelty song Where Did Robinson Crusoe Go With Friday on Saturday Night? (Scorch format)
C. Austin Miles (1868-1946) Miles attended the Philadelphia College of Pharmacy and the University of Pennsylvania. In 1892, he abandoned his career as a pharmacist and wrote wrote his first Gospel song, List Tis Jesus Voice which was published by the Hall-Mack Company. He served as editor and manager at the Hall-Mack publishers for 37 years. He wrote many other popular hymns including, Answering Thy Call; A New Name in Glory; He Is Mine; I Love to Think of Jesus and Look for Me!, however, it is In The Garden for which he is most remembered. ( Base biographical data & photo from the cyberhymnal.com site )
Kerry Mills (1869 - 1948) was an American composer of popular music during the Tin Pan Alley era. His stylistically diverse music ranged from ragtime to cakewalk to marches. He was most prolific between 1895 and 1918. Mills was born Frederick Allen Mills in Philadelphia. He trained as a violinist and was working as head of the Violin Department of the University of Michigan School of Music when he began composing.
Mills moved to New York City in 1895 where he started a music publishing firm, F. A Mills, from which he published his own music.His first published song was Rastus on Parade written in 1893. That song was one of the first published "Cakewalks." He went on to publish some more of his own songs that may have been instumental in popularizing syncopation with the Tin Pan Alley writers. Among his many published works are: Any Old Port in a Storm (1908), At A Georgia Camp-meeting (1897 or 1899, accounts vary), Impecunious Davis, In The City Of Sighs And Tears (1902), Just For The Sake Of Society, Kerry Mills' Barn Dance, Let's All Go Up To Maud's, Like A Star That Falls From Heaven, The Longest Way 'Round Is The Sweetest Way Home (1908), Red Wing (1907, words by Thurland Chattaway). Mills adapted the melody from Schumann's Merry Peasant and perhaps his greatest hit, Meet Me In St Louis, Louis which was originally written in 1904 with words by Andrew B. Sterling and was revived in the 1944 movie, Meet Me In St. Louis starring Judy Garland. Mills died in Hawthorne, California.
Some facts for this biography were taken from From Wikipedia, the free encyclopedia, in accordance with the GNU Free Documentation License.
Harrison Millard (1829 - 1895) Son of Samuel and Maria (Ham) MIllard born in Boston. As a boy he sang in church choirs and is chorus with musical societies. He was the first boy alto soloist that sang with the Boston Handel & Hayden Society. In his twenty-second year he went to Europe for musical study, spending nearly three years in Italy and appeared as a concert singer in several parts of England. In 1854 Mr. Millard returned to Boston, and after two years located in New York city as a teacher of vocal music, concert singer and song composer. During the Civil War he served as lieutenant of volunteers and was wounded in battle. As a private in the 71st regiment of New York he created a sensation by singing his "Viva L'America" at a social gathering in Washington, composed chiefly of southerners, Lincoln hearing of the incident, sent for him and commissioned him as lieutenant of the 19th U.S. infantry: he was afterward on Rousseau's and Rosecran's staffs. He composed a grand opera called "Deborah," four masses and a requiem mass, about three hundred songs and wrote many of the words of his songs. He was married to Laura Thompson of Baltimore in 1860. She died in 1874 leaving four children. Mr. Millard was never married again. In 1864 he became connected with the custom house in New York city and devoted his leisure time to the composition of secular songs and church music. His "Waiting," "When the Tide Comes in," "Under the Daisies," "Ramona" and "Viva L'America, Land of the Free" are of uncommon merit, and have many admirers. Many place Mr. Millard at the head of American song composers. (From the National Cyclopedia of American Biography, 1897 James T. White & Co, NY)
Halsey K. Mohr was a moderately successful composer of the period. He also wrote Piney Ridge in 1915 with Ballard MacDonald and They're Wearing 'Em Higher In Hawaii, in 1916, a great comedy song that was very popular with vaudevillians including the great Eddie Cantor and Al Jolson. During the earlier years of the war while antiwar sentiment was high, Mohr was one of the few composers who wrote patriotic, pro-war music with several songs to his credit such as Played by A Military Band in 1915.
James Lynam Molloy was one of the 19th century's most gifted Irish songwriters. Born in Cornalaur, Rahan, which is near Tullamore, King's County, Ireland in 1837. He was well known there and wrote a number of idiomatic works in his homeland that reached high levels of popularity including The Old Cottage Clock and The Kerry Dance. Few of Molloy's works reached hit status in the US save his crowning achievent, Love's old Sweet Song, written when Molloy was nearly 60. Unfortunately, much of Molloys music is lost to us today though copies are still undoubtedly to be found in attics and piano benches around the world. For an excellent look at this composer's life and works, be sure to visit the Molloy biography site, lovesoldsweetsong.com from which these basic facts are taken.
Jimmie V. Monaco (1885 - 1945) Born in Genoa Italy, (some sources list Fornia as his birthplace.) Monaco came to the U.S. (Chicago) in 1891 with his parents. Wikipedia states the family emigrated to Albany, New York when Jimmy was six. He worked as a ragtime player in Chicago before moving to New York in 1910. Monaco's first successful song Oh, You Circus Day was featured in the 1912 Broadway revue Hanky Panky. Further success came with "Row, Row, Row" (lyrics by William Jerome) in the Ziegfeld Follies of 1912. Perhaps his best remembered song is You Made Me Love You (lyrics by Joseph McCarthy) introduced by Al Jolson in 1913 and famously performed by Judy Garland with revised lyrics as Dear Mr Gable in 1937.
Monaco worked with a number of lyricists before moving to Hollywood where he teamed with lyricist Johnny Burke to produce songs for several Bing Crosby films. Four of Monaco's songs received Academy Award nominations for Best Song: Only Forever (lyrics by Johnny Burke) from the 1940 film Rhythm on the River, We Mustn't Say Goodbye (lyrics by Al Dubin) from the 1943 film Stage Door Canteen, I'm Making Believe (lyrics by Mack Gordon) from the 1944 film Sweet and Lowdown and I Can't Begin to Tell You (lyrics by Mack Gordon) from the1945 film The Dolly Sisters. Monaco died in Beverly Hills, California. (Essential biography retrieved from wikipedia.org )
Luella Lockwood Moore (Born 1864, Pontiac, MI; died November 1927, Detroit). Usually referred to as Mrs. Luella Lockwood Moore in the press, this highly respected Michigan composer was the daughter of Timothy Lockwood, a popular music composer of the Civil War era. Her Nov. 21, 1927 obituary said that she "never received any conventional music education, but as a child she played in the churches of Pontiac after learning the hymns by ear from her mother." In 1915 the Detroit Symphony Orchestra presented Moore's orchestral suite, "My Lady's Boudoir," at one of their Wednesday night programs. Moore was the first Detroit composer ever to be so honored. By then she had several popular instrumentals and ballads to her credit.
Her father was a contemporary of Stephen Foster; composed approximately 55 songs and piano pieces, taught music and was a partner in a music business in Pontiac, MI before dying in 1870 at the age of 35. His wife, Luella's mother, also a musician, supported the family by teaching large music
classes and putting on musical extravaganzas. Luella and her brother LeBaron sang in these musicals from the age of five to their upper teens.
She was married to George Frederick Moore II, a principal stockholder of Edison-Moore Wholesale Dry Goods Merchants. They had a son, George Frederick Moore III, and a daughter, Ruth. Her husband preceded her in death by 30 years. She then lived with her son at 1129 Atkinson Ave., Detroit until his death in 1926. In November of the following year, she suffered a three-day illness and passed away in this home. She was survived by a brother, Baron Lockwood, of Sault St. Marie, MI, and a grandson, Jack Wiant, of Detroit. She was buried in Detroit's Elmwood Cemetery.
Her published works include. Montana Anna.,1909; Paprika "Hot Stuff," March Two-Step; 1909; That Auto Ought to Go, 1909; Arcadia, Intermezzo, 1910; Snowflakes, A Novelette, 1910; Unspoken Words, A Melody for Piano, 1910; This World Would Be A Lonesome Land,Without You, Dear, 1911; Laddie, A True Blue, 1914; Love's Eternity, 1915 and Faded Love Letters (of Mine), 1922. Moore also wrote under the pseudonyms of Marion Arlington, and Phil & Beth Moore (Biographical information in part supplied by Nora Hulse , ragtime pianist, recording artist, author and one of the premier researchers on women composers.)
Neil Moret (b. 1878, Leavenworth KS. - d. 1943, Los Angeles, CA.) Moret was the pen name for Charles N. Daniels, a composer with a fairly limited output but whose works are significant in musical history. He collaborated with several of Tin Pan Alley's best including Harry Williams, Gus Kahn and Richard Whiting. He began composing at 17 and in 1904 co founded the Daniels and Russell Publishing Company in St. Louis. He also was an executive with Remick and later formed his own publishing house in 1915. He moved to Los Angeles in or around 1923 and then in Los Angeles formed Villa Moret publishers for whom he presided as President from 1924 - 31. Moret's most important works were; Hiawatha (1901, Scorch format), You Tell Me Your Dream (1908), On Mobile Bay (1910), Mickey (1918)(Scorch format), Moonlight and Roses (1925) and Chlo-e (1927). The highly regarded Ragtime researcher, author and music lecturer Nan Bostick of Menlo Park, California is Daniels' grand niece and has written a biography of Daniels.
J. Arndt Morris & Mary Wood are two of our many creative composers and lyricists whose life story has become so obscure as to be nearly impossible to find. This song appeared in the New York American and Journal on Sunday November 29, 1903 as a music supplement. As with most of our newspaper music supplements, it has deteriorated badly and soon will be nothing more than a pile of dust.
Theodore F. Morse (b. 1873, Washington, D.C., d. 1924, New York, N.Y.) was oneof the most important composers of the period before and up to the First World War. He wrote many, many popular songs as well as the scores to several popular stage shows. His wife, Theodora Morse was also an accomplished composer and performer who often composed under the name of Dorothy Terriss. Theodore Morse was a privately tutored student of piano and violin and began his education at the Maryland Military Academy. At age 14 (1887), he ran away from the Academy and went to New York where he became a clerk in a music store. His first song was sold when be was only 15 and by age 24 he had his own publishing house, The Morse Music Co, which was in existence from 1898 to 1900. Morse is well represented on ParlorSongs and has a long list of popular hits to his credit. Among his most famous works are, Blue Bell (1904), M-O-T-H-E-R (1915), Down In Jungle Town (1908) and Hail, Hail, The Gang's All Here (1917). In 1903, Morse wrote Hurray For Baffin Bay for a new stage show that would become the basis for a blockbuster movie, The Wizard of Oz.
Otto Motzan is a little more difficult to find information about. There is some evidence that Motzan was the pen name for composer Josie De Guzman (not to be confused with the currently popular actress of the same name) but I'm unable to find biographical information on either. Besides In China, Motzan/DeGuzman wrote the music to the musical The Passing Show of 1916, with Sigmund Romberg; Where Is My Daddy Now Blues, (1920) with Abe Olman, Bright Eyes , (MIDI) (1920) with MK Jerome, The Traffic Was Terrific as Josie de Guzman and Mandy 'N' Me (1921) with Con Conrad.
Lewis Muir (1884 - 1950) was a pianist and famous ragtime composer of the period. He performed at honky tonks in St Louis on 1904 and in New York City n 1910. He was also an acclaimed performer in London. His credits include, Play That Barber Shop Chord (1910), When Ragtime Rosey ragged The Rosary (1911) and Cowboy Joe in 1912.
Stanley Murphy was born in 1875 in Dublin, Ireland and died in 1919 in New York. Known mostly as a lyricist, Murphy did manage to compose a number of songs as well that were successful After his family emmigrated to America, Murphy became a US citizen and started a successful career as a songwriter. His most famous work is Put On Your Old Grey Bonnet (Scorch format) from 1909 with music by Percy Wenrich. Among his other hits are; Be My Little Baby Bumble Bee (1912) , Malinda (1912) and Sugar Moon (1910), also with Wenrich.
William Harold Neidlinger (1863 - 1924) was born in Brooklyn, New York and was perhaps best known for his more lofty works as a composer. He also was a prominent conductor and respected teacher. Besides Sweet Miss Mary (1914) he also wrote The Birthday of a King (1890), Spirit of God and a cantata Prayer, Promise and Praise.
Ed. G. Nelson (1885 - 1969). Nelson's career for a few years fairly was tied to Will Hart with whom he wrote (composed) several songs during the WWI era, most having been patriotic in nature. However, Nelson's output was included many more songs and extended well into the 1950's with many of his songs having been published in the 20's. He collaborated with some of Tin Pan Alley's greatest to include Harry Pease, Paul Whiteman, Ira Schuster and Milton Ager. His output includes several titles in our collection that we have featured and ASCAP credits him with 130 titles. Given that output, I'm puzzled by the apparent lack of mention of him in many of the references I have and on the internet. Among the titles by Nelson we have featured are Peggy O'Neil (1921), My Gal (1919) and of course, When Yankee Doodle Learns to Parlez Vous Francais (1917)
Jack Norworth ( 1879, Philadelphia - d. 1959, Laguna Beach, Ca.) Norworth was a famed vaudevillian who also composed and wrote songs as well as Broadway musicals. Norworth was married to the great Nora Bayes, also a songwriter and with her wrote one of Tin Pan Alley's greatest hits, Shine On Harvest Moon (MIDI). Norworth performed in a variety of modes including blackface as a minstrel and even at sea with Nora. He starred in a number of Broadway shows (again, with Bayes) including; The Jolly Bachelors (1909), Little Miss Fix-It (1911) and Roly Poly (1912). Norworth collaborated with other famed songwriters and wrote the words to baseball's greatest hit, Take Me Out To The Ball Game in 1908. Other Norworth compositions include; I'm Sorry, Honey Boy, Smarty and Way Down In Cuba. He collaborated with Von Tilzer in writing the Broadway show Odds And Ends of 1917. The 1944 film, Shine On Harvest Moon portrayed the life of Bayes and Norworth and starred Ann Sheridan and Dennis Morgan in the title roles.
Maude Nugent (1877 - 1958) is best known as the writer of a much more remembered and popular song, Sweet Rosie O'Grady, published in 1896. As with many accomplishments by women, Nugent's authorship of the song was cast into doubt by some at the time who felt it must have been written instead by her more well known husband, composer William Jerome. However, Nugent's own performances of the song brought it into popularity and her reputation as a songwriter became cemented as a result. Nugent was born in Brooklyn NY and showed a great deal of musical and performing talent. She was a successful singer, actress vaudeville performer and songwriter.
Many of her songs had an Irish theme and include several "Irish" titles besides "Rosie", including, Down At Rosie Reilly's Flat, My Irish Daisy and Mary From Tipperary. Much to her credit, she retired from the stage at the tender age of 28 to raise a family. Obviously, she continued to compose as this song would have been written some four years after her "retirement." In her later years she returned to the stage to perform in nostalgic "gay nineties" shows and was featured a number of times on television in the 1950's while in her eighties! Nugent died in New York in June of 1958.
James O'Dea ( dates unknown at this time) was a composer, lyricist and writer most known for his stage productions and plays that include; Chin Chin (1914), The Lady of the Slipper (1912), Uncle Sam (Play, 1911), The Top o' th' World (1907) and Madge Smith, Attorney (Play, 1900). He collaborated with a number of Tin Pan Alley composers including Neil Moret and was Moret's collaborator on the famous song, Hiawatha in 1901. He also wrote the lyrics to Ragtime Temple Bells (1914) with Ivan Caryll.
Chauncey Olcott's (1858 or 1860- 1932) ancestors came from Ireland. His mother was born in Ireland and came to America with her family when she was eight years old. They went first to Montreal, Canada, and then came to Lockport, NY in the 1840's. They lived in what Chauncey Olcott would later call "an Irish shanty" on the banks of the Erie Canal. The "Irish shanty" was located on the east end of West Genesee Street next to a sawmill on the Clifford Lumber Company lumberyard. Newspaper articles concerning Chauncey Olcott's early life are very contradictory. His mother is reported in some articles to be "Margaret Buckley" while other articles say his mother was "Margaret Doyle." One news article reports that his mother married Mellon Whitney Olcott in Lockport, then moved to Buffalo where Chauncey Olcott was born July 21, 1860.(in conflict with other published birth dates) Other articles note Chauncey's birthplace as Lockport. Two years after Mellen Olcott died, Margaret Olcott married Patrick Brennan. Chauncey was Margaret's only surviving son, two others having died.
It would seem though that Chauncey Olcott was most probably born in Buffalo in 1860. After his death, his widow told of his having taken great delight when they were first married in showing her his birthplace, above his father's stable in Buffalo. His mother's second husband, Patrick Brennan, was Chief Engineer for the Buffalo Water Works for many years.
Chauncey's mother and stepfather continued to live in Buffalo, and Chauncey attended Buffalo public schools. His early musical traing took place at the Buffalo Academy of Music. His maternal grandmother continued to live in the "Irish shanty" on West Genesee Street where Chauncey would spend his summer vacations from school in Buffalo. Chauncey Olcott's musical career actually began when he was very young. Some Lockport residents recalled times when Chauncey, while visiting in Lockport, was hoisted onto a table at the Washington Hose firehouse on Church Street where he would sing Irish ballads. In 1879, at the age of 19, Chauncey Olcott appeared with Emerson and Hooley's Minstrel Company in Chicago. The next year he joined a group called Haverly's Mastodons at Buffalo, New York, and they opened at the Drury Lane Theatre in London, England. In October 1881, he opened with Billy Emerson's Minstrels in San Francisco. Chauncey was very successful in the minstrel shows, but because of the special quality of his light lyric tenor voice, theatre managers encouraged him to sing Irish ballads and take
leading roles in plays, operas and operettas.
In March 1886, Chauncey Olcott made in New York City debut at the Union Square Theatre as Pablo in Pepita. Later he starred in The Old Homestead, Pinafore, and The Mikado. In 1890 he went to London where he made stage appearances and studied voice for three years. An accomplished composer, Olcott wrote musical scores for a number of plays including Minstrel of Clare (1896), A Romance in Athlone (1899) and Old Limerick Town (1902).
Despite his tremendous success and stage appearnaces in New York and London and touring extensively, Chauncey Olcott always remembered his NY roots and regularly returned to Lockport for appearances at the Hodge Opera House. In 1900 he appeared in Eileen Astore, in 1903 in Sterrance; in 1907 it was Old Limerick Town, and in 1912 it was Machusla.
In 1897, he married Margaret O'Donovan of San Francisco. Margaret Olcott was a co-author of two plays in which her husband appeared, Ragged Robin and Lusmore. After his death in 1932, she wrote Song In His Heart, a biography of Chauncey Olcott. This later was made in a motion picture called appropriately, My Wild Irish Rose. She died in 1949, age 70.
In November 1925, while on tour in The Rivals, Chauncey Olcott was stricken with a serious illness and he never appeared on stage again. He retired to Monte Carlo and died there March 18, 1932. At his bedside during his last hours were his wife and his son, Earl Lefevre, and his daughter, Jeannie Olcott. Both son and daughter were adopted. His adopted daughter had been born in Monte Carlo and was 15 years old at the time of Chauncey Olcott's death. His son was an instructor at Heidelberg at the time of his death. According to his obituary, which appeared in the New York Times, Olcott's body would be returned to New York on board the Conte Biancamaro for burial in Woodlawn Cementery.
Other Irish ballads that Chauncey Olcott made famous were Mother Machree, A Little Bit of Heaven, Sure They Call It Ireland, and When Irish Eyes Are Smiling. In many respects, Olcott could fairly be called the father of the Irish ballad in America.
Alfred Tennyson, 1st Baron Tennyson (6 August 1809 – 6 October 1892) was Poet Laureate of the United Kingdom and remains one of the most popular English poets. Tennyson was born in Somersby, Lincolnshire, a rector's son and fourth of 12 children. He was one of the descendants of King Edward III of England. Reportedly, "the pedigree of his grandfather, George Tennyson, is traced back to the middle-class line of the Tennysons, and through Elizabeth Clayton ten generations back to Edmund, Duke of Somerset, and farther back to Edward III. Tennyson excelled at penning short lyrics, including "In the valley of Cauteretz", "Break, break, break", "The Charge of the Light Brigade", "Tears, idle tears" and "Crossing the Bar". Much of his verse was based on classical mythological themes, although In Memoriam A.H.H. was written to commemorate his best friend Arthur Hallam, a fellow poet and classmate at Trinity College, Cambridge, who was engaged to Tennyson's sister, but died from a cerebral hemorrhage before they were married. Tennyson also wrote some notable blank verse including Idylls of the King, Ulysses, and Tithonus. During his career, Tennyson attempted drama, but his plays enjoyed little success in his lifetime. Tennyson wrote a number of phrases that have become commonplaces of the English language, including: "nature, red in tooth and claw", "better to have loved and lost", "Theirs not to reason why, / Theirs but to do and die", and "My strength is as the strength of ten, / Because my heart is pure". He is the second most frequently quoted writer in The Oxford Dictionary of Quotations, after Shakespeare! Much of his verse has been used as the basis for lyrics in a number of popular songs including The May Queen , an 1848 song that is based on his poem of the same title. (Partly extracted from Wikipedia and used under the terms of the GNU Free Documentation License.)
Dorothy Terriss (1890 - 1953) also often known as Theodora Morse, was born in White Plains New York in 1890. There are conflicting reports in several sources regarding her name. Probably the most reliable source; American Women Songwriters by Virginia Grattan states she was born Terris. Other sources say Terris was a pseudonym. Those sources offer no other indication of her maiden name so I'm inclined to believe Grattan's version. Terris later married Theodore Morse and wrote under the name of Theodora Morse. She also wrote using the name Dolly Morse and D.A. Esrom (Morse backwards). She was one of American popular music's finest lyricists and contributed to many of her husband's songs. Terriss & Morse were one of the earliest Tin Pan Alley husband-wife songwriting teams. Theodora not only wrote with her husband, but also collaborated with other composers. Though her work helped with her husband's success, her most successful songs were not with her husband, but with others. Some of those successes were: Siboney, with music by Ernesto Leucuona and her most famous work, Three O'Clock in the Morning , (Scorch format) with Julian Robeldo and the beautiful waltz song, Wonderful One in collaboration with jazz great, Paul Whiteman. Terriss also wrote many Hawaiian themed songs and was the lyricist for the great 1917 Morse song, Hail, Hail The Gang's All Here. In April of 2003, I heard from one of Theodora's relatives, Teddy Furst Martin who is Morse's granddaughter. Martin offered a few corrections that are very helpful.
Martin tells us that Morse was actually born in Brooklyn, NY in 1883, not 1890, and thather maiden name was Alfreda Theodora Strandberg. She married Theodore Morse on March 7, 1907. Ms. Martin said that "Dada", as she called her, was quite a strong and independent woman and a role model for her. Martin lived with Morse from 1942 till 1950.
J.(John) R. Thomas (1829 - 1896)Born in South Wales, Thomas was a celebrated baritone and composer. He first came to America with the Sequin English Opera Company and became interetested in the music of America that was developing. He sag with Bryant's Minstrels and settled in New York. He composed a great many songs including; She was a Beauteous Flower (1858), Annie of the Vale (1852), Goodbye, Farewell (1853), Beautiful Isle of the Sea (1860), The Patriot Flag (1861), Rose of Killarney (1876) and Golden Hours (1875). Thomas died in 1896 in his adopted New York City.
James Thornton (1861 - 1938) Born in Liverpool, England, Thornton came to America early in life where he made his first mark in entertainment as a part of a Vaudeville team comprised of himself, his wife Bonnie (born Lizzie Cox) and Charlie Lawlor. Thornton wrote the songs for the group and Bonnie was the primary songstress who plugged his songs. Thornton was an alcoholic who would squander their money so Bonnie always collected his pay at the stage door before James could get his hands on it. Thornton's most famous and lasting hit was When You Were Sweet Sixteen written in 1898. Aside from writing words and music for a couple of stage productions, Thornton's other songs of note were; My Sweetheart's The Man In The Moon (1898), Maggie Mooney (1894), On The Benches In The Park (1896), It Don't Seem Like The Same Old Smile (1896) and There's A Little Star Shining For You in 1897.
Theodore Moses Tobiani (b. Hamburg, Germany, 1855 - d. New York, 1933) though born in Germany, became a notable American composer and arranger. He was an accomplished violinist who was performing in concert by age ten. His family brought him to the USA when he was a child but he later returned to Europe to futher his musical education. In 1870 he returned to the US and worked as a composer and performer in various theaters in Philadelphia. Tobiani composed over 550 works and made over 4500 arrangements! Many of his works were arranged or published under the pseudonyms Florence Reed, Andrew Herman and Theodore Moses. Of all his works, Hearts and Flowers (Scorch format) is is only enduring original popular song composition however, his band arrangements continue to be played at traditional band concerts
William Tracey wrote or co-wrote a number of big hit songs, including , It's a Shame That We Have to Grow Old with Nat Vincent and Dave Berg in 1917, It's Too Late Now with Albert Von Tilzer in 1914, Naughty! Naughty! Naughty!, also with Nat Vincent and Joe Goodwin in 1916. His most lasting hit was Them There Eyes with Maceo Pinkard and Doris Tauber in 1930 a song made famous by Billie Holliday. In spite of what appears to be a healthy output and at least one huge hit, little else seems to have been documented about Mr. Tracey's life.
Al. Trahern, published a number of songs other than Lights of Home including Topsy's in Town with Warner Crosby in 1899 and In Sunny Africa with Ted S. Barron in 1902. In spite of that, we still are unable to find out much else about his life
Egbert Van Alstyne (b. Chicago, Ill 1882 - d. Chicago, 1951) A musical prodigy, he played the organ at the Methodist Church in Marengo, Illinois when only seven! Schooled in the public school system in Chicago and at Cornell College in Iowa, he won a scholarship to the Chicago Musical College. After graduation, he toured as a pianist and director of stage shows and performed in vaudeville. In 1902 he went to New York and worked as a staff pianist for a publisher in Tin Pan Alley and began to devote himself to writing songs teamed with Harry Williams as his lyricist. The teams first success came in 1903 with Navajo, one of the earliest commercial songs to exploit Indian themes. They wrote two more "Indian Songs"; Cheyenne in 1906 and San Antonio in 1907. In 1905 they produced one of the greatest songs of that early decade, In The Shade Of The Old Apple Tree which sold several million copies. For several years, the team cranked out hit after hit and music for two Broadway musicals, A Broken Doll in 1909 and Girlies in 1910.
Albert Von Tilzer ( nee Albert Gumm, b. 1878, Indianapolis - d. 1956, Los Angeles)was the brother of the famous Harry Von Tilzer.( 1872 - 1946) Albert, was one of five children, and found a career in music, more or less following his older brother Harry. It was Harry who decided to change his name to the more "gussied
up" Von Tilzer (their mother's maiden name was Tilzer and Harry added the
"Von" to make it more impressive) and Albert followed to capitalize on Harry's success.
Though Albert followed his brother in many ways, he
was definitely a fine composer in his own right. He started his career as a
plugger in 1899 and also worked for his brother's firm, von Tilzer Music Publishers.
In 1900 he wrote The Absent Minded Beggar Waltz, a rather unauspicious start. He went on to write hundreds of songs, many of them hits at that time and several of which are enduring hits still heard today.
Among his greatest works are I'll Be With You In Apple Blossom Time, (1920), Take Me Out To The Ball Game (1908) and the present, Put Your Arms Around me Honey.
Harry Von Tilzer (b. July 8, 1872, Detroit, MI, d. Jan. 10. 1946, New York, NY nee: Harry Gumm.) Harry, one of five children, was to find a career in music as did his younger brother Albert. When still a child, his family moved to Indianapolis, Indiana, where his father acquired a shoe store. A theatrical company gave performances in the loft above the store, and that's where Harry learned to love show business. His career really started in 1886 when, at age 14, he ran away from home and joined the Cole Brothers Circus. By 1887, he was playing piano, composing songs, and acting in a traveling repertory company. He changed his name at that time. His mother's maiden name was Tilzer, and he 'gussied' it up by adding the 'Von'. Thereafter he would be called Harry Von Tilzer, and later his younger brother Albert would adopt the name also. Harry met Lottie Gilson when the burlesque troupe with which he was working reached Chicago. The popular vaudevillian took an interest, and induced him to go to New York. In 1892, Harry, working as a groom on a trainload of horses, arrived in New York, with just $1.65 in his pocket. He rented a room near the Brooklyn Bridge and became a $15.00 per week saloon pianist. He left New York briefly to work in a traveling medicine show, but returned to again work in saloons and later as a vaudevillian in a 'Dutch' act with George Sidney. At this time, Harry was writing songs, literally hundreds of songs that were never published. He would sell them outright to other entertainers for $2.00 each. But the tide was about to turn for Harry. One of his songs was published, My Old New Hampshire Home, lyric by Andrew B. Sterling. William C. Dunn, owner of a small print shop, purchased it outright for $15.00, and issued it in 1898. It was a hit that sold more than 2 million copies. In 1899, three more of Von Tilzer's songs were published: I'd Leave My Happy Home for You, lyric by Will A. Heelan I Wonder If She's Waiting, lyric by Andrew B. Sterling Where The Sweet Magnolias Grow. The success of My Old New Hampshire Home prompted Maurice Shapiro of Shapiro-Bernstein Music Publishers to make Von Tilzer a partner, and the firm was renamed 'Shapiro, Bernstein and Von Tilzer'. Harry then wrote his next big hit in 1900, A Bird In A Gilded Cage (Sibelius scorch format). In 1902, Von Tilzer quit the partnership and formed his own firm 'Harry Von Tilzer Music Company'.
Henry Tucker (1826 - 1882) Not much is known about Tucker however one web site ( pdmusic.org ) states that he sang bass in the choir of St. John's Chapel on Varick Street, New York City in 1861. During 1850 to 1882 he wrote approximately 121 songs and one cantata, Joseph in Egypt, in 1870. His most popular songs were Weeping Sad and Lonely, or, When This Cruel War Is Over (1863), Jeff in Petticoats (1865), and Sweet Genevieve (1869).
Roy Turk was born in New York City on September 20, 1892. He attended City College, and during World War I he served in the United States Navy. After the war, be began writing song lyrics, including special material for such successful vaudeville performers as Rock & White, Nora Bayes and Sophie Tucker. He then became a staff writer for music publishers on Tin Pan Alley, and later went to Hollywood where he wrote song lyrics for films.
Among his collaborators were Harry Akst, George Meyer, Charles Tobias, Arthur Johnston, Maceo Pinkard, and J. Russel Robinson. From 1928 through 1933, he worked especially closely with Fred Ahlert, with whom he had many popular successes. Probably his best known song is Mean To Me, written in 1928 to music by Ahlert, which has become a jazz standard, memorably recorded by Billie Holiday and others.
Other successes include I'll Get By (1928), Walkin' My Baby Back Home (1931), I Don't Know Why (I Love You Like Do) (1931), Love, You Funny Thing (1932), Beale Street Mama (1932) and Aggravatin' Poppa (1933) which was a 1933 hit for Sophie T ucker. With additional lyrics by Bing Crosby and music by Fred Ahlert, Where The Blue Of The Night Meets The Gold Of The Day (1931) became famous as Bing Crosby's theme song.
Roy Turk died in Hollywood, California on November 30, 1934, However, his songs have proven to be timeless - in 1960, Colonel Parker convinced Elvis Presley to record a song written in 1927 by Roy Turk and Lou Handman. The song was Are You Lonesome Tonight and became one of Presley's greatest hits. ( From the songwriter's Hall of Fame biography of Roy Turk )
Barclay Walker, 1859-1927, an Indiana born composer also collaborated with his daughter, Mary Josephine (Walker) Wolff. to write several other songs, however Long Boy is his most lasting work.
Oliver G. Wallace (1887 - 1963) was born in England and his family moved to Canada, probably sometime before 1900. He began his musical career as a pianist in Vaudeville and when a teenager, he moved to Washington state and worked for a while as pianist in theaters accompanying silent films. In 1908 he became the first theater organist at the Dream Theater in Seattle. During this period he began writing music and his first song, Hindustan became a big hit in 1913. In the 30's Wallace moved to Hollywood where he began writing scores for films at Columbia and Universal. In 1936 he joined the Disney Studio where he began writing scores for animated films. His first was for a Mickey Mouse short, Mickey's Amateurs. He wrote music at Disney till 1956 having completed over 150 scores for them. He was nominated for several Academy Awards for his work at Disney. Perhaps his most talked about work was the 1942 song, Der Fuhrer's Face, written for a Donald Duck feature, it became a huge hit in 1943. Some of the more notable works by him including his most remembered work, Der Fuhrer's Face (1942), Louisiana (1920), Hindustan (1913), Along the Way To Damascus (1919) and Victory March (1942).
William Vincent Wallace (March 11, 1812 - October 12, 1865) Wallace was born at Colbeck Street, Waterford, Ireland. Both parents were Irish, his father, of County Mayo, was a regimental bandmaster. Wallace learned to play several instruments as a boy, became a leading violinist in Dublin and a fine pianist. Under the tuition of his father he early wrote pieces for the bands and orchestras of his native area. At the age of 18 he was organist of the Thurles Roman Catholic Cathedral and taught piano at the Ursuline Convent. He fell in love with a pupil, Isabella Kelly, whose father consented to their marriage in 1831 on condition that Wallace became a Roman Catholic and took the name of Vincent.
Wallace, with his wife and infant son, his sister Elisabeth, a soprano, and his brother Wellington, a flautist, emigrated in 1835 to Australia and gave family concerts. The family went to Sydney in 1836 and opened the first Australian music school. Sometime after this, Wallace separated from his wife and began a roving career. Wallace claimed that from Australia he went to New Zealand, made a whaling-voyage in the South seas, visited most of the interior provinces of India and spent some time in tiger-hunting, and finally visited Chile, Peru and Argentina, giving concerts in the large cities of those countries. It is suspected that many of these stories were manufactured or embellished by Wallace. In 1841 Wallace conducted Italian opera in Mexico, and in the early 1840s he made a successful tour of the United States and helped to found the New York Philharmonic Society.
He returned to London in 1845 and made various appearances as a pianist. In November of that year, his opera Maritana was performed at Drury Lane with great success and was later presented in Vienna, at the Covent Garden and in Australia. Wallace's sister, Elisabeth, appeared at Covent Garden in the title role in 1848. Maritana was followed by Matilda of Hungary (1847), Lurline (1860), The Amber Witch (1861), Love's Triumph (1862) and The Desert Flower (1863) . He also published a number of compositions for the piano.
In 1850, Wallace became an American citizen after a marriage in New York with Helen Stoepel, a pianist. In later years he became almost blind, and he died in poor circumstances at the Château de Bagen, Sauveterre de Comminges, near Barbazon, Haute Garonne, France on 12 October 1865 leaving a widow and two children; he was buried in Kensal Green Cemetery, London.(Extracted from Wikipedia and used under the terms of the GNU Free Documentation License)
Anton Wallerstein, (1813-1892) Wallerstein was a German violinist who also was a writer of popular dance music. He also wrote a number of songs that were popular at the time in Germany. Born in Dresden, he appeared as a violinist at an early age. It was said that his playing was very expressive however he became much more well known for his compositions. At sixteen he was a member of the Court band in Dresden and later went to Hanover to play in the Court band there. He resigned from that post in 1841. Sometime before that date he had begun composing dances and songs and contemporary sources say that he composed nearly 300 dances in addition to numerous songs and variations for violin and orchestra. His dance music "appealed to all grades of society" and it is said his music attained great popularity abroad as well as in Germany. (From The American History and Encyclopedia of Music, Vol. 2, 1908)
J. Brandon Walsh is another songwriter who has left us with a sunstantial number of published works but for whom little can be found about his life. Among his published songs are: Irish Tango (1914), Happy Days (1913), When It's Springtime In Virginia, (1913), Telephone For Me (1914), Forest Queen (1913), Harmony Bay (1914) and Teasin' (1922)
Charles B. Ward ( 1865 - 1917) was born in London and composed at least one other enduring hit during his life, Strike Up The Band, also in 1895. He died in New York in 1917. I've been unable to find any information about the lyricist, John F. Palmer.
Frederic Edward Weatherly (1848-1929), was a songwriter and in his later years, a radio entertainer. Born in Portishead, Somersetshire in England he studied law at Braesnose College and was a barrister of the Inner Temple in 1887. Weatherly also wrote a number of books including children's books and several quite serious titles including Questions in Logic, Progressive and General; The Rudiments of Logic, Inductive and Deductive and Musical and Dramatic Copyright. He also was a prolific poet, which was the source of his song lyric talent as well.
Weatherly wrote hundreds of songs among them few if any that have survived the decades since like Danny Boy has. Among his "lost works" are; In Sweet September, The Deathless Army, The Midshipmate and Polly. He also wrote other works that have survived the ages and are still well known including London Bridge, and When We Were Old and Gray. Little noticed today, Weatherly ranks at the top of the list of 19th and early twentieth century songwriters in terms of output having produced thousands of songs.
According to Michael R. Turner and Antony Miall in The Edwardian Song-Book: Drawing-Room Ballads 1900-1914, Methuen, London, 1982
The most prolific poet of the Edwardianand for that matter Victorian and Georgianballad, the genial and indefatiguable Fred E. (Frederick Edward) Weatherly (1848-1929) was virtually a one-man song factory. Seven of his lyrics appear in this book, but he wrote thousands, of which at least fifteen hundred were published, with music by dozens of composers who vied to get their hands on his verses.
The law was as much a love as poetry, and he studied and was called to the Bar at the age of thirty-nine, thereafter enjoying a comfortable career on the Western Circuit, often appearing in criminal cases, almost invariably for the defence. According to his own account, in court he was remarkably keen-witted and effective. Songs poured from him, he translated opera (including Cav. and Pag.) and he published quantities of verse and children's books. He revelled in his considerable celebrity. A little man physically, he had, as a friend put it, 'a blithe and tender soul'. He may have been self-satisfied but he was much loved and was certainly no fool, cheerfully dismissing his facility as a lyricist as no safe ticket to Parnassus. His most commercially successful ballad was 'Roses of Picardy' which became one of the great popular songs of the Great War, and it made its writer a small fortune.
According to his Brasenose biography, Weatherly came to Brasenose College in Oxford, England from Hereford Cathedral School in 1867, and was awarded a B.A. in Classics in 1871. In 1868 he achieved a certain fame on, or in, the river. The Brasenose IV had practised for Henley Regatta without a cox; on being informed that they must carry one they decided to do so, but for him to jump overboard immediately after the beginning of the race. Weatherly volunteered to take the dive and the crew went on to win the race; although subsequently disqualified, they had established a precedent from which the Coxswainless Fours were to develop.
Weatherly earned his living first as a coach in Oxford and subsequently at the Bar, but he is best known as a songwriter.(information about Weatherly's Brasenose association courtesy Brasenose College )
Pete Wendling (b. June 6, 1888, d. April 1974) Wendling was one of the true Tin Pan Alley type of musicians, a composer and lyricist. Between the years 1919 to 1929, he made a great many piano rolls, for the player pianos that were then in vogue. Over his career, he produced a huge number of songs, written with a great many different collaborators. Among his hits are; He Loves It (1922), Red Lips, Kiss My Blues Away, Yaka Hula, Hickey Doola (MIDI), I'm Growing Fonder of You, Oh What A Pal Was Mary (MIDI), How Long Has This Been Going On, and Crying Myself To Sleep. (adapted from a biography at the tunesmiths database )
Percy Wenrich. (b. Jan. 23, 1887, Joplin, MO, d. 1952, NYC). Wenrich wrote a number of hit songs many of which were of the rag genre (see The Smiler in our catalog for one of his best). Wenrich, came from a musical family. His mother taught him to play the organ and the piano while he was still a child. A little later, he would write melodies and his father would write the lyrics. Often, his songs were heard at conventions and political rallies. When he was 21 years old, he enrolled in the Chicago Music College, and while there had two of his songs published by a Chicago publisher; Ashy Africa and Just Because I'm From Missouri" Among his biggest hits were: 1909, Put On Your Old Gray Bonnet ( Scorch format), lyric Stanley Murphy, 1912 Moonlight Bay (Scorch format), lyric by Edward Madden, 1914 When You Wore A Tulip , (Scorch format) lyric by Jack Mahoney. In 1914 he scored the Broadway show Crinoline Girl and in 1921 the Broadway show The Right Girl, 1926 the Broadway show Castles in the Air and in 1930 scored the Broadway show Who Cares?. He was married to the famous performer, Dolly Connelly and performed with her in vaudeville. For more information, see our complete biography of Wenrich from our "In Search Of" series as well as our feature on his music published in September 2001 .
Richard Whately (1787-1863) an Anglican priest and author. Educated at Oriel College, Oxford, he ultimately rose to become Bishop of Dublin in 1831. He wrote a number of hymns as well as books on non religeous topics including Elements of Logic, in 1826.
Guy Harris "Doc" White (April 9, 1879 - February 19, 1969) was an American left-handed pitcher in Major League Baseball. He played for two teams, the Philadelphia Phillies and the Chicago White Sox, during his career which lasted from 1901 to 1913. Born in Washington, D.C., "Doc" White was a graduate of a dental school in Georgetown which explains the "Doc" nickname. He led the league in ERA in 1906 with 1.52 and wins in 1907 with 27. White died at age 89 in Silver Spring, Maryland, just 8 months after witnessing Don Drysdale surpass his record of 45 consecutive scoreless innings on June 4, 1968. (From Wikipedia )
Harry Williams (b. 1879, Minn. - d. 1922, Calif.) Williams is considered an important early Tin Pan Alley lyricist who collaborated with several of the greatest composers of the time including Niel Moret, Jean Schwartz and most frequently with Egbert Van Alstyne. He also collaborated on several Broadway scores including A Yankee Circus On Mars (1905), Girlies (1910) and A Broken Idol (1909). He began his musical industry career in vaudeville with Van Alstyne and then they began writing songs together. Williams formed his own publishing company and also became a director of silent movies in 1914. Among his most important and lasting hits are; In The Shade Of The Old Apple Tree, Goodnight Ladies, It's A Long Way To Tipperary and Mickey .(Scorch format) (Essential facts from Kinkle, V. 3, p. 1960)
W. R. Williams I've found no biographical information on Williams which is a bit of a puzzle for he was lyricist for quite a few popular songs of the period. He collaborated with some of the best composers such as Walter Blaufuss and George Cobb as lyricist but most of his work was done with Will Rossiter (the publisher) as composer. Would You Care If We Were Parted is the only work I've found where he also wrote the music. Among his other credits are: Ev'ry Day (1918), Oh! You Georgia Rose (1912), Pretty Little Maid of Cherokee (1909), You're All I Had (1913), I'd Love To Live In Loveland With A Girl Like You (1910) and Don't You Remember The Time? (1919).
Charles Albert White was born in Boston in 1830 and died there in 1892. Clearly one of America's earliest popular music composers, White also was an important publisher, forming the White-Smith Publishing Company with W. Frank Smith and John F. Perry in Boston around 1867. Besides his wonderful children's duet, Two Little Birds Are We (Scorch format) in 1881, White wrote The Widow in the Cottage by the Seashore (1868), Come Birdie (1870), I'se Gwine Back To Dixie, The President Cleveland March (1883) and Marguerite in 1883, and Please Sell No More Drink To My Father (Scorch format) (1884) . (Claghorn, p. 470)
Richard Whiting (b. 1891, Peoria, IL, d. 1938 Beverly Hills, CA) is one of America's greatest songwriters. He taught himself the piano and music theory and talked his father into publishing his first songs.He worked for Jerome Remick for a time and in 1912 became manager of Remick's Detroit office. He wrote many, many of the classic American songs we still know today. Till We Meet Again (Scorch format) is one of his earlier works. In 1919 he moved to New York where he wrote songs for musicals.Among his best known songs from he 20's is the great Breezin' Along With The Breeze and Sleepy Time Gal. Later hits included Beyond The Blue Horizon and The Good Ship Lollipop. He was the father of the great popular singers Margaret and Barbara Whiting. His melodies have been described as having a graceful and effortless style.
Charles Willeby (1865 - ??) An Englishman, his songs were popular during the early years of this century; they include titles like Little pilgrim (A child's fancy), published 1907; Crossing the Bar, The Fortune Hunter, Summer Rain, Autumn Days, The Sea Gipsy, Coming Home and Flower Fetters plus the cycles Bow Bells: Five London Silhouettes and the (three) Songs of the Madonna. Willeby was also a music critic and writer and wrote a biographical work about Gilbert & Sullivan circa 1893. In his notes for that work, he commented about one of their less performed works, The Sorcerer and said; "the style of the entertainment was so novel, that people did not understand it at first, and the opera was only fairly successful." Willeby also wrote a Chopin biography, FredericFrancois Chopin, published in Edinburgh, 1902. A broadly talented man, Willeby also dabbled in Ragtime, producing at least one Ragtime work, his 1905 The Silver Lining using a poem by James Whitcomb Riley.
Joe Young (b. 1889, New York, N. Y., d. 1939, New York, N. Y. )
Joe Young was most active from 1911 through the late 1930's. Joe began his career working as a singer-songplugger for various music publishers. During WW1, he entertained the U.S. Troops. Starting in 1916, he and co-lyricist Sam M. Lewis worked as a team up until 1930. Among his earliest lyrics (without Lewis) included: Don't Blame It All On Broadway; When The Angelus Was Ringing; Yaaka Hula, Hickey Dula , (MIDI) written with Pete Wendling & Ray Goetz and the great novelty song Where Did Robinson Crusoe Go With Friday on Saturday Night? (MIDI) an Al Jolson favorite. In 1930, Young and Lewis collaborated with composer Harry Warren on an early talking motion picture Spring is Here. It was one of the Young and Lewis team's last projects together. From 1930 on, Young mostly wrote lyrics by himself and continued writing nearly to his death with his last known songs published around 1935. Joe Young is a member of the Songwriters' Hall of Fame.
Henry Zeiler enjoyed an apparent brief career as a published composer in that only a few of his works seem to have made it to today's libraries. In 1903 he published My Lady Love Waltzes, in 1904 he wrote a set of variations on Nearer My God To Thee and then in 1908 he wrote and published Flight of the Air Ship. All of his works are for piano solo.
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‘Papaver’ is the Latin name for which flower? | PAPAVER Poppy, Annual Flower Information | Backyard Gardener - Gardening Information
PAPAVER Poppy, Annual Flower Information
Let’s read about this Annual Flower
Press the Flower Child and see all the photos for this plant.
PAPAVER – Poppy
(Papaver, the old Latin name)
Why should we extol the Poppy? Why note It was the favorite of the old gardens; it is the same choice flower in the newest gardens today. Dancing upon long, wiry stems, the single blooms remind us of hoop-petticoats of silk. The doubles also delight us, as we watch them open day by day pouring forth a great mass of petalage as they break from their tight buds. The colors are exactly the tints most of us admire, and if there be any one of these colors we do not like, we can choose others, for most of our Poppies are sold under variety names.
There are two distinct types of annual Poppies: the Shirley is a form of the Corn Poppy, lately known as the Flanders Field Poppy. The Ranunculus-flowered sorts are double varieties of the Shirley type. (Papaver rhoeas.) The stems are slender and hairy; the flowers are single or semi-double and appear to be made of crinkled silk of the sheerest texture; the pepper-box seed capsules are small but filled with seed.
The stems of the Opium Poppy, Papaver somniferum, are smooth, glaucous, and thicker than those of the Shirley; the plants are taller; the flowers are larger, single, or completely double, and sometimes the petals are much fringed; and the seed capsules are large. Peony-flowered, Carnation-flowered and Tulip-flowered are some of the names applied to the various varieties of the Opium Poppy.
Where to Plant. Of course, Poppies are excellent in beds by themselves, or sown in the border, where some other flower has failed. Poppies are like good friends in the garden: they are not mere callers, nor guests who disappoint us.
Some persons believe that Poppies are not good cut flowers. Even a poet has written,
For pleasures are like Poppies spread;
You pluck the flower, its bloom is shed.
But the poet did not know that if he had plucked the Poppy in bud just before it had shed its green calyx, it would have lasted well in water. Poppies are exquisite cut flowers when cut properly.
Opium is obtained from the juice of the Poppy which coagulates upon the stems when they are injured. Harvesting of opium takes place about the middle of March. At the turn of the 20th Century, fresh opium was sold to merchants at the rate of fourteen Egyptian ounces to the rottle (rottle equals twelve English ounces). The merchants shape it into round disks, each weighing from two to three grams. These disks are brushed with the white of an egg to present a better appearance. Dry, pure opium is black-red, resembling cooked coffee.
On breaking it shows a soft, compact fracture. It is often adulterated with lentil flour or mixed with “mor higasi,” a gum from Hedjaz. Regarding Flanders’ Poppy, the following note appeared in Gardening Illustrated (Eng.)
There can be little doubt that the variety is Papaver rhoeas, which, according to Loudon, was cultivated along with P. somniferum in Flanders and Germany for their seeds, which are bruised for an oil and in cookery as a substitute for that of Olives. The reason it was chosen for Remembrance Day was, possibly, from the fact that, as the two Scottish Moderators, Dr. Brown and Sir George Adam Smith, were riding together behind the lines, and as the sun sank westward in a glory of color, lighting up the stretches of Poppy flowers, Sir George, pointing to the Poppies, said to Dr. Brown, “Without shedding of blood is no remission.”-Heb. ix., 22. Even in wartime it made the Autumn glorious, and covered with its flame of color all the scars which war had made in the landscape and where so many brave young lives were laid away in the earth. It seemed, that Autumn day, as if their young life had burst its prison walls and poured in a flood of scarlet on the face of the land.
Some readers may desire to know the history of Shirley Poppies, as it shows what may be done by patient work and application. Reverend W. Wilkes, secretary of the Royal Horticultural Society, first discovered in a patch of the common field Poppy in his garden, one with a thin edge of white and with yellow stamens. Ordinarily the star stamens are black or very dark and the dark pollen musses and disfigures the flower when it ripens.
He saved the seed of this Poppy, planted it, secured a number of plants with the white edge more pronounced and with the yellow stamens. Saving from these types and discarding the black-centered plants he developed the present Shirley Poppy with its delicate satiny pinks and roses and even mauve and lavender shades and all with the light centers. It required a number of years and careful selection before the dark-stamened varieties were eliminated and the strain fixed, but now a packet of Shirley Poppy seed comes true.
GENERAL. Poppies are extremely hardy annuals so that the seed may be sown in the Fall, in the Winter upon the snow, in the early Spring, or in the Summer to extend the season of bloom. However, the seeds germinate best in cool soil.
As Poppy seed is very fine, it must be sown thinly. This is best accomplished by mixing sand with it. After sowing, it is best not to place soil over the seeds, but to cover the bed with a cloth or with grass clippings. The covering may be removed as soon as the seed has germinated, but until then it shades the seed and keeps it from drying out.
Thin the plants to stand 6 to 8 inches apart. The seedlings do not transplant readily. Poppies will bloom for a short time only if the seed pods are allowed to develop.
| Poppy |
What was the first name of Russian monk Rasputin, who befriended Nicholas II and his family? | PAPAVER PAEONIFLORUM BLACK BEAUTY | Peony Flowered Poppy Seeds
Papaver Paeoniflorum Black Beauty
Fully double, silky flowers create a host of ideas for flower arranging. Always popular. 3'.
How to Grow Poppies from Seed
Loved both for their flowers and their seeds Poppies come from a range of families including Meconopsis, Papavear, Stylomecon and Eschscholzia; the best know of these, Meconopsis, includes the Himalayan Blue Poppy and Welsh Poppy, while the Papavear family includes the Iceland poppy and Oriental Poppy.
There are both annual and perennial poppy types. Annual poppies include the Icelandic, Californian and Flanders poppies while perennial poppies include the showy Oriental types and the stunning Himalayan blue poppy.
With so many different varieties of Poppy available it is easy to see why these colourful plants are so popular. In general poppies can be grown from seed, and will flourish in pots or containers as well as naturalized into the garden.
Poppy seeds do not need to be deeply planted, most varieties need light to germinate so a lightly cover at best is all that is required.
Sow poppy seeds during early autumn or early spring, when germination may take place in 14 to 30 days at 70F, however the seeds will germinate erratically and should be pricked out as they become large enough to handle, individually into 3 inch pots or as groups in 5 inch pots. Poppy plants do not transplant particularly well they are very sensitive root disturbance so be very careful when potting on or use coir cells which can be planted into the final position without disturbing the roots.
Grow on until the pots are full of roots and plant into the garden or patio after the last frost. Poppies need spacing at about 12-14 inches.
Most poppies prefer sun but will tolerate semi shade.
Take care when watering poppies to avoid washing away seeds or any new shoots. Misting with a spray bottle or using a drip system is favourable.
Colour palette
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Erythema affects which part of the human body? | Lyme disease | DermNet New Zealand
DermNet New Zealand
Author: Vanessa Ngan, Staff Writer, 2003. Updated by Dr Daniela Vanousova, Dermatologist, Czech Republic, March 2015.
What is Lyme disease?
Lyme disease is an infection caused by borrelia, a type of bacteria called a spirochaete. Lyme disease can affect any part of the body, most commonly skin, central nervous system, joints, heart, rarely eyes and liver.
Lyme disease is common in parts of the United States (particularly in Massachusetts) and in Europe, but is reported from many areas of the world. In New Zealand, cases have only been reported in people that have recently travelled from an endemic area.
Lyme disease is also called Lyme borreliosis.
What are the subtypes of Lyme disease?
There are different types of borrelia in each continent resulting in different forms of Lyme disease in North America and Europe.
In North America, the infection is due to the subspecies B burgdorferi sensu stricto and most often presents as:
Erythema migrans
Lyme arthritis
In Europe, the infection is due to the subspecies B burgdorferi sensu stricto, B afzelii and B garinii, and most often presents as:
Erythema migrans
Acrodermatitis chronica atrophicans (due to B afzelii)
Lyme neuroborreliosis
How do you catch borrelia infection?
Humans and animals are infected with the bacteria through hard-tick bites. The borrelia bacteria survive in the midgut of the ticks. The immature nymphs are most likely to transmit the infection. The ticks feed on infected animals and then on humans.
Ticks occur in high grass, brush, woodland and leafy forest. The main hosts for the ticks and borrelia are small to medium-sized animals in Europe and deer in North America.
In North America, the tick vectors are Ixodes scapularis, I pacificus, and 4 other tick species
In Europe and Asia, the tick vectors are I ricinus, I hexagonus, and I persulcatus
Who gets Lyme disease?
Lyme disease can affect children and adults. Infection most often occurs in forestry workers and in those who have been enjoying recreational activities in areas where ticks reside.
What happens after a tick bite?
Ticks can attach and feed in any part of the human body. The bite is painless. Because they are very tiny (just 2 mm in size) nymph bites are often overlooked. Borrelia are transmitted from the midgut of the infected tick to the attached skin when attachment lasts for 36–48 hours.
Several things can happen after being bitten by an infected tick.
The body's defence mechanisms can overwhelm and eliminate the infecting bacteria.
The bacteria can remain localised at the site of the bite and cause a localised skin infection.
The bacteria may disseminate via the blood and lymphatic system to other organs and cause a multisystem inflammatory disease.
Erythema chronicum migrans
What are the signs and symptoms?
The disease can basically be divided into 3 stages according to the extent of infection.
Stage
3–33 days after tick bite
Erythema migrans
'Flu-like illness with low-grade fever, chills, fatigue and joint pain
Borelial lymphocytoma – red to blue patch on the earlobe, nipple or scrotum, (common in childrem)
Early disseminated Lyme disease
Days to weeks after tick bite
Multiple eythema migrans, smaller than initial patch
Early neuroborreliosis
Facial or Bell palsy – one sided paralysis of the facial muscles (common in children)
Aseptic meningitis – fever, severe headaches and neck stiffness
Polyradiculitis – numbness and pain in arms or legs
Other cranial nerve palsies, mild encephalitis, peripheral neuritis
Arthritis – painful and swollen large joints (knee is the most affected join)
Carditis – abnormal heart rate
Progression is gradual over months to years
Progression is gradual over months to years
Late Lyme disease
Chronic Lyme arthritis (chronic severe joint pain and swelling) in one or more large joints, mostly knee (more common in North America than in Europe)
Chronic neurological disorders such:
Disorientation, confusion, dizziness, lack of concentration, short-term memory loss
Shooting pain, numbness extending to hands/arms and feet/legs
Erythema migrans
Erythema migrans, a red expanding patch of skin, is the most typical sign of Lyme disease and is present in 70–80% of cases. It usually appears 7–14 days (range 3–33 days) after the infected tick bite. It starts at the site of the tick bite as a red papule or macule that gradually expands. The size of the rash can reach several dozens of centimetres in diameter. A central spot surrounded by clear skin that is in turn ringed by an expanding red rash (like a bull's-eye) is the most typical appearance. Erythema migrans may also present as a uniform erythematous patch or red patch with central hardening and blistering. The redness can vary from pink to very intensive purple.
Erythema migrans is mostly asymptomatic, but can be itchy, sensitive or warm if touched. It is rarely painful. Fatigue, chills, headache, low-grade fever, muscle and joint pain, may occur briefly and then recur if the disease progresses. Lymph glands near the tick bite may be swollen.
Erythema migrans disappears spontaneouslly within 3–4 weeks. If left untreated the disease may disseminate, affect other organs, and progress to the next stage.
Diagnosis of Lyme disease
It is important to get early diagnosis if you think you may have Lyme disease. Diagnosis can be made on the presence of erythema migrans and other symptoms, plus a history of or evidence of a tick bite. Laboratory tests are usually not necessary in the early stage of erythema migrans,
Undetected or ignored early symptoms may be followed by more severe symptoms weeks, months or even years after the initial infection. Certain laboratory tests are then recommended to confirm diagnosis and should be interpreted by an expert..
Antibody titres to B burgdorferi using enzyme-linked immunoassay (ELISA) or immunofluorescent assay.
Positive results should be confirmed by Western immunoblot
Acrodermatitis chronica atrophicans
The organism can be cultured and/or polymerase chain reaction (PCR) test for the organism can be done on the skin specimen
Positive antibodies to B. burgdorferi can be in many cases detected for many years after the successful treatment.
Tick bites may transmit other infections like tick-born encephalitis, anaplasmosis and babesiosis. Co-infections should be considered if symptoms of Lyme disease are severe or prolonged, in case of high fever, and abnormal blood tests results (leucopaenia, thrombocytopenia, elevation of liver transaminases).
What treatment is available for Lyme disease?
Localised or early Lyme disease generally responds well to appropriate antibiotics. Full cure is usually achieved if the disease is diagnosed and treated promptly, but the cure rate decreases the longer treatment is delayed. The choice of antibiotic depends on bacterial sensitivity. Antibiotics used include, doxycycline , amoxicillin, cefuroxime, azithromycin, erythromycin , intravenous penicillin and cetriaxone. The route of administration and the duration of antibiotic course depends on the stage and organ involvement. It varies between 10 and 30 days. Late stage Lyme disease, especially neuroborreliosis, should be treated with intravenous antibiotics.
Some patients have persistent or recurrent symptoms of unknown origin after apparently successful antibiotic treatment for Lyme disease. This is called post-treatment Lyme borreliosis syndrome. It is believed to be an auto-immune response. Prolonged antibiotic treatment does not improve cure rates.
Prevention of Lyme disease
Avoid areas endemic for Lyme borreliosis.
When walking in high grass or woodland, wear white clothes (so the tick can be seen more easily) with long sleeves, long trousers tucked into socks, or long boots.
Use repellents/pesticides.
After return from a walk in an endemic area, change your clothes and check your whole body carefully.
The next day, check your body for ticks again.
Remove the tick as a prompt removal decreases the risk of Lyme disease transmission. Disinfect the site. Use tweezers to carefully and steadily pull the tick out from the skin. Disinfect the site again. Wash your hands.
Watch the site of the tick bite for several weeks. If a rash appears bigger than 5 cm or you have 'flu-like symptoms, consult your doctor.
There is no vaccine for Lyme disease.
Related information
References:
Textbook of Dermatology. Ed Rook A, Wilkinson DS, Ebling FJB, Champion RH, Burton JL. Fourth edition. Blackwell Scientific Publications.
On DermNet NZ:
| Skin |
What was the name of the restaurant opened by Lily Savage and Loyd Grossman in the UK tv soap ‘Brookside’? | Erythema Multiforme
Erythema Multiforme
Outlook
A rash is a rash is a rash, right? Not quite! The target-shaped spots of erythema multiforme might be unlike any other rash you've ever seen.
About Erythema Multiforme
Erythema multiforme is a hypersensitivity reaction to an infection or, in some cases, a medicine. This reaction causes red, target-shaped or "bulls-eye" patches or sores on the skin. The rash usually starts off looking like pink or red blotches that develop over a few days into round shapes that look like targets (with red, pink, and pale rings). They sometimes have blisters or scabs in the center.
The rash usually begins on the arms, hands, legs, and feet, but you might also find it on the face, neck, and body. In more severe cases (called erythema multiforme major), it also can affect the lips and inside of the mouth.
One of the characteristics of an erythema multiforme rash is that it develops on both sides of the body. So a kid who gets it on one leg probably will get it on the other leg too. Kids usually complain that the rash itches and may even burn. As the rash goes away, it can turn a brownish color.
The rash, which usually develops quickly, might be the only sign that a child has the condition. However, sometimes kids also may feel tired or have:
mouth sores or blisters
mild ache in joints and muscles
Causes
Most cases of erythema multiforme are believed to be a reaction to an infection that causes the body's immune system to damage the skin cells. More than half of cases are associated with the herpes simplex virus, the virus that causes cold sores . But bacteria like mycoplasma, fungi, and other viruses are also triggers for the rash.
Erythema multiforme can happen after someone takes certain medicines, although this is a less likely cause than an infection. Some of the medicines that can trigger a reaction are:
seizure drugs, like phenytoin
nonsteroidal anti-inflammatory drugs, including ibuprofen
antibacterial drugs, like sulfonamides
penicillin and other antibiotics
Also, some cases happen after a child has an immunization, such as the tetanus-diphtheria-acellular pertussis (Tdap) or hepatitis B vaccines.
The rash is not contagious, so cannot be passed from one person to another.
continue
Diagnosis
Doctors usually recognize erythema multiforme just by looking at it. To help figure out what caused it, the doctor will ask about any recent infections the child has had and any medicines he or she is taking. Sometimes, the cause isn't known.
Treatment
Erythema multiforme goes away on its own without treatment. In many cases, though, the doctor will try to treat whatever caused a child to have the reaction.
So, if a bacterial infection is thought to be behind the rash, the doctor may recommend that a child take an antibiotic. If a medicine is the likely culprit, the doctor probably will have a child stop taking it and replace it with another medication, as needed.
To help make kids feel better, doctors may recommend:
putting cool compresses on the rash
using acetaminophen , antihistamines, or topical creams to ease itchiness or soreness
for more severe cases, using a steroid medicine for a few days
Although these treatments provide relief, they do not shorten the duration of the rash. In severe cases, hospital treatment is needed and a person might get IV (intravenous, given into a vein) medicine, such as antibiotics or steroids.
Outlook
Most kids who get erythema multiforme have no long-term effects. The rash usually goes away in 1 to 2 weeks, but can last as long as 4 weeks. It doesn't cause scarring, but in some kids might leave darker spots on the skin for a few months.
An erythema multiforme rash may come back again (recur) after going away, especially if a child is re-exposed to whatever caused the initial outbreak. If the herpes simplex virus is causing repeated episodes of erythema multiforme, a doctor may prescribe a daily antiviral medicine to prevent recurrences.
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‘Who’s Afraid of Virginia Woolf’ is the work of which American dramatist? | Who's Afraid of Virginia Woolf? : Edward Albee : 9780451218599
Who's Afraid of Virginia Woolf?
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Twelve times a week, answered Uta Hagen when asked how often she d like to play Martha in Who s Afraid of Virginia Woolf? In the same way, audiences and critics alike could not get enough of Edward Albee s masterful play. A dark comedy, it portrays husband and wife George and Martha in a searing night of dangerous fun and games. By the evening s end, a stunning, almost unbearable revelation provides a climax that has shocked audiences for years. With the play s razor-sharp dialogue and the stripping away of social pretense, Newsweek rightly foresaw Who s Afraid of Virginia Woolf? as a brilliantly original work of art an excoriating theatrical experience, surging with shocks of recognition and dramatic fire [that] will be igniting Broadway for some time to come. " show more
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134.62 x 200.66 x 12.7mm | 226.8g
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Language
Literary Studies: Plays & Playwrights
About Edward Albee
Edward Albee, the American dramatist, was born in 1928. He has written and directed some of the best plays in contemporary American theatre and three of his plays: A Delicate Balance, Seascape and Three Tall Women have received Pulitzer Prizes. His most famous play, Who's Afraid of Virginia Woolf? won the New York Drama Critics Circle Award for Best Play. His other plays include The Zoo Story, The Death of Bessie Smith, The Sandbox, The American Dream, Tiny Alice, All Over, Listening, The Lady from Dubuque, The Man Who Had Three Arms, Finding the Sun, Fragments, Marriage Play and The Lorca Play. show more
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Albee can be placed high among the important dramatists of the contemporary world theatre. New York Post An irreplaceable experience a crucial event in the birth of contemporary American theater! The Village Voice" show more
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| Edward Albee |
The Nou Camp Football Stadium is in which Spanish city? | Who's Afraid of Virginia Woolf? : Edward Albee : 9780451158710
Who's Afraid of Virginia Woolf?
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US$7.19 US$7.99 You save US$0.80
Free delivery worldwide
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Description
Twelve times a week, answered Uta Hagen, when asked how often she d like to play Martha in Who s Afraid of Virginia Woolf? Like her, audiences and critics alike could not get enough of Edward Albee s masterful play. A dark comedy, it portrays husband and wife George and Martha in a searing night of dangerous fun and games. By the evening s end, a stunning, almost unbearable revelation provides a climax that has shocked audiences for years. With the play s razor-sharp dialogue and the stripping away of social pretense, Newsweek rightly foresaw Who s Afraid of Virginia Woolf? as a brilliantly original work of art an excoriating theatrical experience, surging with shocks of recognition and dramatic fire [that] will be igniting Broadway for some time to come. " show more
Product details
108 x 172 x 22mm | 80g
Publication date
Literary Studies: Plays & Playwrights
About Edward Albee
Edward Albee, the American dramatist, was born in 1928. He has written and directed some of the best plays in contemporary American theatre and three of his plays: A Delicate Balance, Seascape and Three Tall Women have received Pulitzer Prizes. His most famous play, Who's Afraid of Virginia Woolf? won the New York Drama Critics Circle Award for Best Play. His other plays include The Zoo Story, The Death of Bessie Smith, The Sandbox, The American Dream, Tiny Alice, All Over, Listening, The Lady from Dubuque, The Man Who Had Three Arms, Finding the Sun, Fragments, Marriage Play and The Lorca Play. show more
Review quote
Albee can be placed high among the important dramatists of the contemporary world theatre. New York Post An irreplaceable experience A crucial event in the birth of contemporary American theatre. Village Voice" show more
Review Text
"Albee can...be placed high among the important dramatists of the contemporary world theatre." - New York Post "An irreplaceable experience ... A crucial event in the birth of contemporary American theatre." - Village Voice show more
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Equinophobia is the abnormal fear of which animals? | Definition of Equinophobia
Definition of Equinophobia
Generalized Anxiety Disorder (GAD) Slideshow
Equinophobia: An abnormal and persistent fear of horses. Sufferers of equinophobia experience undue anxiety even when a horse is known to be gentle and well trained. They usually avoid horses entirely rather than risk being kicked, bitten or thrown. They may also fear other hoofed animals such as ponies, donkeys and mules.
This type of phobia may be triggered by a fall from a horse (which is probably why it is said that, after a fall from a horse, one should get right back on).
"Equinophobia" is a hybrid word (one that is composed of roots from different languages). It is derived from the Latin "equus" (horse) and Greek "phobos" (fear). "Equus" also gives us the English words "equoid" and "equine" (resembling a horse). Talipes equinovarus is the common form of clubfoot in which the heel is elevated (like a horse's) and turned inward.
An alternate name for equinophobia is "hippophobia," derived from the Greek "hippos" (horse) and "phobos" fear. "Hippos" has given us the English word "hippodrome," the oval-shaped racecourses in ancient Greece and Rome where horse and chariot races took place. "Hippodrome" can also refer to any building or arena of the present or past designed for circuses, games and other entertainments.
Last Editorial Review: 6/9/2016
| Horse |
Who wrote the ‘Canterbury Tales’ in the 14th Century? | Definition of Hippophobia
Definition of Hippophobia
Generalized Anxiety Disorder (GAD) Slideshow
Hippophobia: An abnormal and persistent fear of horses. Sufferers of this fear experience undue anxiety even when a horse is known to be gentle and well trained. They usually avoid horses entirely rather than risk being kicked, bitten or thrown. They may also fear other hoofed animals such as ponies, donkeys and mules.
This type of phobia may be triggered by a fall from a horse (which is probably why it is said that, after a fall from a horse, one should get right back on).
"Hippophobia" is derived from the Greek "hippos" (horse) and "phobos" fear. "Hippos" has given us the English word "hippodrome," the oval-shaped racecourses in ancient Greece and Rome where horse and chariot races took place. "Hippodrome" can also refer to any building or arena of the present or past designed for circuses, games and other entertainments.
An alternate name for fear of horses is "equinophobia," a hybrid word (one that is composed of roots from different languages). It is derived from the Latin "equus" (horse) and Greek "phobos" (fear). "Equus" also gives us the English words "equoid" and "equine" (resembling a horse). Talipes equinovarus is the common form of clubfoot in which the heel is elevated (like a horse's) and turned inward.
Last Editorial Review: 6/14/2012
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In which James Bond film did Rowan Atkinson make his film debut? | Never Say Never Again (1983) - IMDb
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Never Say Never Again ( 1983 )
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A SPECTRE agent has stolen two American nuclear warheads, and James Bond must find their targets before they are detonated.
Director:
Irvin Kershner
Writers:
Kevin McClory (based on an original story by), Jack Whittingham (based on an original story by) | 2 more credits »
Stars:
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Title: Never Say Never Again (1983)
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Nominated for 1 Golden Globe. Another 1 win & 2 nominations. See more awards »
Videos
A diamond smuggling investigation leads James Bond to Las Vegas, where he uncovers an evil plot involving a rich business tycoon.
Director: Guy Hamilton
A fake Fabergé egg and a fellow agent's death lead James Bond to uncover an international jewel-smuggling operation, headed by the mysterious Octopussy, being used to disguise a nuclear attack on N.A.T.O. forces.
Director: John Glen
James Bond heads to The Bahamas to recover two nuclear warheads stolen by SPECTRE agent Emilio Largo in an international extortion scheme.
Director: Terence Young
Agent 007 and the Japanese secret service ninja force must find and stop the true culprit of a series of spacejackings before nuclear war is provoked.
Director: Lewis Gilbert
Agent 007 is assigned to hunt for a lost British encryption device and prevent it from falling into enemy hands.
Director: John Glen
An investigation of a horse-racing scam leads 007 to a mad industrialist who plans to create a worldwide microchip monopoly by destroying California's Silicon Valley.
Director: John Glen
James Bond investigates the mid-air theft of a space shuttle and discovers a plot to commit global genocide.
Director: Lewis Gilbert
007 is sent to stop a diabolically brilliant heroin magnate armed with a complex organization and a reliable psychic tarot card reader.
Director: Guy Hamilton
James Bond investigates the hijacking of British and Russian submarines carrying nuclear warheads with the help of a KGB agent whose lover he killed.
Director: Lewis Gilbert
James Bond is led to believe that he is targeted by the world's most expensive assassin while he attempts to recover sensitive solar cell technology that is being sold to the highest bidder.
Director: Guy Hamilton
James Bond is living on the edge to stop an evil arms dealer from starting another world war. Bond crosses all seven continents in order to stop the evil Whitaker and General Koskov.
Director: John Glen
James Bond willingly falls into an assassination ploy involving a naive Russian beauty in order to retrieve a Soviet encryption device that was stolen by SPECTRE.
Director: Terence Young
Edit
Storyline
SPECTRE agents under the command of Ernst Blofeld infiltrate a US air force base situated in the UK and steal two Tomahawk cruise missiles. When NATO is held to ransom, the British reactive their "00" agents and send James Bond to recapture the warheads and kill Blofeld. Written by Dave Jenkins <[email protected]>
Plot Summary | Plot Synopsis
Plot Keywords:
SEAN CONNERY is JAMES BOND in... See more »
Genres:
7 October 1983 (USA) See more »
Also Known As:
70 mm 6-Track (70 mm prints)| Dolby Stereo (35 mm prints) (in selected theatres)
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Did You Know?
Trivia
Prior to the 2013 settlement between the McClory Estate and MGM & EON Productions, according to the 20-26 October 1997 edition of show-business trade paper 'Variety', characters and situations the late Kevin McClory claimed he exclusively owned included S.P.E.C.T.R.E. and the organisation's octopus logo; Ernst Stavro Blofeld and his white cat; the Bond Girl characters Fiona Volpe (who appears in Thunderball (1965)) played by Luciana Paluzzi ), Fatima Blush (who appears in Never Say Never Again (1983) played by Barbara Carrera ), and Domino Smith (played by Claudine Auger (appearance) and Nikki Van der Zyl (voice - uncredited) in Thunderball (1965) as Domino Derval (aka Dominique Derval), and also played by Kim Basinger in Never Say Never Again (1983) as Domino Petachi); the Bahamas location (though this setting was still used in Casino Royale (2006)); the Shrublands Health Clinic; the James Bond character versus the Sicilian Mafia (an original plot outline for Thunderball (1965)) as well as Bond tackling an A-bomb hijacking scheme; a Flying Saucer Yacht with a hidden hydrofoil (which features in Thunderball (1965) with the vessel being called 'The Disco Volante'); and a customised rocket-firing motorcycle (which Sean Connery as James Bond rides in the Thunderball (1965) remake Never Say Never Again (1983)). See more »
Goofs
Leiter emerges from the water after spying on the yacht and removes a hood - that he wasn't wearing underwater. See more »
Quotes
Q : Rather tasty this is. It looks like a watch, but, it's really a laser. It keeps perfect time.
| Never Say Never Again |
What type of creature is a bitterling? | BBC - Comedy - Rowan Atkinson Profile
Contact Us
Rowan Atkinson
Rowan Atkinson hails from Newcastle and took a degree in electrical engineering at Newcastle University before studying at Oxford for an MSc, where he met Richard Curtis.
Although he'd first appeared at Edinburgh when he was 17, Atkinson was spotted at the 1976 Festival by television producer John Lloyd, who went on to produce him in his first starring role - as one of the four members of the Not The Nine O'Clock News sketch team. This was followed by the huge success of Blackadder and its sequels which propelled Atkinson to star status.
He then went on to create Mr Bean. A walking disaster, Bean was purely physical comedy, the opposite of Edmund Blackadder's polished dialogue. This clumsy character was a huge success and became another national treasure.
Atkinson made his big-screen debut in 1983's unofficial James Bond picture Never Say Never Again. Despite this film receiving mixed reports, he has continued to juggle TV and film roles. In 1997 Bean came to the big screen, and Scooby Doo topped the US box office in 2002. This was followed by spoof Bond feature Johnny English in 2003.
As a long-time collaborator with writer Richard Curtis, he has regularly contributed to Comic Relief. He even played the 9th Doctor, in the 1999 Doctor Who spoof The Curse Of Fatal Death.
Links:
More about Rowan Atkinson in the Guide »»
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Which British musician hosts their Annual Hootenanny on television on New Year’s Eve? | Jools Holland | Official Web Site
January 12th: Jools at EBBA 2017
The winners of the 2017 European Border Breakers Awards (EBBA), the European music awards for emerging artists, were honoured last night at the Eurosonic Noorderslag festival in the Dutch city of Groningen, in a ceremony hosted by Jools Holland.
Dua Lipa, a singer-songwriter from London, came out as the big winner of the evening, taking away the Public Choice Award by an overwhelming number of online voters.
Above: Public Choice Award winner Dua Lipa.
Photo: Ben Houdijk.
The EBBA show also featured outstanding performances by all 2017 winners: Alan Walker; Jaakko Eino Kalevi; Namika; Hinds; Filous; Jain; Dua Lipa; Natalie La Rose; and Walking on Cars. Also, an EBBA was awarded to Era Istrefi.
In the upcoming year the EBBA TV show will be broadcasted by several European public channels. Parts of the show can be watched through the YouTube channel of EBBA here .
The EBBA are funded under the European Union's (EU) Creative Europe programme. View more photos from last night's event here .
December 31st: Join Jools tonight
Airing at 11.20pm on BBC Two, Jools' Annual Hootenanny will feature Chaka Khan, Christine and the Queens, Roy Wood, Rag'n'Bone Man, Gregory Porter, ABC, Seasick Steve, Dr. John Cooper Clarke & Hugh Cornwell, Caravan Palace, along with Ali Campbell, Astro and Mickey from UB40, Imelda May, Ruby Turner, and the Pipes and Drums of the 1st Battalion Scots Guards.
December 23rd: Silent Night
Wishing you all a Merry Christmas and a Happy New Year.
December 22nd: The Trinity Laban Conservatoire of Music and Dance, Deptford, London
Jools visited on Tuesday 13th December and, in the video above, talks about and illustrates four pieces from his new album Piano and what inspired them: Christabel, Grand Hotel, Last Date, and Romantic Ruin.
They are being interpreted by contemporary dancers from the Laban Building: David Kam, Verena Schneider, Luke Birch, Samuel Baskett, Georgia Brown, Sean Murray, Viva Foster, Osian Meilir, and Sylvia Ferreira.
December 19th: Breakfast with BBC One
Jools will be visiting the BBC Breakfast studios tomorrow morning to talk about his album and love of the piano. Tune in from 8.30am.
December 16th: Jools Holland at Loose Ends
Jools will be chatting to Clive Anderson about his relationship with the piano and performing a selection of pieces from his new album, Piano , on BBC Radio Four from 6.15pm on Saturday 17th December.
December 13th: Jools on TV this morning
Jools at the piano with Lord Andrew Lloyd Webber, Piers Morgan and Susanna Reid.
Photo: Ken McKay-ITV-rex-shutterstock.
Jools was interviewed on ITV's Good Morning Britain, where he also played a track from his new album Piano .
December 2nd: Jools on Jazz FM tomorrow
Tune into Jazz FM between 10.00am and 2.00pm tomorrow to hear an interview with Jools, two live tracks, and two tracks from the new album.
December 2nd: Jools' New Album Released Today
Jools' brand-new 2016 release is an album centred around his 50-year relationship with the Piano, exploring different piano styles and performed on a variety of pianos.
The all-instrumental album has been released through East West Records.
This record features eight of Jools' original compositions as well as 10 carefully selected pieces interpreting the work of the pianists and composers that he loves.
It opens with Jools' own May, a unique field recording of his piano in conversation with songbirds, influenced by French composer Olivier Messiaen, followed by Grand Hotel, co-written with Sting a while ago and here completely reinvented with a mix of contemporary dance rhythms and stride piano. Next is a collaboration with iconic musician and producer Brian Eno, who sings backing vocals and experiments with soundscapes on Track 3, Last Date.
The album also sees Jools performing alongside his acclaimed Rhythm & Blues Orchestra on three of the tracks: Strange Cargo; Romantic Ruin; and Bumble Boogie (in which he quotes Bach's Prelude No 1). The stylistic range is broad, taking in the baroque counterpoint of Christabel and the blistering boogie woogie of Bang And Pop as well as paying tribute to works by great Jazz artists Mary Lou Williams, Sidney Bechet, Freddie Slack, and Erroll Garner. In contrast, the middle of the album showcases a four-strong blues segment inspired by Jimmy Yancey and Lloyd Glenn.
Jools pays tribute to his friend and collaborator Dr. John (Mac Rebennack) by covering Rebennack's Dorothy, but perhaps the greatest example of Jools' breadth of approach is his arrangement of Eruption by Dutch prog rock group Focus.
Earlier this year, Jools gave commuters a treat when he played a surprise session at London's St. Pancras International station on a piano donated by Sir Elton John. He improvised around three of the tracks featured on the album: Bang And Pop , as well as Bumble Boogie , and Last Date , and you can see the live recordings on YouTube by clicking on each title.
The album was overseen by Jools' long-time producer Laurie Latham, with engineer Ron Box, and was recorded with vintage equipment in a variety of locations, including the Kent Marshes.
Order it now by clicking here .
December 1st: Jools on BBC Radio 6 Music
Shaun Keaveny interviewed Jools on this morning's breakfast show.
November 28th: Andrew Marr Show
After two great shows at London's Royal Albert Hall, Jools Holland and Gilson Lavis popped into the Andrew Marr Show yesterday morning to perform a track from the new album Piano .
November 15th: Derek Nash Nominated for Jazz Award
Derek Nash, one of five saxophonists in Jools' Rhythm & Blues Orchestra, was nominated in the Alto Saxophone category in the 2016 British Jazz Awards; the winner was Soweto Kinch.
September 29th: Thank you, St Pancras International
Posted by ITV London on Thursday, 29 September 2016
Jools Holland tries out the piano donated by Sir Elton John to St Pancras International and announces the coming of a new instrumental piano album.
Twitter: @stpancrasint
Facebook: Stpancrasint
May 27th: Bid for Jools' Suit ... and more
Dave Rowntree, drummer with the band Blur, together with refugee charity IRC, has helped organise a celebrity Star Boot Sale. This took place at the Truman Brewery in London on Sunday 22nd May. The Shpock online auction of some of the items donated by actors, musicians and comedians will close on Sunday 29th May (at night, different times for different items).
Some of the items are still up for grabs, including a suit donated by Jools Holland. Jools had this suit made by Ben Beber on the Old Kent Road, wore it originally on The Tube and subsequently on the Later... with Jools Holland TV show (it still has an old cue card in the pocket). He has signed it on the inside of the waistcoat.
For more information, please click here . To view the remaining auction items just visit www.shpock.com and search for Star Boot Sale. The money raised by the Star Boot Sale will help fund much needed mobile health clinics for refugees in Jordan who are living rough or in devastated urban areas throughout the country.
April 20th: 60 Minutes with Jools Holland; Tonight, 6.30pm 7.30pm
Jools will speak as part of The Prudential Series at London Chinatown's newest charity organisation, China Exchange, 32A Gerrard Street, London W1D 6JA.
The 60-minute events comprise of a 30-minute talk led by Sir David Tang, the charity's founder, followed by a 30-minute Q&A with the audience. China Exchange opened last February with the aim of creating curiosity about China by programming panel talks, music, theatre and exhibitions.
March 30th: Roger Cicero (1970-2016)
"It is with great sadness that I heard of the tragic death of Roger Cicero. I had the privilege of performing with him at numerous shows in Britain, Germany and Austria with my band. He came on my television programme. He had one of the most amazing voices that illuminated and brought a song to life. More importantly, he was a truly wonderful, generous and kind man.
"On behalf of myself, my band, my family, and all of the people that enjoyed his music here in the United Kingdom, I send love, sympathy and condolences to his family and friends in Germany." Jools Holland
March 11th: The Tube Its Influence On The Entertainment Landscape
Forging a reputation as the most rock 'n' roll show on TV, The Tube gave British viewers their first glimpse of Madonna, REM, and Frankie Goes to Hollywood.
An exhibition which has opened at Newcastle's Discovery Museum and is running until the end of June, is offering fans a trip down memory lane. But just how did this irreverent show change the entertainment landscape? Simon Armstrong interviews Jools Holland for the BBC News website. Click here to read the piece.
RADIO & TV
| Jools Holland |
‘The Thought Police’ feature in which 1949 novel? | aurora
12/31/2014
New Years Eve - Jools' Annual Hootenanny 2014
Jools Holland presents the 22nd edition of his New Year's Eve musical extravaganza, as he sees out 2014 with a host of stars. The line-up features British singer-songwriters Ed Sheeran, Paolo Nutini, Ellie Goulding, Paloma Faith and Joss Stone, while America is represented by 1960s pop singer Ronnie Spector, blues musician Boz Scaggs, soul singer William Bell and country band Hayseed Dixie. Plus, Clean Bandit with Jess Glynne perform their chart-topping single Rather Be and there are appearances by former Dr Feelgood guitarist Wilko Johnson and Hootenanny regular Ruby Turner, while the Pipes and Drums of the 1st Battalion Scots Guards play in the new year in traditional fashion.
Lighting Director Chris Rigby. Recorded at the Maidstone Studios.
Wednesday 31st December 2014 (NYE) 11.20pm on BBC2
| i don't know |
How many medals did Germany win in the 2002 Winter Olympic Games? | 2002 Salt Lake City Winter Games | Olympics at Sports-Reference.com
2002 Salt Lake City Winter Games
Host City: Salt Lake City, United States (February 9, 2002 to February 24, 2002)
Opening Ceremony: February 8, 2002 (opened by President George W. Bush)
Lighter of the Olympic Flame: 1980 USA Olympic Men's Ice Hockey Team
Taker of the Olympic Oath: Jim Shea, Jr. (athlete)
Closing Ceremony: February 24, 2002
Events: 78 in 15 sports
Participants: 2,399 (1,513 men and 886 women) from 77 countries
Youngest Participant:
Ana Jelušić (15 years, 55 days)
Oldest Participant:
Anne Abernathy (48 years, 307 days)
Most Medals (Athlete):
Germany (36 medals)
Overview
The roller coaster saga of the 2002 Olympic Winter Games began when Salt Lake City was selected as the host city at the 1995 IOC Session. Salt Lake City had bid for 1998 but lost out to Nagano, and its 2002 bid was so strong that the IOC needed only one round of voting to award the Utah city the bid, almost by acclamation. It was the first high for the city with Mormon ties, but the bottom of the coaster loomed ahead.
» Click to show/hide rest of overview
Over the next few years Salt Lake City Organizing Committee did its work with few problems. The stock market was booming and sponsorship money flowed into the Committee. But on 24 November 1998, Salt Lake City television station KTVX reported that the Salt Lake Olympic Organizing Committee (SLOC) had been paying for Sonia Essomba, daughter of an IOC Member, to attend American University in Washington. Things were no longer well with the 19th Olympic Winter Games.
That report led to the Olympic Scandal of 1999, which led to many reforms within the IOC and among its members. But Salt Lake City was implicated as being responsible, as their Bid Committee was shown to have showered IOC Members with their largesse, much of it, if not in contravention of IOC rules, at least pushing the envelope of those rules. The Bid Committee members noted that they were playing the same Games as other bid cities – that they had done nothing that the other candidates had not done. But the damage was real.
Bid Committee kingpins Tom Welch and Dave Johnson had moved into leadership positions within the Organizing Committee but were forced to withdraw, and eventually the Federal Department of Justice brought indictments against both men. The indictments were later thrown out by a judge, but an appeal is ongoing. The man who replaced Welch as President and CEO of the Organizing Committee was Frank Joklik, but when it was revealed that he had had close affiliations with the Bid Committee, he was tainted by association, and resigned of his own accord.
The Olympic Winter Games were only two years away and without leadership. Worse still was that several sponsors were making noises about withdrawing financial support, threatening a fiscal disaster. And as the stock market in 1999-2000 began to fall from its raging bull status, new money to support the Salt Lake Olympics was not easily found. The Salt Lake City Organizing Committee reached out to Mitt Romney as their new chief. Romney was the son of George Romney, a former US Presidential candidate, and he was a financial wizard, having made a fortune as the leader of Bain Capital, a venture capital firm. He quickly righted the ship and all seemed well again on the banks of the Great Salt Lake.
Then on 11 September 2001, a scant five months before the Opening Ceremony, Arab terrorists savagely and cowardly attacked American soil, hijacking four airplanes and crashing two of them into the twin towers of the World Trade Center, and another into the Pentagon. A fourth plane was also being aimed at Washington, but the American passengers, aware of the circumstances of that Tuesday morning, courageously assaulted the terrorist pilots and the plane crashed into a deserted Pennsylvania meadow, killing all aboard, but likely saving many lives.
The United States responded by announcing a war on terrorism and within weeks was waging war on Arab terrorists and the Al-Qaeda organization in Afghanistan. A larger war seemed imminent. Now the question was not if Salt Lake City could fund Olympic Games in February 2002, but whether there would be any Games at all. Security concerns would have to be ramped up an order of magnitude. But federal security forces, which were to be used at the Winter Olympics, could be diverted to fight the war, and it was not known if they would be available for the Olympics. And if the United States waged a full-out war, would other nations attend peaceful Olympic Games? Remember, the United States had boycotted the Moscow 1980 Olympics specifically because they thought it was wrong to attend Olympic Games while the host nation was fighting a war.
But somehow, the 2002 Olympic Winter Games were held, and they were Olympic Games to remember. Mitt Romney and the Salt Lake Organizing Committee (SLOC) overcame all the obstacles. Security was tight, but not much more intrusive than that which was seen at Sydney. The American public embraced the Winter Olympics as “our” Games, a chance to heal somewhat from the assault on our shores. The Europeans, often critical of American Olympic Games, made a few by now standard grumblings about too much coverage of American athletes, but much less so than at Los Angeles in 1984. And there were none of the organizational problems of the 1996 Atlanta Olympics. The weather cooperated as well, with plenty of snow before the Games, but clear, cold weather in the first week, and then almost spring-like conditions in the second week.
The biggest news of the 2002 Olympic Winter Games was the controversy surrounding the pairs figure skating event. On the night of the free skate, the leaders were the Russians, Yelena Berezhnaya and Anton Sikharulidze, with the Canadian pair, Jamie Salé and David Pelletier, close behind in second. Whoever won the free skate would win the gold medal, and to the audience, and many figure skating experts, that appeared to be the Canadians, who skated cleanly while the Russians had made several errors. But the judges voted 5-4 in favor of the Russians, giving them the gold medal. The audience and media howled in protest, and within 24 hours rumors of vote-fixing were rampant, focusing on the French skating judge, Marie Reine LeGougne. Eventually, IOC President Jacques Rogge ordered the International Skating Union (ISU) to hold emergency meetings to investigate the rumors. Within 3 days, the ISU and IOC announced that the two pairs would be considered co-champions and Salé and Pelletier were given gold medals. The controversy reached even further, calling for a complete overhaul of figure skating judging. As of mid-2003, it is far from ended.
The two biggest medal winners at Salt Lake City received them in seeming obscurity, as the American media focused on the figure skating furor. Ole Einar Bjørndalen of Norway won four gold medals in the four biathlon events, sweeping the competition. In women’s alpine skiing, Croatia’s Janica Kostelić won three gold medals and four medals in all. She became the first Olympic alpine skier to win four medals at one Games.
The other big story from Salt Lake City was the return of Canadian prominence in their national sport – ice hockey. Canada’s men had not won the Olympic gold since 1952, after dominating the sport for the first 30 years of Olympic competition. The Olympic ice hockey event had most of the world’s top pros, as NHL players competed, and the level of competition was supreme, highlighted by two games between the United States and Russia. In the first, the two powers played to a 2-2 tie, but in the quarter-finals, the US barely won, 3-2. In the final, the United States faced Canada, and a similar close match was expected, but Canada prevailed rather easily, 5-2. Canada’s women added to the story, also facing the United States in the distaff final. In 1998, the US had defeated the Canadian women, but at Salt Lake City, the Canadian women defeated the US 3-2 for the gold medal.
In the end, after two glorious weeks in the Utah Mountains, the Olympic Scandal and the tragedy of 9/11 seemed distant afterthoughts. If anything could help Americans forget that tragic September morn, it was the 19th Olympic Winter Games.
Country Medal Leaders
A Sports Reference Site : About SR/Olympics | Privacy Statement | Conditions & Terms of Service | Use of Data
Data provided by OlyMADMen , led by Hilary Evans, Arild Gjerde, Jeroen Heijmans, and Bill Mallon. Members: David Foster, Martin Frank, Jørn Jensen, Carl-Johan Johansson, Taavi Kalju, Martin Kellner, George Masin, Stein Opdahl, Wolf Reinhardt, Ralf Regnitter, Paul Tchir, Magne Teigen, Christian Tugnoli, Morten Aarlia Torp, and Ralf Schlüter.
Sports Reference LLC and www.sports-reference.com are not sponsored by or affiliated with the Olympics, the United States Olympic Committee or the International Olympic Committee. Trademarks featured or referred to on this website are the property of their respective trademark holders and not Sports Reference LLC or www.sports-reference.com .
Part of the
| thirty six |
Who wrote the children’s story ‘The Emperor’s New Clothes’? | 2002 Salt Lake City Winter Games | Olympics at Sports-Reference.com
2002 Salt Lake City Winter Games
Host City: Salt Lake City, United States (February 9, 2002 to February 24, 2002)
Opening Ceremony: February 8, 2002 (opened by President George W. Bush)
Lighter of the Olympic Flame: 1980 USA Olympic Men's Ice Hockey Team
Taker of the Olympic Oath: Jim Shea, Jr. (athlete)
Closing Ceremony: February 24, 2002
Events: 78 in 15 sports
Participants: 2,399 (1,513 men and 886 women) from 77 countries
Youngest Participant:
Ana Jelušić (15 years, 55 days)
Oldest Participant:
Anne Abernathy (48 years, 307 days)
Most Medals (Athlete):
Germany (36 medals)
Overview
The roller coaster saga of the 2002 Olympic Winter Games began when Salt Lake City was selected as the host city at the 1995 IOC Session. Salt Lake City had bid for 1998 but lost out to Nagano, and its 2002 bid was so strong that the IOC needed only one round of voting to award the Utah city the bid, almost by acclamation. It was the first high for the city with Mormon ties, but the bottom of the coaster loomed ahead.
» Click to show/hide rest of overview
Over the next few years Salt Lake City Organizing Committee did its work with few problems. The stock market was booming and sponsorship money flowed into the Committee. But on 24 November 1998, Salt Lake City television station KTVX reported that the Salt Lake Olympic Organizing Committee (SLOC) had been paying for Sonia Essomba, daughter of an IOC Member, to attend American University in Washington. Things were no longer well with the 19th Olympic Winter Games.
That report led to the Olympic Scandal of 1999, which led to many reforms within the IOC and among its members. But Salt Lake City was implicated as being responsible, as their Bid Committee was shown to have showered IOC Members with their largesse, much of it, if not in contravention of IOC rules, at least pushing the envelope of those rules. The Bid Committee members noted that they were playing the same Games as other bid cities – that they had done nothing that the other candidates had not done. But the damage was real.
Bid Committee kingpins Tom Welch and Dave Johnson had moved into leadership positions within the Organizing Committee but were forced to withdraw, and eventually the Federal Department of Justice brought indictments against both men. The indictments were later thrown out by a judge, but an appeal is ongoing. The man who replaced Welch as President and CEO of the Organizing Committee was Frank Joklik, but when it was revealed that he had had close affiliations with the Bid Committee, he was tainted by association, and resigned of his own accord.
The Olympic Winter Games were only two years away and without leadership. Worse still was that several sponsors were making noises about withdrawing financial support, threatening a fiscal disaster. And as the stock market in 1999-2000 began to fall from its raging bull status, new money to support the Salt Lake Olympics was not easily found. The Salt Lake City Organizing Committee reached out to Mitt Romney as their new chief. Romney was the son of George Romney, a former US Presidential candidate, and he was a financial wizard, having made a fortune as the leader of Bain Capital, a venture capital firm. He quickly righted the ship and all seemed well again on the banks of the Great Salt Lake.
Then on 11 September 2001, a scant five months before the Opening Ceremony, Arab terrorists savagely and cowardly attacked American soil, hijacking four airplanes and crashing two of them into the twin towers of the World Trade Center, and another into the Pentagon. A fourth plane was also being aimed at Washington, but the American passengers, aware of the circumstances of that Tuesday morning, courageously assaulted the terrorist pilots and the plane crashed into a deserted Pennsylvania meadow, killing all aboard, but likely saving many lives.
The United States responded by announcing a war on terrorism and within weeks was waging war on Arab terrorists and the Al-Qaeda organization in Afghanistan. A larger war seemed imminent. Now the question was not if Salt Lake City could fund Olympic Games in February 2002, but whether there would be any Games at all. Security concerns would have to be ramped up an order of magnitude. But federal security forces, which were to be used at the Winter Olympics, could be diverted to fight the war, and it was not known if they would be available for the Olympics. And if the United States waged a full-out war, would other nations attend peaceful Olympic Games? Remember, the United States had boycotted the Moscow 1980 Olympics specifically because they thought it was wrong to attend Olympic Games while the host nation was fighting a war.
But somehow, the 2002 Olympic Winter Games were held, and they were Olympic Games to remember. Mitt Romney and the Salt Lake Organizing Committee (SLOC) overcame all the obstacles. Security was tight, but not much more intrusive than that which was seen at Sydney. The American public embraced the Winter Olympics as “our” Games, a chance to heal somewhat from the assault on our shores. The Europeans, often critical of American Olympic Games, made a few by now standard grumblings about too much coverage of American athletes, but much less so than at Los Angeles in 1984. And there were none of the organizational problems of the 1996 Atlanta Olympics. The weather cooperated as well, with plenty of snow before the Games, but clear, cold weather in the first week, and then almost spring-like conditions in the second week.
The biggest news of the 2002 Olympic Winter Games was the controversy surrounding the pairs figure skating event. On the night of the free skate, the leaders were the Russians, Yelena Berezhnaya and Anton Sikharulidze, with the Canadian pair, Jamie Salé and David Pelletier, close behind in second. Whoever won the free skate would win the gold medal, and to the audience, and many figure skating experts, that appeared to be the Canadians, who skated cleanly while the Russians had made several errors. But the judges voted 5-4 in favor of the Russians, giving them the gold medal. The audience and media howled in protest, and within 24 hours rumors of vote-fixing were rampant, focusing on the French skating judge, Marie Reine LeGougne. Eventually, IOC President Jacques Rogge ordered the International Skating Union (ISU) to hold emergency meetings to investigate the rumors. Within 3 days, the ISU and IOC announced that the two pairs would be considered co-champions and Salé and Pelletier were given gold medals. The controversy reached even further, calling for a complete overhaul of figure skating judging. As of mid-2003, it is far from ended.
The two biggest medal winners at Salt Lake City received them in seeming obscurity, as the American media focused on the figure skating furor. Ole Einar Bjørndalen of Norway won four gold medals in the four biathlon events, sweeping the competition. In women’s alpine skiing, Croatia’s Janica Kostelić won three gold medals and four medals in all. She became the first Olympic alpine skier to win four medals at one Games.
The other big story from Salt Lake City was the return of Canadian prominence in their national sport – ice hockey. Canada’s men had not won the Olympic gold since 1952, after dominating the sport for the first 30 years of Olympic competition. The Olympic ice hockey event had most of the world’s top pros, as NHL players competed, and the level of competition was supreme, highlighted by two games between the United States and Russia. In the first, the two powers played to a 2-2 tie, but in the quarter-finals, the US barely won, 3-2. In the final, the United States faced Canada, and a similar close match was expected, but Canada prevailed rather easily, 5-2. Canada’s women added to the story, also facing the United States in the distaff final. In 1998, the US had defeated the Canadian women, but at Salt Lake City, the Canadian women defeated the US 3-2 for the gold medal.
In the end, after two glorious weeks in the Utah Mountains, the Olympic Scandal and the tragedy of 9/11 seemed distant afterthoughts. If anything could help Americans forget that tragic September morn, it was the 19th Olympic Winter Games.
Country Medal Leaders
A Sports Reference Site : About SR/Olympics | Privacy Statement | Conditions & Terms of Service | Use of Data
Data provided by OlyMADMen , led by Hilary Evans, Arild Gjerde, Jeroen Heijmans, and Bill Mallon. Members: David Foster, Martin Frank, Jørn Jensen, Carl-Johan Johansson, Taavi Kalju, Martin Kellner, George Masin, Stein Opdahl, Wolf Reinhardt, Ralf Regnitter, Paul Tchir, Magne Teigen, Christian Tugnoli, Morten Aarlia Torp, and Ralf Schlüter.
Sports Reference LLC and www.sports-reference.com are not sponsored by or affiliated with the Olympics, the United States Olympic Committee or the International Olympic Committee. Trademarks featured or referred to on this website are the property of their respective trademark holders and not Sports Reference LLC or www.sports-reference.com .
Part of the
| i don't know |
In which castle was English monarch Henry VII born? | King Henry Tudor, King of England (1457 - 1509) - Genealogy
King Henry Tudor, King of England
Also Known As:
"Harri Tudur", "King of England", "Harry (King Henry VII of England)"
Birthdate:
in Richmond Palace, Richmond, Surrey, England
Cause of death:
Henry VII's Chapel, Westminster Abbey, London, England
Immediate Family:
Half brother of Isabella Stanley and Ann Barton
Occupation:
Feb 6 1457 - Pembroke Castle, Pembrokeshire, Wales
Death:
May 1 1509 - Richmond Palace, Richmond, Surrey, England
Wife:
Queen of England Elizabeth Tudor (born Plantagenet)
Children:
Feb 6 1457 - Pembroke Castle, Pembrokeshire, Wales
Death:
May 1 1509 - Richmond Palace, Richmond, Surrey, England
Wife:
Queen of England Elizabeth Tudor (born Plantagenet)
Children:
Feb 6 1457 - Pembroke Castle, Pembrokeshire, Wales
Death:
May 1 1509 - Richmond Palace, Richmond, Surrey, England
Wife:
Queen of England Elizabeth Tudor (born Plantagenet)
Children:
Jan 28 1457 - Pembroke Castle, Pembrokeshire, Wales
Death:
Apr 22 1509 - Richmond Palace, Richmond, Surrey, England
Parents:
Edmund Tudor, Lady Margaret Tudor
Wife:
Elizabeth of England
Children:
Henry of England, VIII, Margaret Tudor, Katherine Tudor, Elizabeth Tudor, Edmund Somerset Tudor, Arthur Tudor, Roland Tudor, Mary Rose Tudor
Feb 7 1547 - Pembroke Castle, Pembrokeshire, Wales
Death:
Between Jan 11 1509 and Jan 10 1510 - England
Wife:
Feb 7 1547 - Pembroke Castle, Pembrokeshire, Wales
Death:
Between Jan 11 1509 and Jan 10 1510 - England
Wife:
Jan 29 1456 - Pembroke, Pembrokeshire, Wales
Death:
May 1 1509 - Richmond, Surrey, England
Wife:
Feb 7 1547 - Pembroke Castle, Pembrokeshire, Wales
Death:
Between Jan 11 1509 and Jan 10 1510
Wife:
Elisabeth of York
Children:
Between Jan 10 1457 and Jan 9 1458
Death:
Between Jan 11 1509 and Jan 10 1510
Wife:
Elizabeth Tudor (born of York)
Children:
Feb 6 1457 - Pembroke Castle, Pembrokeshire, Wales
Death:
May 2 1509 - Richmond, Surrey, England
Wife:
Feb 6 1457 - Pembroke Castle, Pembrokeshire, Wales
Death:
May 1 1509 - Richmond Palace, Richmond, Surrey, England
Wife:
Feb 6 1457 - Pembroke Castle, Pembrokeshire, Wales
Death:
May 1 1509 - Richmond, Surrey, England
Wife:
mother
About Henry VII of England
"Henry VII (Welsh: Harri Tudur; 28 January 1457 – 21 April 1509) was King of England and Lord of Ireland from his seizing the crown on 22 August 1485 until his death on 21 April 1509, as the first monarch of the House of Tudor.
Henry won the throne when his forces defeated Richard III at the Battle of Bosworth Field. He was the last king of England to win his throne on the field of battle. Henry cemented his claim by marrying Elizabeth of York, daughter of Edward IV and niece of Richard III. Henry was successful in restoring the power and stability of the English monarchy after the political upheavals of the civil wars known as the Wars of the Roses. He founded the Tudor dynasty and, after a reign of nearly 24 years, was peacefully succeeded by his son, Henry VIII.
Although Henry can be credited with the restoration of political stability in England, and a number of commendable administrative, economic and diplomatic initiatives, the latter part of his reign was characterised by a financial rapacity which stretched the bounds of legality. The capriciousness and lack of due process which indebted many in England were soon ended upon Henry VII's death after a commission revealed widespread abuses. According to the contemporary historian Polydore Vergil, simple "greed" in large part underscored the means by which royal control was over-asserted in Henry's final years."
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Wikipedia links:
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Citations / Sources:
[S1] S&N Genealogy Supplies, S&N Peerage CD., CD-ROM (Chilmark, Salisbury, U.K.: S&N Genealogy Supplies, no date (c. 1999)). Hereinafter cited as S&N Peerage CD.
[S4] C.F.J. Hankinson, editor, DeBretts Peerage, Baronetage, Knightage and Companionage, 147th year (London, U.K.: Odhams Press, 1949), page 20 . Hereinafter cited as DeBretts Peerage, 1949.
[S5] #552 Europaische Stammtafeln: Stammtafeln zur Geschichte der europaischen Staaten. Neue Folge (1978), Schwennicke, Detlev, (Marburg: Verlag von J. A. Stargardt, c1978-1995 (v. 1-16) -- Frankfurt am Main: Vittorio Klostermann, c1998- Medieval Families bibliography #552.), FHL book Q 940 D5es new series., vol. 2 p. 94.
[S6] G.E. Cokayne; with Vicary Gibbs, H.A. Doubleday, Geoffrey H. White, Duncan Warrand and Lord Howard de Walden, editors, The Complete Peerage of England, Scotland, Ireland, Great Britain and the United Kingdom, Extant, Extinct or Dormant, new ed., 13 volumes in 14 (1910-1959; reprint in 6 volumes, Gloucester, U.K.: Alan Sutton Publishing, 2000), volume I, page 157, volume II, page 45, volume III, page 175. Hereinafter cited as The Complete Peerage.
[S7] #44 Histoire de la maison royale de France anciens barons du royaume: et des grands officiers de la couronne (1726, reprint 1967-1968), Saint-Marie, Anselme de, (3rd edition. 9 volumes. 1726. Reprint Paris: Editions du Palais Royal, 1967-1968), FHL book 944 D5a; FHL microfilms 532,231-532,239., vol. 1 p. 129.
[S11] Alison Weir, Britain's Royal Families: The Complete Genealogy (London, U.K.: The Bodley Head, 1999), page 149-151. Hereinafter cited as Britain's Royal Families.
[S14] #236 Encyclopédie généalogique des maisons souveraines du monde (1959-1966), Sirjean, Gaston, (Paris: Gaston Sirjean, 1959-1966), FHL book 944 D5se., vol. 1 pt. 1 p. 88.
[S16] #894 Cahiers de Saint-Louis (1976), Louis IX, Roi de France, (Angers: J. Saillot, 1976), FHL book 944 D22ds., vol. 2 p. 108, vol. 3 p. 133.
[S18] Matthew H.C.G., editor, Dictionary of National Biography on CD-ROM (Oxford, U.K.: Oxford University Press, 1995), reference "Henry VII, 1457-1509". Hereinafter cited as Dictionary of National Biography.
[S20] Magna Carta Ancestry: A study in Colonial and Medieval Families, Richardson, Douglas, (Kimball G. Everingham, editor. 2nd edition, 2011), vol. 4 p. 225.
[S22] #374 The Lineage and Ancestry of H. R. H. Prince Charles, Prince of Wales (1977), Paget, Gerald, (2 volumes. Baltimore: Geneal. Pub., 1977), FHL book Q 942 D22pg., vol. 1 p. 31.
[S23] #849 Burke's Guide to the Royal Family (1973), (London: Burke's Peerage, c1973), FHl book 942 D22bgr., p. 200.
[S25] #798 The Wallop Family and Their Ancestry, Watney, Vernon James, (4 volumes. Oxford: John Johnson, 1928), FHL book Q 929.242 W159w; FHL microfilm 1696491 it., vol. 3 p. 777.
[S34] #271 Lives of the Queens of England from the Norman Conquest (1843), (New edition. 6 volumes. New York: John W. Lovell [1843]), FHL book 942 D3sa; FHL microfilms 845,145-845,147., vol. 1 p. 657-702.
[S35] #244 The History and Antiquities of the County of Northampton (1822-1841), Baker, George, (2 volumes. London: J. B. Nichols and Son, 1822-1841), FHL book Q 942.55 H2bal; FHL microfilm 962,237 ite., vol. 1 p. 56.
[S37] #93 [Book version] The Dictionary of National Biography: from the Earliest Times to 1900 (1885-1900, reprint 1993), Stephen, Leslie, (22 volumes. 1885-1900. Reprint, Oxford, England: Oxford University Press, 1993), FHL book 920.042 D561n., vol. 26 p. 69-94.
[S39] Medieval, royalty, nobility family group sheets (filmed 1996), Church of Jesus Christ of Latter-day Saints. Family History Department. Medieval Family History Unit, (Manuscript. Salt Lake City, Utah : Filmed by the Genealogical Society of Utah, 1996), FHL film 1553977-1553985..
[S47] #688 Collectanea topographica et genealogica (1834-1843), (8 volumes. London: J.B. Nichols, 1834-1843), FHL book 942 B2ct; FHL microfilms 496,953 item 3 a., vol. 1 p. 295, 297, 308.
[S54] #21 The complete Peerage of England, Scotland, Ireland, Great Britain, and the United Kingdom, extant, extinct, or dormant, Cokayne, George Edward, (Gloucester [England] : Alan Sutton Pub. Ltd., 1987), 942 D22cok., vol. 3 p. 441, 443.
[S66] #242 [1831 edition] A General and Heraldic Dictionary of the Peerages of England, Ireland, and Scotland, Extinct, Dormant, and in Abeyance (1831), Burke, John, (London: Henry Colburn and Richard Bentley, 1831), FHL book 942 D22bg 1831; FHL microfilm 845,453 ite., p. 161.
[S81] #125 The Royal Daughters of England and Their Representatives (1910-1911), Lane, Henry Murray, (2 voulmes. London: Constable and Co., 1910-1911), FHL microfilm 88,003., vol. 1 p. 309-310 319- 331 table.
[S101] #11833 The Ancestry of Mary Isaac, C.1549-1613: Wife of Thomas Appleton of Little Waldingfield, Co. Suffolk . . . (1955), Davis, Walter Goodwin, (Portland, Maine: Anthoesen Press, 1955), FHL book 929.242 Is1d; FHL microfilm 990,484 item ., p. 26.
[S107] #150 [1827-1878] A Genealogical and Heraldic Dictionary of the Peerage and Baronetage, Together with Memoirs of the Privy Councillors and Knights (1827-1878), Burke, Sir John Bernard, (London: Henry Colburn, 1827-1878), FHL book 942 D22bup., 1949 p. 1428-1429.
[S338] Plantagenet Ancestry: A Study in Colonial and Medieval Families (2004), Richardson, Douglas, edited by Kamball G. Everingham, (Baltimore: Genealogical Publishing Company, 2004), FHL book 942 D5rd., p. xxix.
[S631] An Encyclopedia of World History; Ancient, Medieval, and Modern, Chronologically Arranged (1972), Langer, William L., (5th edition. Boston: Houghton Mifflin Company, 1972), p. 292.
[S658] The Royal Stewarts, Henderson, T. F., (William Blackwood and Sons, Edinburgh and London, 1914), 929.241 St49h., Stewart Pedigree.
[S673] #1079 A History of Monmouthshire from the Coming of the Normans into Wales down to the Present Time (1904-1993), Bradney, Sir Joseph Alfred, (Publications of the South Wales Record Society, number 8. Five volumes in 13. London: Mitchell, Hughes and Clarke, 1904-1993), FHL book 942.43 H2b., vol. 2 p. 26; vol. 3 p. 8.
[S676] Mary Tudor, the White Queen (1970), Richardson, Walter Cecil, (Seattle, Washington: University of Washington Press [1970]), HBLL book DC 108. R5 1970b., p. 3, 33, 80, 96, 199, 210, 21 213, 264.
[S677] The Earlier Tudors, 1485-1558 (1952), Mackie, John Duncan, (The Oxford history of England, v. 7. Oxford : Clarendon Press, 1952), FHL book 942 H2oh v. 7., p. 48, 65.
[S678] #1039 Pedigrees of Anglessey and Carnarvonshire Families: with Their Collateral Branches in Denbighshire, Merionethshire (1914), Griffith, John Edwards, (Horncastle, England: W.K. Morton, 1914), FHL book Folio 942.9 D2gr; FHL microfilm 468,334., p. 106, 223, 270.
[S1800] #771 The History of the Princes, the Lords Marcher and the Ancient Nobility of Powys Fodog and the Ancient Lords of Arwystli, Cedewen and Meirionydd (1881-1887), Lloyd, Jacob Youde William, (6 volumes. London: T. Richards, 1881-1887), FHL book 942.9 D2L; FHL microfilms 990,213-990,214., vol. 2 p. 135; vol. 4 p. 283*.
[S1850] Medieval Lands: A Prosopography of Medieval European Noble and Royal Families, Charles Cawley, ( http://fmg.ac/Projects/MedLands/ ), England, Kings 1066-1603 [accessed 28 Jun 2006].
[S1886] #89 A Genealogical History of the Kings of England, and Monarchs of Great Britain, & C. From the Conquest, Anno 1066 to the Year, 1677, Sandford, Francis Esq., (London: Thomas Newcomb, 1677), FHL microfilm 599,670 item 3., p. 312.
[S1924] #189 The Scots Peerage: Founded on Wood's Edition of Sir Robert Douglas's Peerage of Scotland, Containing an Historical and Genealogical Account of the Nobility of that Kingdom, with Armorial Illustrations (1904-1914), Paul , Sir James Balfour, (9 volumes. Edinburgh: D. Douglas, 1904-1914), FHL book 941 D22p; FHL microfilms104,157-104,161., vol. 1 p. 21.
[S2318] #1210 The Family of Griffith of Garn and Plasnewydd in the County of Denbigh, as Registered in the College of Arms from the Beginning of the XIth Century (1934), Glenn, Thomas Allen, (London: Harrison, 1934), FHL book 929.2429 G875g; FHL microfilm 994,040 ite., p. 223.
[S2411] #11915 British Genealogy (filmed 1950), Evans, Alcwyn Caryni, (Books A to H. National Library of Wales MSS 12359-12360D. Manuscript filmed by the Genealogical Society of Utah, 1950), FHL microfilms 104,355 and 104,390 item 2., book 6 p. F4*, F5; book 8 p. H45*.
[S2434] #2105 Heraldic Visitations of Wales and Part of the Marches Between the Years 1586 and 1613 by Lewys Dwnn (1846), Dwnn, Lewys; transcribed and edited with notes by Sir Samuel Rush Meyrick, (2 volumes. Llandovery: William Rees, 1846), FHL book 942.9 D23d; FHL microfilm 176,668., vol. 2 p. 88, 108.
[S2436] #4569 Welsh Genealogies AD 1400-1500 (1983), Bartrum, Peter C. (Peter Clement), (18 volumes, with supplements containing additions and corrections. Aberystwyth: National Library of Wales, 1983), FHL book 942.9 D2bw., vol. 8 p. 1284.
Henry VII of England's Timeline
1457
| Pembroke Castle |
What was the middle name of US Vice President Spiro Agnew? | Castle History
Castle History
Castle History
Humble Beginnings
Pembroke Castle has a long and fascinating history, for it was around 1093 that Arnulf de Montgomery built the small inner bailey standing at the end of the promontory.
Only a few years later the castle withstood a long siege by the Welsh, although its defenders were near starvation. The late 12th century keep is both an outstanding feature and architectural novelty, for it has a massive cylindrical tower with an unusual stone dome.
A Tumultuous Past
Views from the top are tremendous and the castle's natural defensive position on a rocky promontory overlooking Milford Haven is immediately apparent. The main room on the second floor of the Keep has two windows embellished externally by dog tooth moulding and a carved head.
All the rooms are circular and the keep is nearly 80 ft high. It was the work of William Marshall, son in law of Strongbow, conqueror of Ireland and the man responsible for the wholesale reconstruction of the castle in stone in the late 12th/early 13th centuries. Another absorbing feature of the castle is the gatehouse, which had a complex barbican and no fewer than three portcullises.
A battlemented flying arch inside the gatehouse is something of a puzzle, for it would appear to be of little use in repelling invaders who had actually forced entry into the castle. Still, the gatehouse is, overall, a mighty defence which proves the skill and the sophistication of military architects in medieval times.
Pembroke is also noteworthy as the only castle in Britain to be built over a natural cavern, a large cave known as the Wogan. Historically, Pembroke is important not only for its masonry but for the fact the Harri Tudur, who became Henry VII and inaugurated the Tudor line of monarchs, was born there in 1457 reputedly in the tower now known as the Henry VII Tower.
During the troubled reign of King Charles I, the castle was attacked in turn by both Royalist and by Roundheads as the sympathies of its occupants altered. In the latter stages of the struggle an attacking force was led by Cromwell himself.
Present Day Pembroke
Today, Pembroke Castle is owned and managed by a Private Charitable Trust. Over the past 10 years much effort has been made to bring the history of the castle to life. In this respect the visitor will find an exhibition room telling the fascinating history of the castle from the arrival of Arnulf de Montgomery to the present day, in addition there are a number of exciting tableaux depicting various moments in the castle's history such as the birth of Henry VII. The castle and a well stocked gift shop are open all year. There is a Cafe and a Brass Rubbing Centre open during the summer months and at other times by arrangement.
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‘Songs of Love’ by The Divine Comedy is the theme tune to which UK tv comedy series? | The Divine Comedy - Songs Of Love ( Pete Ruffell cover ) - YouTube
The Divine Comedy - Songs Of Love ( Pete Ruffell cover )
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Published on Nov 13, 2014
'Songs Of Love' written by Neil Hannon of The Divine Comedy. Used as the theme tune to the TV comedy series ' Father Ted.' From the album ' Casanova.'
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| Father Ted |
Split Mountain is in which US state? | The Divine Comedy: Songs Of Love (theme from Father Ted) - Beginner Piano Digital Sheet Music (iPad App Compatible) - Sheet Music Downloads - Musicroom.com
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Which Mediterranean island do Kevin and Perry holiday on in the 2000 film ‘Kevin and Perry Go Large’? | Kevin & Perry Go Large (2000) - IMDb
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17 January 2017 4:34 PM, UTC
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Kevin & Perry Go Large ( 2000 )
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Kevin and Perry are two 15-year-old boys whose desperation to lose their virginity is so great that it inspires a sort of awe. In the rare moments when they're not thinking about girls, ... See full summary »
Director:
Harry Enfield (screenplay), Dave Cummings (screenplay) (as David Cummings)
Stars:
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Title: Kevin & Perry Go Large (2000)
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BBC sketch show that while continuing to show the misadventures of a series of popular characters now also introduces a slew of new oddballs and misfits for us to enjoy including Tory Boy and The Lovely Wobbly Randy Old Ladies.
Stars: Harry Enfield, Kathy Burke, Paul Whitehouse
Some shite where Kevin can't be arsed cleaning the car
Director: Clive Tulloh
Popular BBC sketch show that introduces a whole host of memorable characters such as Tim-Nice-But-Dim, Wayne and Waynetta Slob, The Old Gits and teenagers Kevin and Perry. The show spawned a slew of spin-off series and films.
Stars: Harry Enfield, Paul Whitehouse, Kathy Burke
Sketches on the themes of class and gender, with the occasional spoof thrown in.
Stars: Harry Enfield, Paul Whitehouse, Sophie Winkleman
A sitcom about two dreamy roommates in London. Gay unemployed actor Tom Farrell, whose career is going nowhere, and Linda La Hughes, who is about as attractive as a centenary nun, yet has ... See full summary »
Stars: Kathy Burke, James Dreyfus, Beth Goddard
Edit
Storyline
Kevin and Perry are two 15-year-old boys whose desperation to lose their virginity is so great that it inspires a sort of awe. In the rare moments when they're not thinking about girls, Kevin dreams of being a singer, and Perry has ambitions toward becoming a dance music DJ. When Kevin and Perry manage to stop a bank robbery, they're given a sizable cash reward, and they decide to go on a holiday in Ibiza, which is supposedly populated with thousands of beautiful women willing to sleep with anyone. However, after the boys pack plenty of sunscreen and condoms, Kevin's parents announce that they're tagging along. Undeterred, Kevin and Perry make the trip and meet superstar DJ Eyeball Paul , who may or may not listen to their demo tape. The boys also encounter Gemma and Candice, two scruffy teenage girls who are nearly as eager as Kevin and Perry to get horizontal. Written by Anonymous
Did You Know?
Trivia
When Kevin and Perry hit the town and see German men marching. The lead German is played by Director Ed Bye. See more »
Goofs
Eye-ball Paul's villa is on the Port Deportivo Marina. Every time Perry and/or Kevin is seen outside the villa, they subsequently walk along the jetty towards the water. These jettys don't actually go anywhere, so unless they travel by boat, they'd just have to turn around and come back again. See more »
Quotes
See more »
Crazy Credits
At the start of the credits there are a mixture of alternative shots of scenes from the film, deleted scenes from the film and out-takes from the film. This is then followed by a continuous scene of inside Cream: Amnesia of people dancing as the credits start to roll up, this carries on until the music credits come up, at which point the background fades to black, but the music and credits continue until the end. See more »
Connections
| Ibiza |
What is the medical term for abnormally low blood pressure? | Take a ‘Kevin and Perry’ Inspired Trip to Ibiza -
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If you are looking for a lively holiday packed with fantastic weather conditions, tons of fun, exciting activities and all the dancing your hips can handle, then Ibiza is definitely the destination for you! Those who remember the popular Harry Enfield movie ‘ Kevin & Perry Go Large ’ will know how it captured the spirit of Ibiza. The lively club scenes, the captivating beat of the music and the constant sunshine all played a big part in the film, and with the tips in this article, they can play a big part in your holiday too!
Weather on Ibiza
One of the main things Ibiza is famous for (apart from its world famous nightlife spots) are its beautiful beaches, and with the best beach seasons lasting from May to October, you have a solid 5 -month period to visit and take a dip in the clear waters. While Kevin’s beach antics were a little more promiscuous than most, there are still fantastic times to be had. These beach season months are punctuated by perfectly blue skies, comfortably warm temperatures, and the added benefit of the island receiving almost no rainfall. As Ibiza is a Spanish island in the Mediterranean Sea, it’s no wonder the weather stays in top condition all summer long.
Activities
Because of the region’s beautiful climate, a number of outdoor sports and leisure activities are always on offer. Hiking and biking are great ways to see the countryside, while scuba diving allows you to witness the wonders of Ibiza’s underwater world first hand. Boating is also quite popular due to the proximity of the sea; whether it’s a relaxing ride or a more energetic kayak trip, you’re sure to find a suitable boat ride to suit your desire for – or lack of – speed.
Kevin and Perry would love to bike on Ibiza
Picture by Simon welsh
Food
Kevin & Perry didn’t really stop to enjoy any of Ibiza’s fantastic delicacies, but if they had, they would surely have discovered just how delicious they really are. The cuisine of Ibiza is characteristic of Mediterranean cooking and features a variety of fresh and fragrant ingredients. The island is famous for its seafood, its abundance of olive oil, tapas and chorizo: another regional element of many hearty dishes. If you are looking for a more elegant dining experience, Ibiza is blessed with many beautiful restaurants, so finding somewhere nice to eat out won’t be a struggle.
Picture by Simon Welsh
Nightlife
Ibiza is most well-known for its lively nightlife hot spots and world famous club events. With ‘ superstar DJs ’ such as Pete Tong , Sash and the infamous Eye Ball Paul playing regular fixtures there, it’s no wonder Kevin & Perry couldn’t wait to get their clubber’s gear on! Everything is catered for in Ibiza’s club scene; there are cheaper and more affordable clubs in San Antonio , ‘main event’ super clubs, free parties in the hills and dance events on the beach. The huge club ‘ Amnesia ’ featured in Kevin & Perry Go Large is just one of many huge clubs that offers a great example of exactly how huge and exciting these nights can be.
Picture by Roberto Castaño
The true Kevin & Perry Ibiza experience is easy to attain; get ready to have it large and book your tickets today!
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Cassandra, Grizabella and Skimbleshanks are all characters in which Andrew Lloyd Webber musical? | Skimbleshanks | 'Cats' Musical Wiki | Fandom powered by Wikia
— Three Words
Skimbleshanks is one of the adults of the tribe, always protecting the kittens whenever danger is near. Despite this, he is a jolly and cheerful cat, often seen dancing and being silly with the younger toms. He is a very animated character and can be remembered by his signature gigantic smile and bright personality. In the 1998 film, he is often seen holding hands with Jennyanydots . He also spends a good deal of time with Jemima . He is also close with Old Deuteronomy , as Old Deuteronomy is seen dancing to his number (though this could simply be Old Deuteronomy showing a more jovial side).
In most productions, he is portrayed as older, being about Jennyanydot's age, but in some productions, he's portrayed as a younger adult cat.
Skimbleshanks is the cat aboard the British West Coast Main Line train; the Night Mail. He takes great pride in his work keeping the watch, mousing and helping out aboard the train. He takes great pride in his work and considers himself very important, as the train would not operate without him. Skimbleshanks appears in the ensemble throughout the show, before he dons his uniform waistcoat for his number, Skimbleshanks: The Railway Cat .
Role
— Casting Calls
Skimbleshanks is one of the more prominent characters in the show; he has a variety of lines in the group songs, but also has a song of his own ("Skimbleshanks the Railway Cat"). He is also the third one (in the movie) to finally touch and smile at Grizabella and accept her back into the tribe and showed that he was sorry for rejecting and turning his back on her. He also finally trusts her and no longer considers her a threat to the tribe and waves goodbye to her when she enters the heaviside layer to be reborn.
Appearance
Edit
Skimbleshanks is a ginger tabby cat, with a "long brown tail" and "glass green eyes". His unitard is usually a shade of cream, with ginger and brown markings. Usually his costume does not include black or solid lines, instead being painted or sponged to create texture. He has a neatly groomed wig with distinctive tabby stripes, often including long "Mutton-Chop" sideburns.
For his solo number, Skimbleshanks adds a waistcoat, with a shirt collar and pocket watch. He also changes his soft brown armwarmers for grey cable knit warmers with elbow patches. This additional costume tells us about his important job on the railway - the smart shirt collar and waistcoat, and particularly the pocket watch, tell us he has authority to make sure the train leaves on time. However the grey armwarmers with the practical elbow patches say he works manually, to the point his clothes need reinforcement. Finally he wears an over-size bell, which marks him as a cat who is cared for by the humans that he considers he works with.
| Cat |
In the game ‘Mortal Kombat’, what phrase is heard when Scorpion uses his spear? | Andrew Lloyd Webber - Cats - Amazon.com Music
By Yi-Peng on June 9, 2002
Format: Audio CD|Verified Purchase
This recording of CATS is what I consider the finest of all the official English recordings of the score of this classic Andrew Lloyd Webber musical. Compared to its London cast predecessor, I find this recording more spirited in nature, and better able to keep in tune with its quintisential Britishness. Notwithstanding revisions and rewrites, this cast does an excellent job at this, even with American accents that do not seriously jar the ear. And the recording quality, despite having a sense of theatrical atmosphere, tends to be a little too thick-textured, and sometimes clouded.
This fine performance boosts the stalwart Betty Buckley as Grizabella. Buckley is able to adopt the right kind of gorgeous voice in her portrayal of the fallen glamour cat, and she really is able to use this to great effect with her rendition of Memory. Elaine Paige may be regarded as the foremost interpreter of the role, but here Buckley is able to prove that she can hold her own against her arch-rival from the original London cast. Ken Page's portrayal of Old Deuteronomy is on the same high plain as Buckley's Grizabella, as he uses his sonorous voice to great effect in his solos. In particular, he gives a firm and commanding performance of The Ad-Dressing of Cats, and is warm, open and expansive. The rest of the cast is no less strong, especially the lower-level principals Timothy Scott, Harry Groener and Terrence Mann. Timothy Scott does a splendid job not only in his standout number but also when he sings Mungojerrie and Rumpelteazer, and Terrence Mann sings his Rum Tum Tugger passages (Mistoffelees and his standout number) with gusto and panache, and a tenderness during Old Deut's Theme. Anyway, they both characterise their cat characters with as much slickness as you could hope for. But special mention should also go to Harry Groener's Munkustrap, who can hold his own with Michael Gruber due to his immediacy, warmth and engaging nature.
The rest of the cast proves that it is as strong as the major cast. All the cats prove that they can shine not only individually but also as a group, except for a small number that I will not mention here. Anna McNeely's Jennyanydots, Bonnie Simmons' Jellylorum and Donna King's Bombalurina all show each cat shining vocally in this fine musical, and the choral contributions from all the cats are done with fervour and energy. But perhaps the standout cat is Stephen Hanan as Bustopher Jones and Gus: the Theatre Cat. His Bustopher Jones has an astute and truly aristocratic air about it, and his Gus and Growltiger are both superbly done. Gus has a melancholic air about him when Hanan relishes the nostalgaic past of Gus when he sings his passages. And his Growltiger is particularly fearsome and ferocious, with a laugh that could rival Satan and a powerful operatic voice in the Italian opera parody. The supporting orchestral accompaniment is nicely done too, and Stanley Lebowsky adopts near-perfect tempi that could perhaps have a little bit more spring and be a little more sprightly in some points.
Like the London recording, this CATS recording omits The Pekes and the Pollicles due to the need to accomodate space on record.
On the whole, I find this CATS recording an enjoyable experience and I feel more than prepared to recommend it to anyone who is just venturing out into the score. The nicely-done booklet contains a cast list, credits and an adequately-produced libretto. For those who don't want to spend too much money on this 2-CD set, there is also an abridged version available. But, I would say that because the music is so infectuous, this 2-CD set is rather compulsive.
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In video gaming, what is the name of the princess whom Mario repeatedly stops Bowser from kidnapping? | Silvergate Prep Jeopardy Template
100
Princess Peach
In video gaming, what is the name of the princess whom Mario repeatedly stops Bowser from kidnapping?
100
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100
We just set a goal, talkin' matchin' Lambos
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what is the hottest planet
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What Nintendo system was released after the N64 and before the Wii
200
What animals portray surfer dudes in Finding Nemo?
200
Chains Nick jonas
I gave all my heart but she won't heal my soul She tasted a break and I can't get more
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All land-dwelling living things depend upon what source of energy
200
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300
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300
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300
Drake best i ever had
Cause she hold me down every time I hit her up When I get right I promise that we gone live it up
300
The only planet that has a day longer than its year is ...
300
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400
In Mortal Kombat, what phrase is heard when scorpion uses his spear.
400
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400
Beyonce irreplaceable
Because you was untrue Rollin' her around in the car that I bought you Baby drop them keys Hurry up before your taxi leaves
400
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500
The legend of Zelda
Which 1986 Nintendo game is set in the fantasy land of Hyrule, and centres on a boy named Link?
500
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500
I want it that way Backstreet Boys
Tell me why Ain't nothin' but a heartache Tell me why Ain't nothin' but a mistake Tell me why
| Princess Peach |
What is the name of the gang member that video game ‘Grand Theft Auto: San Andreas’ revolves around? | Super Mario Bros. FAQ/Walkthrough for NES by Kirby021591 - GameFAQs
GameFAQs
Version: 1.0 | Updated: 11/06/05 | Search Guide | Bookmark Guide
Super Mario Bros. ----------------- Copyright 2005 Brian McPhee Author: Brian McPhee (Kirby021591) E-mail: [email protected] Most Recent Update: November 6, 2005 Originally Created: May 8, 2005 Version 1.0 ----------------------------------------------------------------------- ---------------------------Table of Contents--------------------------- ----------------------------------------------------------------------- Section 1* Introduction* Navigation* Storyline* Items & Points* Enemies* Continue Trick* Game Types* Controls* Section 2* World 1* World 2* World 3* World 4* World 5* World 6* World 7* World 8* Section 3* Second Quest* Warp Zones* Minimalist Quest* World -1* 1-Up Tricks* Bonus Rooms* Glitches* FAQ* Section 4* Credits and Legal Information* ----------------------------------------------------------------------- _________________________________________________________________ / \ / \ ||----------------------------Section 1*-----------------------------|| \ / \_________________________________________________________________/ ======================================================================= =============================Introduction*============================= ======================================================================= Bienvenidos! I started this guide on Cinco de Mayo, and I just had to include that. Well, with Mexican holidays aside, let�s get down to business. This guide is for Super Mario Bros., the NES classic that forever changed video gaming (disregard the fact that it was an arcade game called Vs. Super Mario Bros. before this). Why did I choose this game to write a guide for? Well, two reasons, actually. First, this was the first video game I ever played. It is very special for me, but I usually don�t have my NES hooked up, so it was pushed aside (yes, I will eventually write guides for the Oracle Zelda games). Secondly, I seem to have caught Mario fever, as my past four guides have been for Mario games. Also, I apologize for the long breaks between my past guides (it was especially long for me. It�s been eleven days since I was writing a walkthrough). But, that�s not important right now. What�s important is that this guide is for Super Mario Bros., and I pity you if you missed that. Super Mario Bros. is, in my opinion, the best of the SMB trilogy (Super Mario Bros. 1, 2, and 3). This is Mario�s first venture into home consoles, and it quite literally changed society and pop culture. And for good reason, too! This game rocks out loud. The graphics are just okay; they�re good for an extremely early NES 8-bit game. It is interesting, though, that the SNES reincarnate of this game seems so much better (it�s 16-bit, so it�s pretty much twice the graphic capacity). Nintendo is constantly making references to this game. In many of Mario�s RPG adventures, he can briefly transform into 8-bit Mario, or they play the classic music of World 1-1. Seriously, Nintendo struck gold on that song, because they have used it in more games than I care to count. Also, let�s keep in mind that this is Mario�s first great adventure. Before, he jumped barrels and fixed broken leaks (in Donkey Kong and Mario Bros., respectively). Now he is jumping gaps, fighting turtle-dragons, and shooting fireballs. And his brother is game, too. This is what Mario is all about, and no matter how the series changes, this will always be the foundation. By the by, if you should happen to see this guide on any website other than GameFaqs.com or any affiliated sites, please tell me via e-mail (the address is at the top of this guide). With your help, we can put an end to plagiarism. Thanks for the help, my friends. ======================================================================= ==============================Navigation*============================== ======================================================================= So, I understand that you need help navigating in this guide. Also, I hear that you are wondering why I placed asterisks (*) next to the names of all my section titles. I have answers to both, and I will explain them in song (read next section in song, please). Well, first you press CTRL and then add an F, and remember that�s it�s Apple if you�re using a Mac. This brings you to a search box, in which you�ll want to type in the name of the section (including the asterisk). Press Search/Find and it will take you to the Table of Contents, the first place where that text is used. Click it again to be brought to the beginning of that section. Simple, no? The asterisks are included to distinguish section titles from times I might use those titles in text (navigation, ahem, navigation). So, now you know. ======================================================================= ==============================Storyline*=============================== ======================================================================= Though it isn�t spectacular, it doesn�t have to be. I mean really, back in the NES days, no one cared. It seems like the storyline was thought up after the actual making of the game, but who am I to say? Below is my little summary of events. Now, in later Mario games, people have new names. In the early days of Mario, they didn�t really get too specific with the characters. +---------------------+ | Story Summary | +---------------------+ One day, the Koopa invaded the Mushroom Kingdom. The Koopa are a tribe of turtle-like creatures with black magic, and the peace-loving Mushroom People were turned into bricks, rocks, and even horsehair plants. Oh, the humanity! Fortunately, one person can undo the magic, and that�s the Mushroom Princess, a.k.a. Princess Toadstool, daughter of the Mushroom King, obviously. Unfortunately, she is currently being held captive by the �great Koopa turtle king.� Mario, a potential hero in this story, was passing through the neighborhood and decided to lend a helping hand. Okay, fine, he hears of their plight and wants to restore peace and forms back to the Mushroom People. You control Mario (or Luigi), and it�s your job to rescue Princess Toadstool. Riveting� So, below is a list of characters, using, of course, their generic starting names from this game, but including information about them from future games. +-----------------------+ | Game Characters | +-----------------------+ Mario: It�s-a Mario! Mario is the mascot of Nintendo, and he�s an Italian-American plumber (at first, he was depicted as a carpenter, but that changed in Mario Bros. because Mario could use pipes) originally said to be from Brooklyn, New York. In his first game, Donkey Kong, Mario was known as Jumpman, quite appropriately. Mario was named after the landlord of the Nintendo of America building after his arcade classic release (Donkey Kong), and the name stuck ever since. Because of the bad graphics on the early arcade games, Mario was forced to have certain characteristics. To make it look like Mario�s arms moved as he ran, he wore overalls. Because they couldn�t animate hair and mouths, he had a hat and a mustache. And, since red is one of the easiest colors to generate, he took that color. Mario was instantly popular, and he went on to star in Mario Bros., an arcade game. It introduced his brother, and in it he and said brother were defeating enemies in the sewers of Brooklyn (although later, in Super Mario World 2, it was changed that Mario and Luigi are from the Mushroom Kingdom, not New York). This is Mario�s biggest adventure yet (it�s his third, so that wasn�t hard to do), and it would define a franchise and still attract players for over twenty years after being released. Luigi: Luigi�s name could be mistaken for the Japanese word �ruiji,� which means �similar.� This is quite appropriate, as Luigi is Mario�s younger brother who looks almost exactly the same. Though his mustache is smoother and he is taller and thinner than Mario, he is essentially just a change of palette in the originals, including this game. Luigi made a distinction between himself and his glory-hog brother in Super Mario Bros. 2, though. In it, Luigi had a better jump. In the American version of Super Mario Bros. 2, though, Luigi was a slow vegetable-picker. In the Japanese version of Super Mario Bros. 2, Luigi�s shoes had less friction. Still, Luigi is not his own character, and the eternal understudy remains in obscurity as Player 2 for a long, long time. Eventually, toward the end of the N64, Luigi started becoming serious (that is, he became recognized as an important character in Nintendo). In Paper Mario, Luigi was a big joke, but he wrote in his diary (which Mario could read) that he wanted to get a game with his name in the title. His wish came true, as the release game for the Game Cube, which came out only months after Paper Mario, was Luigi�s Mansion. In it, Luigi won a mansion in a contest he didn�t even enter, and Mario had gone to check it out, but he never returned. When Luigi goes looking for him, he finds the mansion haunted, and a mysterious spirit has kidnapped Mario. Luigi rescues Mario by overcoming his fear of the dark, which Luigi still supposedly has today. Of course, Luigi did get one other chance to save Mario. It was an edutainment (education + entertainment = edutainment) title called Mario is Missing, in which Luigi had to use his advanced knowledge of world geography to find his brother. Really, it was more of a slap in the face than a great chance to shine. Princess Toadstool: In Donkey Kong, Mario�s first game, Mario tried to rescue the Lady, later named Pauline (Pauline was a popular movie-era name for damsels in distress). Well, their relationship was short- lived, as they broke up as soon as Mario started rescuing Princess Toadstool in Super Mario Bros. Toadstool, princess of the Mushroom Kingdom, is the only person who can undo some nasty Koopa magic in Super Mario Bros., but later Bowser starts kidnapping Princess Toadstool for no reason. In fact, it has been suggested in both Paper Mario games that Bowser is actually in love with Toadstool, which explains why he�d abduct her so many times. Seriously, Bowser, get a life! Princess Toadstool is abducted quite often, and Mario always has to rescue her. Although he strayed once to rescue Princess Daisy of Sarasaland (it�s like �I can�t believe it�s not butter�; Daisy and Toadstool are almost exact look-alikes), Mario has remained true to this princess through and through. Toadstool often accompanies Mario on vacation, such as the ones in Super Mario World and Super Mario Sunshine, although they usually end in her getting kidnapped by some lunatic. And, in Super Mario 64, the princess and the plumber got on a first-name basis; Toadstool signed a letter inviting Mario over for cake as Peach, her first name. However, because this was a Toadstool game, I will refer to the pretty princess in pink as Toadstool and not Peach, though they are the same person. Mushroom Retainer: If you�ve ever played a Mario game, Mushroom Retainer was the original name for Toad. Toads are the residents of the Mushroom Kingdom and the subjects of Princess Toadstool (hence the name �Toad�), but seven of them from the court of the Mushroom King were abducted by Bowser and thrown into his castles as dummies to lead Mario down the wrong path. Each time you rescue one, they say �Thank you Mario! But our princess is in another castle!� In Super Mario Bros. 2, Toad was actually a playable character. With bad jumps but quick vegetable-picking skills, he was a filler character, really. Toad also was playable in Wario�s Woods, the last game for the NES, in which he took down Wario, one of Mario�s many enemies. Aside from games like Mario Party, Mario Kart, and all of Mario�s sports titles, Toad is not otherwise playable. A while back, some began to question Toad�s masculinity. To show that Toad was indeed all man, they introduced Toadette, a female version of Toad. On a side note, Toad is even more cowardly than Luigi, even since before Luigi�s Mansion when Luigi was supposed to be a coward. Super Mario RPG shows one of the earliest signs of Toad�s not-so-commendable bravery, in which he let Croco just zip by without fighting at all. Still, he�s polite. Bowser: Bowser is the King of the Koopa Troop. In this game, that makes him �Bowser, King of the Koopa.� Bowser is Mario�s main adversary in the majority of his games, and Bowser got his start here. Bowser uses black Koopa magic in Super Mario Bros. 3, too, to transform the Mushroom Kings into animals, but Bowser stops using magic there. Ever since childhood, Baby Bowser has been trying to defeat Baby Mario (quite pathetic, really), as was depicted in Super Mario World 2. Bowser fails nonstop, but that doesn�t mean he won�t give Mario a good challenge. He�s the boss of every level in this game (actually, there�s only one real Bowser boss. In Worlds 1-7, a normal enemy is in a Bowser costume to fight, and the real King of Koopas is in World 8), but he varies things up in Super Mario Bros. 3. In it, his seven children � those annoying Koopalings � are the guardians of the different worlds. They each fail miserably, so Bowser rearranges their order of fighting Mario and pits them against the heroic plumbers in Super Mario World, in which they fail again. It would seem that the Koopalings died (we can hope), but they reappeared as mini-bosses in Bowser�s Keep in Mario and Luigi: Superstar Saga, and Larry Koopa made a brief cameo in Super Mario Sunshine (at the beginning, when FLUDD scans Mario). Koopalings aside, Bowser has one other child, and he favors that one, obviously. It is Bowser Jr., not to be confused with Baby Bowser (the infant self of Bowser) or Koopa Kid (a Mario Party Bowser clone). Bowser Jr. was Bowser�s partner in crime in Super Mario Sunshine. So, whether Bowser abducts Toadstool for the heck of it, or whether he secretly harbors a crush for her, we won�t really know for sure, but at least we can pull the ax switch to make Bowser fall into lava. Priceless� And that�s everything you ever wanted to know about the storyline of this game. It hardly affects the game play at all, anyways. ======================================================================= ============================Items & Points*============================ ======================================================================= Mario has an array of items at his disposal, and he will make use of all of them throughout his journeys. The game explains this rather oddly, but apparently all items used to be the people of Mushroom Kingdom, transformed into bricks and the like by dark Koopa magic, and they reward you for freeing them with power boosts. There are only a few items, but they are good ones. All of them reappeared in future Mario games. +-------------+ | Items | +-------------+ Magic Mushroom: Yes, �Magic Mushroom� is a term for hallucinogenic mushrooms (just one of the many drug references in this game). In remakes of this game, they are called �Super Mushrooms.� In any case, these make Mario larger � twice his normal size. If Mario takes a hit from an enemy while large (when he has a Magic Mushroom, he is called Super Mario), then he shrinks back to his normal height (regular Mario). Fire Flower: If Mario picks up one of these while Super Mario, he becomes Fiery Mario. His clothes change color and he is suddenly able to shoot fireballs by pressing B on the controller. In this form, he is Fiery Mario. Most enemies are weak to fire, including Bowser, but some advanced ones aren�t. Starman: Using this, Mario becomes Invincible Mario for a short time. As Invincible Mario, you can die only by falling into lava or down a pit, and you can run into any enemy to defeat them instantly. It is only temporary, mind you. 1-Up Mushroom: These are green versions of Magic Mushrooms, and they increase the number of lives you have by one. Your lives are your retries for if you die in a level. If x is the number of a World (either 2 through 8), then there will be a normally secret 1-Up Mushroom in Level x-1 if you got every coin in (x-1)-3 of the previous world. Coin: Coins are scattered throughout levels, and collecting 100 coins gives you an extra life. Jumping Board: I will probably call this a spring or a jump pad in the guide. Jump on this to spring upward. Press A at the top of the spring�s bounce to go super-high. Then there are points. There are tons of different ways to earn points, and some ways of getting points get you 1-Ups, which is why I include them here in this item section. +-----------------------+ | Point-Gathering | +-----------------------+ 1) Each enemy you defeat is worth a certain number of points, differing with the enemy. See the below section for those values. 2) You get 50 points for smashing brick blocks. When you�re Super Mario, you can break brick blocks open. Coins are worth 200 points apiece. 3) If you jump on a Koopa Troopa, you can kick the shell afterward at a line of enemies. For each enemy it hits in a row, you get 500, 800, 1000, 2000, 5000, 8000, and then a 1-Up each time afterward per enemy in that order. 4) Rather difficult, but it is possible to continually kick Koopa shells to keep Mario airborne and pick up points for each time. Each time you bounce off the same shell, Mario gains points in this order: 500, 800, 1000, 2000, 5000, 8000, and then a 1-Up for each time after that. The best opportunity to do this is in Level 3-1, which is discussed in detail in the section entitled �1-Up Tricks.� 5) At the end of a level, there is a flagpole. Depending on where you land on the flagpole, you get a certain number of points. In one level, it is possible to jump clear over the flagpole, might I add. Below is a diagram of the flag showing where to jump for a certain number of points. _ (_) || 5000 || || || 2000 || || || 800 || || || || 400 || || || || || 200 || || || || 100 || || +----+ | | ----------------+----+ 6) Depending on your time, you get points for how much time is left on the clock. If t represents the total number of seconds remaining on the clock, then the formula for calculating the number of points is 50t = Points, or 50 x t = Points. As this shows, some things are more worth your time for points than others. For example, busting brick blocks may be foolish, as that is several seconds each worth 50 points you�re losing to get just 50 points. 7) At the end of a level, when you reach the flagpole, fireworks are launched. Each is worth 500 points, and the number of fireworks displayed is based on the number of seconds on the clock. If the one�s digit of the number is a 1 (like 151, 91, etc.), one firework is launched (coming to 500 points). If it is a 3 (253, 163, etc.), then three fireworks are launched (1500 points in total). If it is a 6 (206, 16, etc.), then six fireworks are launched, coming to 3000 points. Always end with a 6. To do this, jump from the staircase when the one�s digit is a 0. You should reach the flagpole six seconds later. 8) You get 1000 points per every power-up (Mushroom, Fire Flower) you get. And there you have it, folks. Now, let me list the enemies below and tell you how many points you get from them. ======================================================================= ===============================Enemies*================================ ======================================================================= Though some of the enemies have since been renamed, below are the original names of all the enemies in the game. Interestingly enough, every single enemy made it into another game; even the name-changed Bloober got a game as a Bloober (Super Mario RPG). ----------------------------------------------------------------------- Enemy Name Notes: Points: ----------------------------------------------------------------------- Above is the setup for each enemy entry. I list them in the order that the game lists them. The list is below. ----------------------------------------------------------------------- Little Goomba Notes: Apparently, these are Mushroom People who betrayed their kingdom, and Bowser turned them into these brown mushroom-looking things. Jump on them to defeat them (or use any other type of offense, really). Goombas are a real staple of Mario games, appearing in tons of them. Points: 100 PTS. ----------------------------------------------------------------------- Koopa Troopa (green) Notes: These enemies appeared in Mario Bros., an arcade game before this one, as Shell Creepers. They�re back, now members of the Koopa Troop (in this game, it refers to the Koopa Troop as the �Turtle Empire�). This is a really idiotic enemy; it will go left until it falls off a cliff or something similar. If you jump on him, he (always male soldiers) retreats into its shell, and you can kick the shell into other enemies by touching it. However, it can ricochet off pipes or bricks and hit you, so be warned. Points: 100 PTS ----------------------------------------------------------------------- Koopa Troopa (red) Notes: The manual of this game calls this enemy chicken, meaning that it is a coward. No, this enemy is just smart. It is a red version of the Koopa Troopa, and the only difference between the two is intelligence. This one will pace back and forth on one platform instead of falling off the edge like its green brothers do. Points: 100 PTS ----------------------------------------------------------------------- Koopa Paratroopa (green) Notes: This is a winged version of the green Koopa Troopa, and it out of control. It hops around instead of constantly flying to try to jump on you, but you can jump on it to de-wing it. Points: 400 PTS ----------------------------------------------------------------------- Koopa Paratroopa (red) Notes: By far the most effective airborne enemy, this is a smarter and redder version of the green Koopa Paratroopa. It can control itself instead of just bounding forward like its green counterpart, and it will turn right or left to cover an area again if it needs to. Points: 400 PTS ----------------------------------------------------------------------- Buzzy Beetle Notes: This is supposed to be a tough enemy, but it isn�t that hard. Buzzy Beetles are Koopas, but they are a different breed of them. They are short with dark, fire-resistant shells. But, if fire doesn�t faze them, then you can at least jump on them. When you jump on them, they leave behind their shell for you to kick. Points: 100 PTS ----------------------------------------------------------------------- The Hammer Brothers Notes: By far the hardest enemy in the game, these come in pairs (they are always born as twins). They throw hammers at you from afar, and this makes them nearly invincible to jumps. The safest way to beat them is to use fireballs, but you could also just run under them (they jump at times to get a better throwing range). Points: 1000 PTS ----------------------------------------------------------------------- Spiny Notes: These are similar to Buzzy Beetles in characteristics, but they are opposites in weakness. Spinies have spikes on the top of their shells, but they are weak to fire. And, they always come in packs, since they are thrown down by Lakitus. Points: 200 PTS ----------------------------------------------------------------------- Lakitu Notes: These are Koopas, but a slightly different branch of the family than your normal Koopa Troopa. They ride clouds and dog Mario everywhere he goes, only retreating at the very end of a level if he�s in it. He throws down Spiny�s eggs, and he�s usually just out of reach for Mario�s jump. However, he can be defeated by jumping on him, though you�ll rarely get the chance. Points: 200 PTS ----------------------------------------------------------------------- Piranha plant Notes: Piranha Plants (I will always capitalize their names in the guide, and the same goes for Cheep-Cheeps, Spiny�s Eggs, and Mushroom Retainers) are pipe-dwelling man-eating flowers. Because they have sharp teeth in their mouths, they cannot be jumped on, and they emerge from pipes unexpectedly. Only fireballs can set these menaces straight. Points: 200 PTS ----------------------------------------------------------------------- Spiny�s egg Notes: Lakitu does not drop actual Spinies. He really drops their eggs, and they hatch into Spinies when they hit ground. You can send fireballs at these to defeat them, so there is really hardly any distinction between normal Spinies. Do not jump on them. Points: 200 PTS ----------------------------------------------------------------------- Cheep-cheep Notes: Always female, these fish come in two colors � a dark grayish shade and bright red. Sometimes these fish are found swimming in the water, where they can be defeated via Fire Flower. When they are in water, they swim straight forward, so you can avoid them fairly easily. However, at other times, they will be flying out of the water to hit you. They come endlessly, so just run to the finish and hope for the best. When out of water, they can be jumped on. Points: 200 PTS ----------------------------------------------------------------------- Bullet Bill Notes: These are fired from Bullet Bill Blasters, which are not considered enemies in this game. They are black missiles with faces, and they are resistant to fireballs. Jump on them if you�d like, as that�s the only way to beat them. They come endlessly from Bullet Bill Blasters in certain levels. Points: 200 PTS ----------------------------------------------------------------------- Bloober Notes: After this game, they started being called �Bloopers,� which is a better name, in my opinion. Bloobers are squids that float through the air menacingly (in future games, not this one) or chase you in the water, much more menacingly. The only way to defeat them is with a fireball. Points: 200 PTS ----------------------------------------------------------------------- Podoboo Notes: Podoboos are enemies, but they cannot be killed. In Bowser�s Castle, always the fourth level in a world, these sometimes jump out lava; they are little fireballs. Nothing can harm them, and they sometimes form chains that I will call flame chains throughout this guide. They jump out at certain timed intervals, so you should know when to jump a pit of lava. Points: NA ----------------------------------------------------------------------- Bowser, King of the Koopa Notes: This is a large turtle-dragon found at the end of every world on a bridge over lava. He is the leader of the Koopa Troop and Mario�s most regular rival, though you only fight him once throughout this entire game. Yes, in World 1-7 the Bowser you�re fighting is actually a decoy � a costume manned by a common enemy. So, in reality, the bosses of each world are� World 1: Little Goomba World 2: Koopa Troopa World 3: Buzzy Beetle World 4: Spiny World 5: Lakitu World 6: Bloober World 7: Hammer Brother There are two ways to kill Bowser (well, you don�t �kill� him, but to defeat him). The most common way is to bypass the Koopa King and hit the axe switch behind him, causing the bridge he�s on to collapse, dumping Bowser or his doppelganger into the lava below. Alternately, if you have a Fire Flower, you can fire Bowser up until his costume breaks and the enemy inside falls into the lava, or until the real Bowser keels over and falls in the lava (in the case of World 8-4). Each time you fight Bowser�s decoys and himself, he has a new strategy. He always spits fire, but he can also throw hammers, jump on you, and manipulate Podoboos. I have strategies for beating this guy at the end of each world�s guide. You only get points for beating Bowser if you use fireballs. As a side note, Bowser�s first appearance is really quite lacking. In later games, he gets awesome red hair, his spikes become yellow, he doesn�t look so weak or thin, and he just looks all- around way cooler. He even gets a voice in Super Mario Sunshine (which is VERY disappointing. Bowser sounds like an idiot in that game). Points: 5000 PTS ----------------------------------------------------------------------- ----------------------------------------------------------------------- ----------------------------------------------------------------------- There are several ways one can die, losing a life. When you lose all lives, you get a Game Over and have to start back at 1-1 (or the first level of the world you were in if you use the Continue Trick I wrote in the below section). Here�s how Mario can die. -If Mario bumps into an enemy, then he dies. If Super Mario or Fiery Mario bump into one, then they simply become regular Mario. Invincible Mario can kill anything when he runs into it. -If you hit a shell of any type of Koopa (Para)Troopa or a Buzzy Beetle and it ricochets back at you, you die. -If you fall down a pit or get sucked into a suction pit found in some water levels, you will die instantly whether you�re invincible or not. -You are given 400 seconds to complete each level, but the timer ticks more than one second per every actual second. In any case, you die instantly if your timer hits 0. -If your life count ever exceeds 127, you will die instantly. Because of the way the game works on the NES, you can only have 127 lives, and after that you go to -128, which will mean that you are long overdue for death. So, don�t abuse the 1-Up Tricks. And that�s how Mario can die. With the odds stacked against him, will Mario (or Luigi) be able to survive the onslaught of the Koopa Troop, or �Turtle Empire�? If not, the below tip will help. ======================================================================= ============================Continue Trick*============================ ======================================================================= On the NES version of this game (really, in the SNES game of this you can save when you die), you have to start back at World 1 each time you get a Game Over. However, there is a way to get around that. Here are the steps for continuing in the world you get a Game Over in. 1) Get a Game Over. 2) You will be taken back to the Player Select Screen. Now, do not press Start yet. Instead, press and hold Down on the Control Pad, the A Button, and then press Start. 3) Tada! You start at the first level of the world you died in with three lives. I hope this totally neat-o trick will serve you well (it sure did with me�). ======================================================================= ==============================Game Types*============================== ======================================================================= There are two options for playing Super Mario Bros., and they are presented to you at the start of the game. Here�s a brief description. 1 Player Game � You control Mario in a single player game. 2 Player Game � The first player (the one with the first controller in the NES) controls Mario. When the first player dies, the second players begins, and they control Luigi, Mario�s little brother dressed in white overalls and a green shirt (oddly, Fiery Mario and Fiery Luigi look exactly the same). It�s a race to see who can get farthest in the game before getting a Game Over. You can�t really help each other, so it looks like these brothers are competitors. Either way, if Player 2 wants to pause, Player 1 will have to do it for them. ======================================================================= ===============================Controls*=============================== ======================================================================= Super Mario Bros. has simple, perhaps deceptively so, controls. There are also a bunch of other moves that Mario and Luigi can make use of, and I�ll list those in this section as �Advanced Controls.� Below are the button functions, though. -------- Controls -------- D-Pad: The Directional Pad has four directions � left, right, down, and up. The latter has no use, but left and right will make Mario move in that direction. Down can let him duck or take a pipe down (if it can be taken down). Select: The only use for this is picking a 1 Player Game or a 2 Player Game at the Player Select Screen. Start: This pauses the game, but it can also be used to pick a game type. Press Start again to end the pausing sequence. B Button: Hold this to make Mario run faster. As Fiery Mario, pressing this repeatedly will let Mario shoot fireballs (they come from his hands, not his mouth). You can have two fireballs on the screen at any given time. A Button: Press this to jump. This is Mario�s greatest asset (his name was originally Jumpman). Also, when underwater, Mario can use this to swim. If not, he sinks. Now, for the better players, here are some advanced tricks. You�ll make use of almost all of them if you want to beat the game. ----------------- Advanced Controls ----------------- High Jumps: The longer you hold A when jumping, the higher Mario goes up. If you�re running before a jump, you�ll go higher, too. Gap Run: In some areas, there are small gaps about the width of Mario that would take very precise jumping to pass over. Well, Mario can just run right over them if you want to (B is held when running). It can save quite a bit of time and lives. The Backup Jump: Sometimes, you�ll be in a situation like so: +---+ | | +---+ Ma ri o ----- Here, Mario needs to jump onto a block directly above him. To do this, jump forward, pull back as you go up, and you�ll land on the block. This is particularly useful in the final level. Slide: At times, Super Mario has to get through a small space that he cannot run through. To do this, start running and then duck right before the low overhang. Mario will slide right under that low block, giving him access to who knows what. That�s everything you need to know for controlling Mario. Now, onto the actual guide through the levels. ----------------------------------------------------------------------- _________________________________________________________________ / \ / \ ||----------------------------Section 2*-----------------------------|| \ / \_________________________________________________________________/ I don�t normally have captions for sections, but I thought it would be appropriate here. This is the guide through each level in Super Mario Bros. in its normal passage. That is, I don�t use any of the secret warp zones for this part of the game. It is possible to beat the game in 8 levels instead of the normal 32 levels that it takes, but this is for a regular run-down. Now, some of you might be thinking, who would need a guide for a Mario level? Well, here�s a condensed version of Section 2, two words. Go right. Now, that walkthrough above isn�t too specific. Besides, it isn�t that good, either. Some levels actually require special patterns and are a bit harder than that. So, let�s get on with the show. ======================================================================= ===============================World 1*================================ ======================================================================= World 1 is a grassy land with sewers. It�s pretty easy, and it�s the first place on Mario�s list to defeat Bowser�s forces. +-----------------+ | Level 1-1 | +-----------------+ Classic! Head right to see your first enemy, a Goomba. Jump on it to defeat it, and then hit the ? Block for a coin, and then hit the next ? Block for a Magic Mushroom, which I will only call Mushrooms from now on. With it, you become Super Mario. Hit the other blocks for coins if you want and then go right some more. Jump onto the pipe and then to the next pipe, killing the Goomba if you want. Afterward, go right over a pipe again. Avoid the two Goombas here and jump the pipe. To the right is a bottomless pit. Fall in it and you�ll die. Note: If you want, you can take the pipe left of the bottomless pit to reach a bonus room. Also, there�s a hidden 1-Up near here. Stand right between the hill and the bushes in the background and jump very slightly to the right to knock a 1-Up Mushroom down to Mario. Continue right, jumping over the pit, to see a ? Block with Goombas coming down. If you jump into a block that an enemy is standing on, you defeat the enemy. Also, assuming you�re still Super Mario, you can hit the ? Block for a Fire Flower, making you Fiery Mario. As him, press B to shoot fireballs. Continue right, hopping the gap and firing at two Goombas, to find a green Koopa Troopa. These mindless enemies walk straight forward, making them susceptible to fire and jump. Slightly right of them are two brick blocks, right? Hit the right one for a Starman. This makes you invincible for a short time. Run right, plowing through the Goombas here, to reach a staircase. Jump over it and continue right, repeating the process. Now, to your right are two Goombas and a coin in the ? Block. Defeat the former, hit the latter, and go right again to find a staircase. Get to the top, stand as far left on it as you can, and then make a running leap into the flag. Bowser�s troops set up the flag to claim the area, and lowering it wins it back for the Mushroom Kingdom. Congrats, as you just beat your first level. +-----------------+ | Level 1-2 | +-----------------+ As the level starts, either Mario or Luigi walks into a pipe, right into the sewers. Mario and Luigi are plumbers, so it works out well. This level is home to a warp zone, but I won�t use it (see Warp Zones for that information). Coming at you from the right are two Goombas (in recent games, sewer-inhabiting Goombas have come to be called �Gloombas�). Deal with them by jumping or firing at them, and then hit the first ? Block to the right. It�s a Fire Flower or a Mushroom, depending on Mario�s status. With it, continue right, hopping these pillars to see a caged-off Goomba. Jump onto it and then hit the brick block, which actually contains several coins. With them, go right to see two Koopa Troopas and some blocks. Defeat the former and then jump so that you hit the left column of bricks (Super Mario and Fiery Mario can break bricks). When they are cleared, jump onto the platform and take the coins. Now, to the right is a chance to practice the slide or breaking bricks. However you get past that low overhang, either by sliding under (run to it and duck before running into it) or by breaking bricks to form a path to the top, jump to the coins at the other side and then fall down. Defeat the oncoming enemies and go right, hitting the brick below the coin to take the coin, and then continue right to a hovering row of bricks. Jump from them over the gap to another row to the right, on which are several coins. With them, you can get another 1-Up. Just jump to hit the bricks on the roof (of the two you must hit, hit the one that is right over the last block and the one right of it), and then jump for another 1-Up. Now go right, passing three Goombas to reach three pipes. In these pipes are Piranha Plants, enemies that can be defeated only with fireballs. Kill the first one or wait for it to go down before jumping onto its pipe and taking it down to a bonus room. Collect the coins and go through the pipe at the end to emerge in the third pipe in the row on the surface that the Piranha Plants were in. Jump onto the bricks to the right and then over the gap to the right, defeating the Goombas as they come down the steps. To the right are elevators leading down. When one comes down, jump onto it and then quickly jump right. On the ground here is a red Koopa Troopa. It is almost the same as a green one, except it is smarter (it won�t walk off an edge). After it, jump onto the up-elevators (the elevators are Donkey Kong-style). Here, you can get onto the roof to the right and go right to find a warp zone to either World 2, 3, or 4, but this is a normal game completion guide; jump to the pipe to the right and take it up. Ah, fresh air. Climb the stairs and then jump to the right to reach the flag, beating the level. +-----------------+ | Level 1-3 | +-----------------+ We�re back outside for a level that teaches us about pits. Go right and jump onto the platform here. Jump onto the one to the right and then to the upper one when the red Koopa Troopa is going right. Defeat it, take the coins, and then drop onto the narrow platform with the coin on it. From there, jump up twice (defeating Goombas as you go) to reach a wide platform. To the right is an elevator platform. Take it up to some coins, drop down, go left a bit to the ? Block, and hit it for a power-up (Mushroom or Fire Flower). Now jump onto the Koopa Paratroopa here to bounce off of it onto a platform (or just jump right over it). Here, take the horizontally moving elevator platform right, collecting coins as you go, to reach a platform. Wait for the Koopa Troopa to turn right before jumping onto its platform, and then drop down onto the Koopa Paratroopa, taking the coins below it. Jump onto the other platform here, taking two more coins as you pass over a gap, and take a last elevator platform to the stairs. Stand on the left side and jump to reach the flag, which is next to the largest castle in World 1. +-----------------+ | Level 1-4 | +-----------------+ This is Bowser�s Castle in World 1, and it�s a piece of cake. Go right and jump the pool of lava. Continue right to see a flame chain, a bar of Podoboos that rotates about a block. When the chain is touching the lower-left corner of the ? Block above it, jump to the platform, hit the block for a Mushroom or Fire Flower, and take the power-up. Now drop down to the platform and jump right to a new hallway. Here, pass under or over flame chains until the end of the hallway. Easy, right? At the end, you�ll hear a weird sound and then a thin fireball comes at you! Jump, as this is the attack of Bowser (it means he�s close). Continue right to fall into a depression. There are six invisible blocks here, each with one coin in them each. Stand one block away from the left wall and jump to hit one of these invisible blocks, and each block over there is another one until you�ve hit six. Now continue right past another depression to see a bridge. Boss: Bowser Get onto it to find Bowser! There are two ways to beat him. First, you want to get to the axe switch. To do this, wait until the Koopa King jumps and then run under him to reach it. His only attack will be spitting fireballs at you, so you can do it. If you�re Super Mario, run right into him. You�ll become small, but you�ll be invincible for about a second, letting you run to the axe right through Bowser. If you�re Fiery Mario, then let him have it! Keep flaming Bowser and the costume breaks, revealing the monster to be a disguised Goomba! Yes, Bowser didn�t have the guts (or patience) to fight you here. Either way you beat him, you�ll go right with the heroic music playing and you�ll find� a Mushroom Retainer? It�s not Toadstool, guys. So, this entire World 1 adventure was just a ruse to lead us off the path of the real Bowser? Somewhere, the real Koopa King is guarding Toadstool. We�ll reach him eventually. �Thank you Mario! But our princess is in another castle!� ======================================================================= ===============================World 2*================================ ======================================================================= This world isn�t that much different from World 1. It�s a bit rockier and it has more trees, but they are pretty similar. However, Mario must pass over a lot of water in this world (2-1 is the shore, 2-2 is the river whatever it is, while 2-3 is a bridge over water). It is home to one of the few swimming levels in the game. +-----------------+ | Level 2-1 | +-----------------+ Go forward from the castle and hit the central brick block for a power- up. A Goomba is coming down the stairs; crush it and continue right. See the pit with the Koopa Troopas? Jump on one, but do not kick the shell. Stand one block left of the block directly beneath the left block above you and jump. This uncovers an invisible block. Jump again straight up to hit an invisible block with a 1-Up in it. Here�s a visual. +---++---++---++---+ |1UP|| || || | +---++---++---++---+ +---+ | | +---+ -------------------- Note: If you did not get every coin in Level 1-3, then this 1-Up will not be here. However, the invisible coin block will be there no matter what. Great! Now, go right, squash the Goomba duo, and then wait for the Piranha Plant next to you to get into the pipe before jumping on. Hit the ? Blocks for a 1-Up and nine coins, and continue right. Jump onto the brick in the air to reach the row of bricks in the air before hopping the pipe to the ground. A bunch of Goombas are headed this way (three in total). Now, see the bricks in the air? Hit the rightmost one that is not over a ? Block to make a vine grow. Take it up to �coin heaven.� Ride the cloud, jumping for coins as you go, and then jump off at the end into the three coins. Now head right, defeating the Koopa Troopa and Piranha Plant as you go, and then bounce on the jump board (press A when the board is at full height to reach the platform). Here, jump into the flag to finish the level. +-----------------+ | Level 2-2 | +-----------------+ I hope you have a Fire Flower �cause it will help a lot in here. In water levels (which there are two of in total), press A to swim upward. You cannot kill any enemies at all (unless you are Fiery Mario), and you will die if you touch any enemy at any angle. Similarly, there are gaps called suction pits in here that will suck you in. At such times, you need to press A rapidly to escape its suck. Head right, swimming down to the coins, and you�ll encounter a Bloober. These enemies, which were renamed Bloopers for later Mario games (I will call them Bloobers because that is their name in this game), are your biggest threats. They float around, sink down to kill you, and then readjust themselves. Do not risk swimming past them; they are unpredictable. Sink to the ground and run past them. Up next, swim upward for three coins (and to bypass some coral reef, which may also be sea anemone or seaweed) and then sink down. Here, sink to the ground again (Bloobers NEVER sink to the very bottom, so it�s safe there) and continue right until you see a large suction pit. Swim into it if you dare (it�s really not that dangerous; just keep pressing A quickly) and collect the coins. In there, wait for the fish above to swim past. They are called Cheep-Cheeps, female fish who swim mindlessly by. Swim past them once they�re gone and then swim upward to avoid two oncoming Cheep-Cheeps (notice how some are green/gray while others are red), and sink to the bottom afterward to avoid a Bloober. Near the ground are three coins you can get. After collecting them, go right, wait for the Cheep-Cheeps to swim by, get the three coins, and swim over the seaweed. Wait for the enemies to pass and then swim down over the suction pit (or into the suction pit). Either way, wait for the Cheep-Cheeps to pass by standing on the edge of the stairs leading out, and then swim right. Float up, entering the suction pit (this one is risky) if you want to, and then swim one last stretch to the right to reach a warp pipe. Outside, climb up the stairs and jump for the flag. +-----------------+ | Level 2-3 | +-----------------+ Mario is at the foot of a bridge, and he�ll have to run across. Although you cannot see it, the bridge is above water, and that means that those pesky red Cheep-Cheeps can jump out and try to kill you, which they are quite good at. If you run straight forward and make the appropriate jumps, you can avoid the Cheep-Cheeps and beat the level easily. If not, I have a strategy for you, as there are pits all over and you don�t want to run into them like an idiot, now do you? Run straight forward, avoiding the Cheep-Cheeps, and jumping when you should until you reach a ? Block. Stop! Don�t hit the block yet. Wait for the Cheep-Cheeps to jump and fall and be off the screen before you hit the block for a power-up. Now continue right until you reach one of those green platforms. Here, a series of short bridges are ahead, and I�d slow down around here. Jump for the coins over one bridge and then jump to the next bridge. Ahead are three small bridges, and you�ll be required to make short jumps with Cheep-Cheeps jumping at you to cross it. Do it slowly to make it across, and then run forward � stopping at a gap � and jump to the staircase. Jump forward to the flag. Goal! +-----------------+ | Level 2-4 | +-----------------+ It�s Bowser time! Go forward and you�ll see a Podoboo. These jumping flames will come out periodically; wait for one to jump and then make the leap to the first block as it falls. Jump to the second block for a power-up in the ? Block, and then jump-drop to the next block over the lava. Quite symmetrically, a Podoboo is jumping here, too. Wait for it to start falling before you start jumping. Here, you�ll see a fork in the road � up or down. The bottom route is more efficient since you�ll face one less flame chain that way. To pass them, simply run over/under them when the flames aren�t in the hallway. At the end, wait for the flame chain to be at 3:00 (that is, parallel to the blocks and pointing right) before jumping onto the platform and boarding an elevator platform. If you thought the previous elevators were styled after Donkey Kong elevators (Donkey Kong being the first game Mario ever appeared in), then these must be the elevators themselves, as these are nearly identical. Go up and then down on the elevators (you can get on the roof if you want, but you can�t stay there) before falling into the depression with six coins it (slide under the block for the coin if you�re Super/Fiery Mario). Bowser flames start coming, meaning that he�s close. Wait for one to pass before jumping up and across the platforms here, and then fall into the depressions. The bridge is ahead. Boss: Bowser As always, just fire the guy if you have the Fire Flower. This destroys its costume, revealing that this Bowser is indeed a fake meant to throw Mario off the real one�s trail; this is a Koopa Troopa dressed up like Bowser. If you�re Super Mario, run into Bowser. You�ll become regular Mario and start flashing, meaning that you�re invincible for a few seconds. Run through Bowser and hit the axe. Alternately, jump and hit the brick blocks above you and jump into the alcove there, then onto the elevator platform, dropping to the axe switch afterward (this is a lot harder to do than the other strategy). Alternately, if you are regular Mario, avoid Bowser�s flames, wait for him to jump, and run under him, hitting the axe. Not real as he was, the bridge still collapses and the fake falls into lava. And of course, this was a decoy, and thus we did not rescue Princess Toadstool. Instead, we rescued another one of the seven Mushroom Retainers (a.k.a. Toads in later Mario games) that were captured by Bowser. ======================================================================= ===============================World 3*================================ ======================================================================= It is nighttime when Mario visits this world, and apparently it snowed recently (the trees are still white with the stuff). This isn�t too challenging, but we are introduced to some new enemies in this world. +-----------------+ | Level 3-1 | +-----------------+ Head right and hit the ? Blocks. If you can�t handle the Koopa Paratroopas, get on a block and wait for them to pass. The third ? Block is a power-up. Ahead, you�ll find two Piranha Plants with a Goomba in between. If you take the second pipe down, you�ll reach a bonus room. If you�re Super/Fiery Mario, jump into the left blocks to make a path for yourself. One block here has a power-up in it. After it, take the pipe to the right. Here, a bridge is over some water. Flame those Goombas (otherwise, just jump on them) and then jump about three-quarters of the way down the bridge � one block right of the cloud in the air. It�s an invisible 1-Up! With it, go right and jump to the stairs, from where you should hit the left brick block. It�s a Starman! Take it and run right, right over the Piranha Plant. Ahead are two rows of bricks blocks, and two Hammer Brothers (whom I shall call Hammer Bros. from here on out). Hammer Bros. are very tough enemies on normal occasions. If you�re Fiery Mario, use fireballs to take them out at a safe distance. If not, run under their rain of hammers so that you�re in the arch and then wait for them to jump before fleeing. However, you have a Starman; defeat them both! Invincible Mario rocks! After disposing of them, hit the right ? Block for a power-up. To the right of them is a jump board. Either jump onto it and spring high or do the following: wait for the Goombas to fall into the pit, jump the pit. It�s quite a difficult spot, but you can hit a vine by hitting the upper-right brick block in the rows. To get in there, if you�re Super Mario, you can just bounce on it normally with good momentum to get between them. The vine leads to coin heaven, of course. When you fall to earth, hit the right brick block for coins. Now go right, jump the stairs, avoid the Koopa Troopas on the new set of stairs, and then jump for the finish flag. +-----------------+ | Level 3-2 | +-----------------+ Ah! A Koopa Troopa is coming at you! Show him no mercy. After it are three Goombas, and then three more Koopa Troopas, and then two more Koopa Troopas. This is the perfect spot to do a shell kick, by the way. At the end, you�ll find coins and a ? Block. Hit it for a power-up (use a backup jump to reach it). Right of you are enemies to defeat and then a short wall containing a Koopa Troopa. Use fireballs if you can; the shell ricocheting in that pen can be deadly. Jump onto the first brick and hit the above one for a� Starman! With it, run right, jumping over a wall on the way and defeating enemies as you go. Invincible Mario should wear off at around a gray pipe. After it are several more enemies and then the stairs, marking the end of this level. +-----------------+ | Level 3-3 | +-----------------+ Well, after that action-packed battle level, let�s see how this compares. Notice that we have a 300-second time limit for this level. Right of you is a pit, and over it are those tree platforms we first saw in 1-3. Jump to the elevators to the right, drop to the coins, and then jump right to the aerial coins. Follow this line of three coins to two red Koopa Troopas and a ? Block containing a power-up. Taking the bottom coins beforehand, jump to the next platform and then to the elevator. It will fall quickly when you�re on it. Jump off swiftly to the platforms and then jump across them for coins (or run across if you�re daring). At the end, jump to the upper platform and then drop to the elevator. The platforms here work like an old balancing scale � apply weight to one side and it falls while the other rises. If you�re quick on the first platform, you can jump to the second for two coins. Afterward, use the elevators to go right, taking the coins there, and then jump, bouncing off the red Koopa Paratroopa if you want, to land on a platform to the right (where else?). To the right you�ll find an elevator platform; jump from it to the next pulley system to the flag. +-----------------+ | Level 3-4 | +-----------------+ With only 300 seconds here, there�s no time for shenanigans. We�re taking Bowser DOWN! Go right to see a pit and platforms. Gasp! When the flame chains are low, jump across them. Podoboos are jumping out of the first pit, mind you (there must be lava below). At the end, go right to three ? Blocks. Hit the central one for a Mushroom, hit the right one to knock the Mushroom to the left, and then gather the fungus. Jump the lava pit and then jump through the double flame chains when the lower one is at 7 o�clock. Repeat this to find a lava pit complete with Podoboos. There are a few more (also with Podoboos) ahead, and Bowser starts breathing fire at around now. Continue right, stopping in a depression along the way, to find the bridge. Boss: Bowser When isn�t the boss Bowser? Like last time, this one�s a dud. If you use fireballs to roast the costume, you�ll find out that it was just a Buzzy Beetle in disguise. Now, if you�re Super Mario, just run through Bowser like normal and hit the axe. I explained Fiery Mario, but I�ll have to do regular Mario�s description. Bowser has learned several new tricks regarding his flames. He can now cast them unpredictably up or down. When he jumps, run in and get under him to reach the axe. Being very close to him is safe because the fire must go down first. At the end, you�ll find it was just a Mushroom Retainer. Sigh. Will we ever rescue Princess Toadstool? ======================================================================= ===============================World 4*================================ ======================================================================= We�re back in plain day on grassy land, but things aren�t like they were in World 1. However, this and World 1 are extremely similar, especially when you consider that Mario had to use the sewers in Level 4-2 to bypass something on land he couldn�t otherwise get past. +-----------------+ | Level 4-1 | +-----------------+ This level introduces three new enemies: Lakitu, Spiny, and Spiny�s Egg. Go right to see a pipe. Oh, look! It�s our good friend Lakitu. And look! He�s throwing Spiny�s Eggs, which cannot be killed save for Fire Flowers, and they hatch into Spinies when they hit ground, which can move and cannot be jumped on. Jump the pipe, quickly hit the ? Block for a power-up, and then go right, jumping the gap. Continue right, jumping when necessary, and you�ll pass four ? Blocks arranged vertically. Further right are four ? Blocks arranged horizontally. Stand on the third one over from the left, jump, and reap the rewards � a 1-Up Mushroom. Now go right, jumping the wall for coins, and then jump the pipe with the Piranha Plant inhabiting it. Further right, take the pipe here down when the Piranha Plant is down to reach a bonus room. You�ll have to be small to access most of the coins, including the brick block over the pipe. When you emerge, jump a few gaps to the right to reach three stacked blocks. Jump from them to the right and you�ll reach the staircase, marking the retreat of the Lakitu. Drop down to the brick block, hit it for a coin, and then use it to jump back up to the stairs. One more jump and it�s the flagpole for you, marking the end of 4-1. +-----------------+ | Level 4-2 | +-----------------+ Just like 1-2, this is in the sewers. Putting their plumbing to good use here will be slightly harder, though. However, this place is home to the worst, or best, warp zone in the game. To reach it, get on the roof, head right, and fall down to it at the end of the level. But, this is a regular level walkthrough, not the fancy footwork, and we�ll stick to regular progression through the level. Make a few small hops to the right to pass over the gaps and reach solid ground. Jump to the main hall, head right, and drop into the gap for three coins. Then hit the brick blocks above for a power-up. Head right, defeat the trio of Goombas, and stop at the end of this hallway. Five blocks over from the right on the upper level, jump to hit the brick blocks and hit a coin block. Now go right, hitting the ? Blocks for coins and a power-up, before jumping across the elevators to the right. If you land on the upper three brick blocks here, you can access the roof, but let�s not dwell on that. Ahead are several pipes, and you can take the third one to a bonus room, or use a Starman from one block. Assuming you take the bonus room, head right when you emerge and jump the Piranha Plant-inhabited pipes to go right. Here, an enemy called a Buzzy Beetle is coming at you. They are immune to all fire attacks, but they can be jumped on like any Koopa Troopa. To the right, jump to hit the left block for a power-up and then jump again (assuming you�re Super or Fiery Mario) to reach the power-up and the adjacent coins. Continue right, jumping up the pipes, to reach the end pipe. Through it is the staircase and the flag. +-----------------+ | Level 4-3 | +-----------------+ Living up to the Mushroom Kingdom name, this one is basically a slightly harder version of 1-3 with mushroom-themed platforms. Go right, jump onto one, and be wary of the 300-second time limit. Wait for the red Koopa Troopas to the right to turn right and jump onto the platform. Jump left for the coins and then sweep right for more coins. Jump again to reach a high mushroom, and then lower yourself for coins. Now jump up the platforms for the ? Block, which contains a power-up, and then jump to the elevator platform. Quickly jump over the pulley platforms and get to the platform at the end, from where coins should be easily accessible. After a red Koopa Troopa you�ll find several elevator platforms; jump across them, gathering coins as you go, to reach solid platforms. At the end of them is an elevator platform. Wait for it to get as high as it can, step back, and then jump for the flag, �cause this is the end of the level. +-----------------+ | Level 4-4 | +-----------------+ This is a particularly tough castle (if you don�t have a guide, that is). To get to the end, Mario must take a certain path. You�ll reach a new section of the castle if you went the right way, but you�ll start over if you didn�t. Lucky for you, I have steps below. 1) Jump across these initial lava gaps and you�ll reach a fork in the road. Take the upper path and run straight forward. You�ll go over the gaps and the flame chain won�t touch you. 2) You�ll reach an opening at the end of the dual hallways and then you�ll see some platforms. Jump up these rising platforms until you reach the top level. There should be a hole directly in front of you. Fall to it and then go left to fall to the bottom level. Run forward, being wary of the single flame chain about halfway through, and Bowser will start threatening you with his fire. The bridge is directly ahead. Boss: Bowser That was surprisingly easy. Appropriately, in memory of Level 4-1, the guy inside the Bowser costume is a Spiny this time around. Bowser�s uses his usual lame bag of tricks � shooting fancy fireballs that rise or drop, but he also has a flame chain and a Podoboo, respectively, at his side. Jump the latter and get in close to the horned beast. Wait for him to jump, hoping the Podoboo doesn�t come up from under you, and then run under to the axe. That�s if you�re regular Mario, mind you. If Super Mario, jump the flame chain and run right through Bowser to the axe. If you�re Fiery Mario, roast this costumed clown until it reveals itself. When the bridge collapses and you continue on, you�ll find that a Mushroom Retainer awaits rescue, not Princess Toadstool. ======================================================================= ===============================World 5*================================ ======================================================================= This is an interesting world. It�s daytime, but there�s still snow on some of the trees (we have gotten to the real snow world yet, though). Nothing too special here aside from the Bullet Bill, a new enemy. +-----------------+ | Level 5-1 | +-----------------+ Go forward and fight a series of enemies, all Koopa Troopas or Goombas, before reaching a piped Piranha Plant. Wait for the one across the gap to lower and then jump to its pipe and beyond, killing a Koopa Paratroopa, six Goombas in a row, and then another green Koopa Paratroopa. Here, jump onto the platforms and hit the central brick block for a Starman. Run forward and you�ll see a Bullet Bill Blaster, which has the same symbol on it � a skull � as the flags at the end of the level. They fire Bullet Bills, missiles that are resistant to fire and can be jumped on. Continue right as Invincible Mario and drop from the low block wall through the hole. Jump at the hole for a 1-Up Mushroom (you�ll make the brick blocks, invisible block, and stacked blocks form an L). Now jump to the aerial pipe. Here�s a bonus room. The rightmost brick is a coin block, and you can reach the coins by getting onto the roof and dropping into the opening. When you emerge, head right to a disembodied staircase with a flag to the right of it. +-----------------+ | Level 5-2 | +-----------------+ Head right and jump over the Bullet Bill Blaster at the top of the stairs. Bounce on the jumping board to cross the gap. Continue right to see a Hammer Bros. atop a set of stairs. Get in close to it, right under the arch made by its thrown hammers, and wait for a let-up in its rain. That�s when to jump it. Beyond it is a �bonus room.� It�s underwater, and although there are many coins there are also many dangers. Assuming you take it, follow the line of coins quickly to avoid Cheep-Cheeps and Bloobers. Don�t go in suction pits and you�ll find a pipe at the end. When you emerge, you�ll be by two rows of brick blocks. However, it�s a safe bet taking the bonus room path, as it bypasses Hammer Bros. enemies. Here, hit the upper-rightmost brick block for a Starman, and then dash right, making jumps as you go and defeating Buzzy Beetles, too, to eventually reach the pitted staircase. At the top, stand back and then rush forward, jumping for the flagpole. +-----------------+ | Level 5-3 | +-----------------+ Somewhere, far in the distance, are Bullet Bills being constantly fired throughout this level. Jump on them to kill them or away from them to dodge them (this goes unsaid throughout this strategy). Go right, jumping up the platforms and following the coins, until you reach an elevator platform. You can take it up to four coins, 800 points, but the lower route has a Mushroom in its ? Block � 1000 points. Of course, you could do both. To the right, jump the gap either by bouncing off the red Koopa Paratroopa or by jumping when its down, and then get on the elevator platform. Jump to the second one and then to dry land, from where you should head right (getting all the coins you can). At the end, jump onto the platform and ride it to the staircase, from where you should jump for a high-scoring hit on the flagpole. +-----------------+ | Level 5-4 | +-----------------+ So, what has Bowser set up for us this time? This is much like 2-4, except for added difficulty. It is also home to the only extremely long flame chain in the game (the Japanese-only version of Super Mario Bros. 2: The Lost Levels is riddled with those things. It is basically a harder version of this game). In any case, go right and wait for the Podoboos to start falling and for the flame chain to be at 9:00 before jumping to the first platform, and the pieces should fall into place from there. Get the ? Block�s power-up if you dare, but it�s a big risk. With a huge flame chain like this, you�ll probably lose it right off. Try to avoid it by jumping onto the ? Block and jumping, but you�ll need to be fast. Faced with a fork in the road, take the lower one, and go slowly. This should seem very similar to you. Up ahead is another flame chain followed by thin elevator platforms much like those from Mario�s debut game, Donkey Kong. When the flame chain is up, jump to the elevator platforms. Bowser starts launching his flames right about now, too. Go right from here to find a flame chain surrounded by gold. Collect coins here if have the guts, though it is rather risky. Continue right past Podoboos and get into a bunker, err, depression. The bridge is up ahead. Boss: Bowser This time, a Lakitu is responsible for the guarding of a prisoner, as it is that very Lakitu who is dressed up like Bowser and running this world�s occupation forces. This time, the strategy is Podoboos and flames (no flame chain, oddly, which makes this an easier battle. Don�t stand above the Podoboo, of course, and wait for Bowser to jump. Run under his massive body and hit the axe to destroy the bridge, causing Bowser�s phony decoy to fall into the lava. If you�re Super Mario, avoid the Podoboo and run into Bowser, continuing through him to the axe. If you�re Fiery Mario, just fire him up until you expose the Lakitu manning it (they should really make fire-resistant costumes). Now hit the axe. What a surprise! We rescued a Mushroom Retainer. Well, Princess Toadstool will come in time. ======================================================================= ===============================World 6*================================ ======================================================================= This world is a combination of World 3 and World 1, but it leans on the World 3 side. It is nighttime with snow on trees (this foreshadows the future world), but it is also grassy judging by the background. +-----------------+ | Level 6-1 | +-----------------+ Go right and hit the two ? Blocks here for coins. Continue right to see a Lakitu throwing Spinies down. Lucky for you, though, we can kill him now. Hit the left brick block at the end of the stairs for a power-up. Stand on those bricks and jump (or flame) Lakitu. Now jump to the right, hit the rightmost brick block on the ground for a coin block, and then head right. Lakitu rejoins us after we jump a gap. Continue on this path to reach a staircase. When you reach the top, jump or flame Lakitu. If you want a 1-Up Mushroom, there�s an invisible block against the right wall of the staircase. Now continue right, where we find that Lakitu is alive and well again. After jumping up the stairs here, drop below the ? Blocks and hit the left one for a power-up. Proceed to the right to another set of stairs that you can jump to kill Lakitu from. But don�t bother now. To the right, past a bottomless pit, is the staircase that leads to the flagpole, and Lakitu retreats from there automatically. +-----------------+ | Level 6-2 | +-----------------+ Run right and past the brick blocks and defeat the Piranha Plants here (if you can). The left one has a pipe leading down to a bonus room. In it, hit the rightmost brick block to get coins. When it�s exhausted of its gold, jump onto it and then jump to the roof (right between your coin count and world display). Jump left to the upper block there and then jump into the opening to the right for a bunch of coins. Now exit at the pipe. When you emerge, go right and hop the pipe (complete with Piranha Plants) and then defeat or dodge the Buzzy Beetle (you don�t want its shell ricocheting in there. Hit the brick blocks for a power- up and then take the right pipe down to a bonus room. This bonus room is actually an underwater coin-sea kind of thing. It is exactly like the one we found in 5-2. Swim right, avoiding the Bloober and taking a line of coins (wait for the elevator platforms trying to push you down into a suction pit to leave the screen). At the end, swim past some suction pits, avoiding Cheep-Cheeps and Bloobers as you go, and take the coins from the platforms before exiting the bonus room with a pipe. When you emerge, jump to the left, onto the brick blocks, and then run over them across the gap. Take the next set of �brick stairs� up and then fall of them to the a small flight of stairs. Here, wait for the Piranha Plant to retreat into its pipe before you take it down into a bonus room. If you�re small, get each coin and hit the brick block before leaving. If not, take the coins available to you. When you emerge, head right over the Piranha Plants to the staircase, in which there is a Piranha Plant and on which a green Koopa Paratroopa is flying. Avoid both, take the stairs up, and then make a leap of faith for that flag. +-----------------+ | Level 6-3 | +-----------------+ The level is chrome, including the castle, and there are clouds. Is it snow? Go right and jump onto these platforms, from which you should jump to an elevator platform. Take the coins with it and proceed right to a jumping board on a platform. Bounce from it to the upper elevator platform and collect the coins on them. To the right, jump to another platform and take it up to a ? Block. It�s a power-up, by the way. From there, jump to the next platform and then to the next solid platform. After two pulley elevators with opportunities for coins, jump down these platforms. Bullet Bills begin to be fired at you from all directions (like in 5-3). As you continue, you�ll reach a jumping board with devilish Bullet Bill firing spaces. Use the board to reach the elevator platform, and then jump from it to the pulleys. After it, jump a series of platforms to reach one high platform. From there, step back and launch Mario straight into the flag. +-----------------+ | Level 6-4 | +-----------------+ Bowser must�ve thought that his first castle (1-4) was pretty nifty, as this castle is very similar to it. Jump forward over the lava pit and then continue down this hallway to a flame chain. Wait for it to be up, watch for Podoboos to be down ahead, and then jump to the platform between the lava puddles. Hit the ? Block for a power-up and then jump to the next platform from the ground when the Podoboos are down and then flame chain is up. After it, you�ll avoid a few more flame chains in a hallway when suddenly you see one of Bowser�s flames� The beast is near. In the next depression are several (six to be exact) coin blocks arranged like they were in 1-4. To the right is another depression and then the bridge, the arena. Boss: Bowser Bowser�s picked up a new trick � he throws hammers now. He also has a Podoboo jumping around here. If you want to stand a chance against this guy, run in past the Podoboo and under the rain of hammers immediately. When he jumps, run under him and hit the axe switch. This goes for Super Mario and regular Mario. And of course, if you�re Fiery Mario, you can just flame him until the costume breaks and reveals the true master of World 6, a Bloober disguised as Bowser. But, at least we got to rescue the sixth of the seven Mushroom Retainers of Princess Toadstool�s royal court. ======================================================================= ===============================World 7*================================ ======================================================================= In all future incarnations of Super Mario Bros., World 7 is depicted as a winter wonderland. It is always snowy, whereas this place is daytime with snow on the trees and somewhat wintry wood. I suppose that graphics limitations would prevent them from making it as obviously snowy as it is in the SNES version of this game, but it does have a certain icy feel to it. It also has more guns in it than the NRA in the first level, as well as a water level, and then a bridge level. In fact, this world is very similar to World 2. +-----------------+ | Level 7-1 | +-----------------+ Go right to a series of Bullet Bill Blasters. Hop onto the large one and hit the left brick block for a power-up. Now head right, hitting the ? Blocks and dodging the Bullet Bills, and then to another Bullet Bill Blaster with green Koopa Paratroopas on either side. Get into the depression and (if you want to risk it) hit the brick block right of the one that the Bullet Bill Blaster rests on for coins. Now, jump to the right when the Piranha Plant is down and you�ll see two Hammer Bros. To defeat them (or run past them), run into their hammer range and let them be on the brick row above you. Jump to hit the brick block they are standing on to defeat them. Or you could run. Either way, get into the pipe to the right for a 1-1 style bonus room. Take the coins and then surface with the pipe. Avoid the upcoming Bullet Bill and jump the Piranha Plant pipe to reach two Hammer Bros. Get in close to be under their arch of hammers and wait for them to jump before you run. Although rather risky, you can use the jumping board here to bounce into the brick block for a power- up. Now ascend up the stairs here, defeating the Buzzy Beetle along the way, and then jump for the flag. +-----------------+ | Level 7-2 | +-----------------+ This is much like Level 2-2, for this is a water world. Drop down and walk forward, avoiding Bloobers, to a wall of pink seaweed. Swim over it, drop again, and continue this pattern to reach a suction pit. Remember that Bloobers NEVER touch ground, so it�s safe to duck there to escape them. To the right of that is a suction pit with coins as bait (get it if you want). Also, Cheep-Cheeps start making their rounds right now. Swim forward, avoiding the bunched Bloobers by staying on the ground, and you�ll soon reach some coins with a bunch of Cheep-Cheeps in the screen. Pass the seaweed there and swim right to a suction pit. Take the coins in it if you desire and then continue right. There�s a barrage of Cheep-Cheeps in this section, but skillful swimming should get you out unscathed. After a final suction pit, the most dangerous of them all, and a Bloober reintroduction, you�ll reach the final stretch before the pipe leading out of the level and to the staircase before the flag. +-----------------+ | Level 7-3 | +-----------------+ This is a bridge over the Cheep-Cheep filled water level reminiscent of Level 2-3. But, adding in Koopa Troopas and more Cheep-Cheeps makes for a much harder level. Run forward, stopping when you see Koopa Troopas of either color, and jump over them after Cheep-Cheeps have done so. Soon you�ll reach a ? Block with a power-up in it. Jump right to the ground there and then jump to the small bridge platform and then to the large one. A green Koopa Paratroopa is here, and it must be the Einstein of its race because it behaves like a red Koopa Paratroopa. The same goes for the one on the next bridge. Jump to the next one and you�ll reach a few small platforms. Jump across them carefully, wary of excessive Cheep-Cheep attackers, and you�ll reach the end of the bridge. Jump the gap, take the stairs up, step back, and then make a running jump to the flag. +-----------------+ | Level 7-4 | +-----------------+ Go forward and jump the elevator platforms over the lava with Podoboos to reach� a fork in the road. Yep, this Bowser�s Castle is a 400- second maze like that of 4-4. Lucky for you, though, you have a guide. Otherwise, it would be a lot of trial and error for you. I�ll divide each section of the maze into numbered paths. Here we go! 1) Take the lower route, and walk forward until you reach a floating path. Jump onto the lower floating path and walk forward until it stops. From there, jump to the upper path and run forward to the next section of the castle. 2) Stand on the elevated bricks and then jump to the platforms in the air guarded by the flame chain. Run forward and you�ll see a gap and another platform level with the one you�re on. Jump to it and then drop to the ground. From there, jump to the platform to the right and at the end of it jump to the one to the upper-right. Jump to the upper path from there and run forward to complete this section of the castle. 3) You can�t mess this up, but be aware that Bowser starts firing around here. Hide in the depressions along the way and you�ll reach the bridge. Boss: Bowser A Podoboo guards Bowser, and he throws hammer as well as spitting fireballs this time around. As always, if you are Fiery Mario, just flame him until the costume is too roasted to wear. This reveals that a Hammer Bros. was disguised as the King of the Koopa this time. Alternately, run under the arch made by thrown hammers, avoid the Podoboo, and run under the beast when he jumps. Hit the axe switch and you win (this goes for Super Mario and regular Mario). As it turns out, it was a Mushroom Retainer being guarded by this Bowser-impersonating Hammer Bros., but remember that there are only seven Mushroom Retainers. That means one thing only � Princess Toadstool is in the final castle! To World 8! ======================================================================= ===============================World 8*================================ ======================================================================= This deadly world has 300-second time limits, a grassy layout, and no checkpoints to speak of. Everything gets put to the test here. Good luck, brave plumber. +-----------------+ | Level 8-1 | +-----------------+ Run forward, defeating the Buzzy Beetles and subsequent Goombas. Hop the Piranha Plant�s pipe and defeat the Koopa Troopas here. See the gaps ahead? Just run over them. This is a neat-o trick that will help you greatly in this world. At the end, flame the Koopa Troopa and its accompanying Goombas. You�ll now see a Buzzy Beetle between two Piranha Plant pipes. Defeat the former if you want and then jump about three fourths of the way between the pipes (from the left) for a 1-Up Mushroom. After more pipes, you�ll find one that can be taken down to a bonus room before a trio of Goombas. When you emerge, go right, defeating the Koopa Troopas here, and then jump the pipe, defeating three Goombas. Further to the right is a fenced-in Koopa Paratroopa of the green variety. Stand in front of the left part of the fence in the background and jump to hit an invisible block, from which you can jump again to hit a coin block. From there, jump the other wall and you�ll reach a brick row. Hit the third one for a Starman. Now run right, jumping when necessary as Invincible Mario, to reach Piranha Plants. Stop there, jump up them carefully, and then fall to ground, running madly to the right. The Starman should wear off a set of mini-stairs. After it, defeat the Buzzy Beetle and jump the gap. Avoid the Koopa Troopa in the pen and jump another set of gaps to reach more enemies and Piranha Plants. Avoid the latter and you�ll reach the staircase, chopped up into pieces. Jump them carefully and then jump to the flag. +-----------------+ | Level 8-2 | +-----------------+ 400 seconds! Ahead of you is a staircase with a Lakitu, its Spinies, and two Koopa Paratroopas. At the top of the stairs, jump to defeat Lakitu and then drop to the ? Blocks, each containing coins. Run right to a jumping board, which you should bounce on to hit a brick block. This lets loose a 1-Up Mushroom. Rush right to intercept it before it falls to the ground and into a pit. When you have it, jump the Bullet Bill Blasters to reach a set of brick blocks. Hit the right one for a Mushroom and then hop more Bullet Blasters to meet a Buzzy Beetle. For this part, jump to the upper blaster and then hop the lower ones. After some gaps you�ll reach a Piranha Plant pipe and a tough jump. Carefully jump to the first small platform here and back up all the way. Run forward and jump at the end of the second ledge to clear the gap. When you cross, wait for the Piranha Plant to retreat into its pipe and then take the warp pipe down to a bonus room. You know the drill; hit the rightmost coin block, jump from it to the roof, drop into the opening for the coins, and surface using the pipe. Now jump right onto the Bullet Bill Blasters and then cross the gap. Take these stairs up and avoid enemy fire. To the right, wait out the green Koopa Paratroopa before jumping up the steps of the severed staircase and then leaping to the flag. +-----------------+ | Level 8-3 | +-----------------+ With 300 seconds, let�s get it on! Run forward and jump the Bullet Bill Blasters. As you can see from the background, there are fortress walls here, as if Bowser was defending his castle. Jump this second Bullet Bill Blaster and then run forward to a Piranha Plant pipe. Hop it and you�ll find the brick rows that always signal Hammer Bros. Stand beneath them, jump, and deal them death. The second brick block in the upper row from the right contains a power-up, by the by. Now jump to the stairs and jump right. Avoid the fire of the Bullet Bill Blaster and then jump on the green Koopa Paratroopa. Notice the fortress walls� Now head right yet again to find those accursed Hammer Bros. at it again. Beat them like last time and hit the brick block that is second from the left of the upper row for a power-up. Now jump the Piranha Plant pipe and go forward to a great challenge. Here, at the walls of Bowser�s final fortress, you must fight a Hammer Bros.! If you had done so earlier, kicking the Koopa Troopa shell would kill it. If not, wait for it to throw some low hammers and jump it (repeat this for the following Hammer Bros.). Now you�ll find a Piranha Plant. Beyond it are two more Hammer Bros. just begging for a humiliating defeat. However, it is much wiser just to jump over them and run when they throw some low hammers. Toward the end of this fortress wall in the background, you�ll see one slightly off brick. Jump there to hit a coin block. Now jump up this phantom staircase to reach the flag. This is it. You�re going down, Bowser! +-----------------+ | Level 8-4 | +-----------------+ Bowser sure knows how to throw a party. His castle is huge! It includes many enemies and an underwater section. Because of its length, I�ll divide the guide into five paragraphs, one for each room of the castle. Note that you have 400 seconds to complete it and that there are several pipes that you can take down. However, most pipes lead to the beginning of the castle. Get on the lowest step of the staircase and jump down across the lava. Wait for the Piranha Plant to disappear here and jump over it. Now run forward until you reach another pipe. Do not take it down. Instead, jump over it, crush the Goombas beneath your boots, and get onto the elevated bricks. Though it blends in nicely with the lava, there�s an elevator platform below you. Take it across the pool of lava and jump to the pipe, which would you should take down. You emerge in a new room. Jump the Piranha Plant to the right and then defeat the Buzzy Beetles here. After them are two more Piranha Plants with two Koopa Paratroopas (green) between them. Defeat them, jump onto the right pipe, and then jump to the other side of the lava. Defeat the oncoming green Koopa Paratroopas and then jump slightly left of the pipe to make an invisible block appear. Jump onto it and then to the aerial pipe, which you need to take down. Go right past two Piranha Plant pipes and flying Cheep-Cheeps (like in 2-3 and 7-3). Jump the lava-filled gap and you�ll find a pipe. Wait for the Piranha Plant to go down and then take it down to a water- filled zone. Look at the discolored red pipe and green bricks. Oddly, there are flame chains down here in the water pivoting around nothing. Swim forward, dropping to the ground, and carefully avoid flame chains. You�ll see one in the next opening, and I recommend swimming through the opening from the bottom. Now walk across the bottom of the water and take the pipe out of there. We�re back in the castle. Go forward, avoiding the Piranha Plant, to find a Hammer Bros. I like how all the enemies in Bowser�s Castles are differently colored from normal ones. Either run past this Hammer Bros. or jump on it to kill it (or flame it if you somehow managed to get a Fire Flower this far into the depths of the castle). Now, when the Poboboo is down, jump the lava. Bowser�s starts flaming here. The bridge is ahead. Boss: Bowser This time, it truly is Bowser, King of the Koopa. The real Bowser is tough. He throws tons of hammers and flames simultaneously, but he is no match for Mario. Run under his rain of hammers and wait for him to jump. When he does, run under him and hit the axe. The bridge collapses and Bowser is defeated. Or, if you are Fiery Mario, flame him until he keels over. Or, if you�re Super Mario, follow the regular Mario strategy. Afterward, Mario advances on to Princess Toadstool. She speaks! �Thank you Mario! Your quest is over. We present you a new quest. Push Button B to select a world.� CONGRATULATIONS! You beat the game. But, don�t stop playing yet. There�s a whole second quest to be played that is more difficult than the first. Try it out, my friend. ----------------------------------------------------------------------- _________________________________________________________________ / \ / \ ||----------------------------Section 3*-----------------------------|| \ / \_________________________________________________________________/ ======================================================================= =============================Second Quest*============================= ======================================================================= The second quest is gotten by rescuing Princess Toadstool in World 8. It is harder than the first quest, but not by much. Here are the differences. +-------------------+ | Differences | +-------------------+ Enemies: Easy foes like Goombas and green Koopa Troopas have been substituted for harder foes, like Buzzy Beetles. In fact, almost all Goombas are now Buzzy Beetles. Similarly, enemies are faster than normal and smarter than normal (they don�t fall off ledges as much and they can track you better). Also, there are many more enemies than there used to be. Levels: Levels no longer have halfway points or checkpoints. Some early ones do, but after that you�re pretty much finishing the whole level in one try. Aside from this, level layout is EXACTLY the same as normal. Ledges: Elevator platforms are now two-thirds their original size. Also, �coin heavens�� clouds are now reduced in size. Obstacles: Flame chains are now longer than they used to be in most cases, particularly ones in early castles. Other: Princess Toadstool does challenge you to another quest, but it won�t be new. This having been said, there is really no reason to write a guide for these levels. It is exactly the same level design, and I think you know how to deal with enemies without me telling you how. This time, Princess Toadstool will say: �Thank you Mario! Your quest is over. We present you a new quest. Push Button B to select a world.� Of course, this new quest she refers to is just a repeat of the second quest. So, in theory, you could beat Super Mario Bros. over and over again. Have fun. ======================================================================= ==============================Warp Zones*============================== ======================================================================= �Welcome to Warp Zone!� There are four �warp zones� in the game. A warp zone is a pipe or a group of pipes that lead to another world. They can be used to skip lots of levels or to enter the Minus World. I will discuss the fourth warp zone in the section entitled �World -1,� while the other three go here. The first three warp zones are shown below. Note: All warp zones work in both quests � one and two. +---------------------+ | Warp Zone 1-2 | +---------------------+ In Level 1-2, you need go get onto the roof. The best place to do this is the up elevator at the very end of the level. Take it up and jump to the roof brick blocks to the right. Now go forward and fall into the gap. You�ll see the quote and then the Piranha Plants clear out, letting you access World 2, World 3, and World 4. +-------------------------+ | Warp Zone 4-2 (1) | +-------------------------+ This is found in Level 4-2. Go to the end of the initial hallway with three Goombas (Buzzy Beetles if you�re in the second quest) in it. Here, you�ll see seven ? Blocks, six of which have coins in them, by an elevator platform. Cross over the gap with these and you�ll come to a pipe. Stop, though. Below the right two brick blocks of the ones hovering in the air are invisible blocks that you need to hit. Then use these as stepping stones to hit the brick blocks above you to make a vine appear. Jump to it and climb it up to reach the warp zone. This one lets you access World 6, World 7, or World 8. +-------------------------+ | Warp Zone 4-2 (2) | +-------------------------+ There is another warp zone found in Level 4-2. To reach it, get onto the roof and get to the end of the level, just like in the warp zone description for 1-2. You can get onto the roof in several places, but the easiest place is at the end of the level. When you�re standing on the very high pipe before the warp pipe that leads out of the sewers, jump (if you�re Super or Fiery Mario, that is) to hit the brick blocks above. Then jump to the roof and head right. There�s one pipe here, and it leads to World 5. Using these methods, it is possible to reach any world by playing only through 1-1, 1-2, 4-1, and 4-2. We�ll take advantage of this below. ======================================================================= ===========================Minimalist Quest*=========================== ======================================================================= There are 32 levels in Super Mario Bros., and that does not include the second quest. However, 24 of those levels are unnecessary for beating the game. It is possible to play Super Mario Bros. and beat it by only playing 8 levels, and I�ll show this below in the step-by-step process. 1) Play and beat Level 1-1. This lets you play Level 1-2. 2) In Level 1-2, reach the warp zone (see the above section). Select the warp pipe leading to Level 4-1. 3) Play and beat Level 4-1 4) In Level 4-2, use the first warp zone mentioned in the above section to access World 8. 5) Beat Level 8-1. 6) Beat Level 8-2. 7) Beat Level 8-3. 8) Beat Level 8-4, and in so doing, beat the game. If you don�t want to waste time playing the 24 other levels, then this is the way to go. You�d be surprised at how many competitions there are about this game. There are �get the highest score,� �beat the game the most time consecutively,� etc., but there are also lots of speed records. Time yourself and see how you do. But please, don�t tell me about it. I get enough e-mail as it is. ======================================================================= ===============================World -1*=============================== ======================================================================= This is a very strange but interesting glitch. I�m not sure if it was intentional or not, but you can play in a World -1. You only ever to get play one level in it (that level is impossible to beat), but I should mention it all the same. Here are the steps for reaching it. +---------------------+ | Getting There | +---------------------+ 1) Get to Level 1-2, and reach the very end of the level in the sewers (that is, you�ve reached the pipe that leads to the surface). You must be either Super Mario or Fiery Mario. 2) Stand on the edge of the pipe. Jump and bust the second and third brick blocks from the right (that is, the first one from the right is the one directly above the rightmost part of the pipe). 3) Stand on the very left edge of the pipe and duck. Jump into the air, still ducking, and move toward the bottom-left edge of the pipe as you go. If done correctly, Mario�s body will �enter� the brick. 4) Repeat Step 3 until it works. It probably won�t work for you for the first few tries because you do it wrong, and you have to be perfectly lined up for it work. Remember: practice makes perfect. 5) Mario will continue to move through the bricks until he reaches the warp zone area. Do not touch anything while this is happening. When you come out to the warp zone, do not move right or the regular warp zone pipes appear (to World 2, 3, or 4). Instead, take the leftmost pipe you see before the text �Welcome to Warp Zone� appears. Tada! You�re in the Minus World. +-----------------+ | The Guide | +-----------------+ So, what is World -1? It is a mysterious watery level that goes on forever. In reality, though, it is merely Level 2-2 that infinitely loops. When you reach the pipe in 2-2 that would take you out of the water and to the staircase, you just restart the level. Time will eventually kill you, but you can stay down there for quite a long time. Here�s a guide for the Minus World, as if you really needed it. I hope you have a Fire Flower �cause it will help a lot in here. In water levels (which there are two of in total), press A to swim upward. You cannot kill any enemies at all (unless you are Fiery Mario), and you will die if you touch any enemy at any angle. Similarly, there are gaps called suction pits in here that will suck you in. At such times, you need to press A rapidly to escape its suck. Head right, swimming down to the coins, and you�ll encounter a Bloober. These enemies, which were renamed Bloopers for later Mario games (I will call them Bloobers because that is their name in this game), are your biggest threats. They float around, sink down to kill you, and then readjust themselves. Do not risk swimming past them; they are unpredictable. Sink to the ground and run past them. Up next, swim upward for three coins (and to bypass some coral reef, which may also be sea anemone or seaweed) and then sink down. Here, sink to the ground again (Bloobers NEVER sink to the very bottom, so it�s safe there) and continue right until you see a large suction pit. Swim into it if you dare (it�s really not that dangerous; just keep pressing A quickly) and collect the coins. In there, wait for the fish above to swim past. They are called Cheep-Cheeps, female fish who swim mindlessly by. Swim past them once they�re gone and then swim upward to avoid two oncoming Cheep-Cheeps (notice how some are green/gray while others are red), and sink to the bottom afterward to avoid a Bloober. Near the ground are three coins you can get. After collecting them, go right, wait for the Cheep-Cheeps to swim by, get the three coins, and swim over the seaweed. Wait for the enemies to pass and then swim down over the suction pit (or into the suction pit). Either way, wait for the Cheep-Cheeps to pass by standing on the edge of the stairs leading out, and then swim right. Float up, entering the suction pit (this one is risky) if you want to, and then swim one last stretch to the right to reach a warp pipe. From here, you start back over at the beginning of the level. There you have it. Maybe this will impress you or others, but it is kind of pointless in reality. Maybe you could see how long you can stay under� ======================================================================= =============================1-Up Tricks*============================== ======================================================================= Even pros lose a life every once and a while, and even pros lose three lives every once in a while. To make the game beatable and enjoyable, you have more than three shots in any one game. A 1-Up is an increase of your life count so that you can die once and still be able to play. Here are the ways to get extra lives. 1) Obviously, the simplest way to get extra lives is to find 1-Up Mushrooms. There are possible 1-Ups in Levels 1-1, 1-2, 2-1, 3-1, 4-1, 5-1, 6-1, 8-1, and 8-2. Please read my guide for specifics on getting them in those levels. Note: Notice I said �possible 1-Ups.� In the Levels 2-1, 3-1, 4-1, 5-1, 6-1, and 8-1, there may or may not be a 1-Up there. First, if you warp (use a warp zone) to those levels, the 1-Up Mushroom will be there. Second, if you did not warp to those worlds, then the 1-Up will only be there if you got every coin in the third level of the previous world. For example, there is a 1-Up in 2-1 only if you warped to World 2 or if you got every coin in 1-3. 2) If you get 100 coins, you get a 1-Up automatically. 3) If you jump on a Koopa Troopa of either color or a Buzzy Beetle, they withdraw into their shells. Kick the shell into a line of enemies and you get points for each enemy you hit. You get, in this order, 500 points, 800 points, 1000 points, 2000 points, 5000 points, 8000 points, and a 1-Up for each enemy after that. It is not too useful, but it can be done in some levels with long lines of enemies. 4) If Mario can bounce off the same Koopa Troopa/Buzzy Beetle shell over and over again, he picks up points and then 1-Ups. For each time he bounces on it, you get 500 points, 800 points, 1000 points, 2000 points, 5000 points, 8000 points, and a 1-Up each time afterward. Though this can be performed in many levels, it is particularly easy in 3-1 at the staircase at the end. Below is a diagram of how it�s done there. +---+ As the Koopa Troopa is coming down, Koopa| | Mario should jump straight up. He +---+ will land on the shell and send it +---++---+ bouncing against the block between | || | the two. He will bounce off and on +---++---+ to it. When it stops (for it might +---++---++---+ eventually), repeat the process. Mario| || || | +---++---++---+ +---++---++---++---+ | || || || | +---++---++---++---+ +----------------------+ | The 1UP System | +----------------------+ Those are all the ways to get 1-Ups. But, be warned that you can never have more than 127 lives at any given time. Well, you can have 128 lives at once, but you have to die when you have 128 lives to keep playing. If you have one more than 127, then you actually have -128 lives, which is less than 1 (meaning you get a Game Over). Why is that? The NES is an 8-bit system, which means that it can hold 256 unique values in a basic memory units. These units -128 through 127 in Super Mario Bros. Now, think of these values as being on a circle (they actually are arranged this way). ------------------------------------------------ | -1 | 0 | | -32 | 32 | | | | | -64 | 64 | | | | | -96 | 96 | | -128 | 127 | ------------------------------------------------ The negative values are on the left half of the circle, and the nonnegative values are on the right side of the circle. When you gain a life, you go clockwise on the circle. So, if you have 127 lives and you gain one, you go over the line to the negative half. When you lose a life, you go counter-clockwise on the circle. So, if you have -128 lives and you die, you have 127 lives. The game checks your life count each time after you die and each time you clear a level. So, it is safe to have -128 lives as long as you don�t beat the level with that number, or you�ll get a Game Over. For this reason, the SNES incarnation of this game has a maximum number of lives set at 128. ======================================================================= =============================Bonus Rooms*============================== ======================================================================= In some levels, you can take pipes down to access �bonus rooms,� which have lots of coins in them. Here�s a guide for navigating the bonus rooms, not counting the tricky water rooms (Level 5-2 and 6-2) or the coin heavens (Level 2-1 and 3-1). There are five different types of bonus room, and I�ll describe how to reap the benefits of each below. 1) The most basic type of bonus room is a group of bricks in the center of the room with 19 coins atop it arranged in two rows of seven and one of five. Just jump into the coins, grab them all, and leave. 2) Another easy bonus room is arranged with two hallways down which are coins. Jump onto the upper hallway, collect the eight coins down it, get to the lower hallway, collect the eight coins there, and then hit the last block down the lower hallway (it�s a coin block) until it�s exhausted of its gold. Now exit. 3) This one is arranged with a bunch of bricks at the top of the screen that wall off coins, and the coins move up diagonally. You must be Super Mario or Fiery Mario to take advantage of it. First, hit the bottom two leftmost bricks and then jump to the coin. Work your way up, getting a power-up along the way, and then repeat on the other side. At the end, collect all the coins on top of the brick structure. 4) This has a low overhang and a bunch of coins beneath it, as well as some coins on top of the low row of bricks. There is also a brick hovering over the pipe so that only regular Mario can hit it. This brick contains a power-up, by the way. If you�re Super/Fiery Mario, you cannot get the power-up and only be a difficult slide under the overhang can you get all the coins. If you�re regular Mario, just sweep in and collect all eighteen of the coins. 5) The other type of bonus room has all the coins (ten in total) at the top of the room inside of a claw-shaped brick structure. There is also a coin block over the pipe. Rob the coin block blind and then jump from it to the top of the claw. Now jump left to that stack of bricks and then into the opening of the claw, in which are the ten coins you were after. And those are the bonus rooms. I have descriptions of watery bonus rooms and coin heavens in the guide as they occur. ======================================================================= ===============================Glitches*=============================== ======================================================================= Super Mario Bros. was not made perfectly, and so there are several glitches in it. For all of you who aren�t so video game slang-savvy as myself, a �glitch� is any occurrence in a video game that was not intended to happen during the development of that game. For example, in some games you fall through the floor for no reason (of course, I�m thinking of Super Mario Sunshine. It is so frustrating to meet your death so close to a Shine Sprite�) or going through walls, but glitches are widespread and varied. Here are a few (not nearly all, since many can be manipulated or experienced with a Game Genie or other cheating devices) that can be performed. 1) As I mentioned earlier, the Minus World (World -1) is the most well- known Super Mario Bros. glitch. Please see that section to learn how to access that infinite water level. 2) Perhaps it was meant, but Mario can actually jump over a flagpole in Level 3-3. You jump to it from a pulley platform, and it is possible to get the right elevator very high and then leap right over that flag. 3) In 2-2 or 7-2, you might see the seaweed growing at the top of the screen. Stand on this and go one space below the water�s surface. Press A as if to swim. You cannot go any higher than that, so you will stand still, but you will still hear the swimming sound. 4) If a Piranha Plant is at least one-quarter of the way into a pipe and Mario jumps onto it (provided that the pipe can be taken down) and takes it down immediately, he will not take damage. 5) When you climb a vine, hold up at the very top and Mario�s legs start squirming and his body rising, as if he�s trying to climb but cannot. Some call it �Vine-Dancing Mario.� 6) It is possible to be small but still be able to shoot fireballs. It can be done in Bowser�s Castle of any world except World 8, since the game ends immediately after Level 8-4. Get to Bowser as Super or Fiery Mario and get right next to the axe switch. Bowser will turn around and start coming at you. When Bowser is about to touch Mario, jump into the air, slightly to the right, so that you hit the axe switch and Bowser at the same time. This causes you to become small, but at the same time the level is already over. This is a priority conflict, and the level finishes before you become small. So, Mario enters the next level as the Super Mario sprite because it is how he finished the previous level, but he has the status of regular Mario because he got hit. Get a power-up and it will be a Mushroom. Use it and you become small! This is because the game thinks that a Mushroom transfers one Mario to the other (it is like a circle. Thin back to the ending discussion in the section entitled �1-Up Tricks�), so you are now small Mario with the Super Mario status. Get a Fire Flower and you become Small, Fiery Mario. You run around with the regular Mario sprite but Mario grows large and changes outfits to throw a fireball. This effect stays active until you die, when you are reset to small Mario with the small Mario sprite. 7) A slightly different version of the above glitch involves hitting the axe switch and Bowser at the same time as regular Mario. Mario will die (this takes priority over finishing the level), and then the screen scrolls over to the Mushroom Retainer/Princess Toadstool. They give the thank you quote even though Mario isn�t there (he�s dead), and then the level begins with regular Mario with one life less than before. 8) I have never done this personally, but I�d imagine that this would work (because # 7 works). If you are regular Mario and a Bullet Bill is fired to the right, keep up with it for the remainder of the level so that it stays on the screen and then jump to the flagpole at the end of the level, colliding with the flag and the Bullet Bill at the same instant. I�ve been told that Mario dies, but the flag and fireworks (if any) display goes on like normal. 9) Go down a pipe and hold B the entire time you are in this pipe area. Go through a pipe to emerge back on the surface, and keep holding B all the way through. When Mario runs, he should be doing so on one foot. 10) When Mario gets hit, he flashes for a few seconds, during which time he is invulnerable to attack. He can also run through enemies. If you get inside an enemy and you stop flashing, you won�t get hurt. In fact, you won�t get hurt even if you walk with the enemy, just as long as you�re inside of it. 11) Mario first learned the wall kick technique in Super Mario 64. With it, Mario could kick himself off of a wall for an extra jump. This is evidence that Mario had been practicing. If you run and jump into a wall at the right angle and you press A as you come into contact you, Mario can make a small second jump in a different direction. 12) This one was sent in by piofinn: �I've only tested this in level 8- 4 but I presume it works in any other -4 (castle) level. If you jump on the axe exactly as the clock hits zero, you will get points for 999 remaining seconds!!� Thanks, piofinn! And those are all the glitches that I know of. I�m not interested in adding any more to the list, so please don�t e-mail me about them. Sorry, but I like to move on from one guide to the next. ======================================================================= =================================FAQ*================================== ======================================================================= FAQ stands for �Frequently Asked Questions.� It�s one of those new- fangled acronyms. Here, I list questions that I get often so that you don�t e-mail me with them. Please, be sure that your question is not listed here or discussed in the guide before you ask it. Question: How do I beat Level ____? Answer: That is in the guide. Please read it. Question: Why do you always refer to the character you play as in your guide as Mario? Answer: Mario is the default character, and he is included in both modes of play. However, Mario may be substituted for Luigi if you�re playing as the green machine, and there are such things as Super Luigi, Invincible Luigi, and Fiery Luigi. Question: What�s the point of points? Answer: Good one, buddy! But seriously, Super Mario Bros. was originally an arcade game called �Vs. Super Mario Bros.� Players tried to set a high score when they played, which is why you can collect points in it. Also, it�s for competitions and other things to judge how well you play. Also, certain methods of obtaining points can get you 1-Ups, which certainly do have a point. Question: Do I have to get points to beat the game? Answer: No. In fact, sometimes it�s wise not to strive for points; certain coins that are too risky to get (like in some water worlds) and so on. However, points gotten in certain ways can get you 1-Ups (see that section for details). Question: Why don�t you give a guide for the second quest? Answer: The second quest has the exact same level design as the first quest. The ONLY difference lies in enemies and several other very minor changes (elevator platforms and clouds are narrower, etc.). So, the only reason to write a guide for the second quest would be to pointlessly extend this guide, and I don�t think that�s necessary. Question: I�ve heard that there are drug references in Super Mario Bros. Is this true? Answer: Sure is! It seems like everything was named with drugs in mind. Below is a little list of things I�ve noticed. 1) The game has a lot to do with mushrooms. Mushrooms can be hallucinogenic, and �Magic Mushroom� is the term for it. Everything is named after mushrooms, including Princess �Toadstool� and the Mushroom �Retainers,� �Kingdom,� �King,� and so on. 2) When Mario eats a �Magic Mushroom,� he gets taller. �Higher� is a synonym for �taller,� now isn�t it? 3) Mushroom Retainers are called Toads later on in the Mario series. Well, Toads can be used to induce highs. I won�t say exactly how because I realize that many young people might be reading this, but there were several cases of toad-induced highs in the 70�s. Those are all that�s I�ve seen, but there may be more. Remember, drugs are damaging to your body and they are bad for you. Don�t take them. You will NOT become a Super version of yourself. Question: I unlocked the second quest/set a high score, turned off my game, and started playing again. It wasn�t there anymore! Help! Answer: The first video game to ever have a save system was The Legend of Zelda for the NES, which came out in 1987. Super Mario Bros. hit the NES as its premiere game in 1985. So, it cannot save because the technology was not invented yet for console games, which means that you cannot save your high scores or second quests unless you keep your NES perpetually running. Question: I cannot perform a glitch! Why? Answer: Later versions of this game, such as the GBA version or the SNES version, do not include the glitches mentioned in this guide. Question: I cannot get my hands on this game. Where can you get it? Answer: Some stores might, and that�s a gigantic might, sell them, but they are no longer produced. There are new versions of this game on various systems, as well as older versions of the game in arcades or on minor systems. There is a very good remake of this on the Game Boy Advance (Classic NES Series: Super Mario Bros.), Super Mario Bros. Deluxe for the Game Boy, and there is a version of this game with improved graphics on the Super Nintendo called Super Mario All Stars. Alternately, you could get an emulator. Emulators are computer files that contain a video game, usually with lesser graphics. Because this game is so rare now, I could see it being acceptable. There might be (or might not be) laws in your country, state, province, city, and so on against emulation, but it is very rare that people are actually fined for using emulators. More often, producers of emulators are stopped. I don�t know everything about it, so I�m not the one to ask about emulators. I�ve never used one in my life. Question: Why can�t you get over 127 lives? Answer: This on the NES, and as such the game counts in a circular pattern like so 1, 2, 3,� 127, -128, -127,� 0. So, you can get over 127 lives, but it isn�t safe to do so, as you�ll get a Game Over the next time the game checks your life count. I discuss this in detail toward the end of �1-Up Tricks.� Question: How can I contact you if I have a question? Answer: By e-mail only. My e-mail address � [email protected] (caps don�t matter) � is listed here and at the top of the screen. My IM name is the same, but I do not accept IM�s. If you still want to try your luck that way, then you�re in for a ton of frustration. I�m frequently away from my computer and I don�t respond to IM�s even if I am on it. Furthermore, please put �Super Mario Bros.� in the title so that I know what game you need help with. Please spell things as correctly as you can and do not write in slang (I can handle most of it, but writing things like IAALTRFTS, for example, are not understandable by any human being, including myself). Furthermore, do NOT send me Spam, chain letters, �tags,� which are essentially the same thing as chain letters, or any personal e-mails (like a/s/l and that sort of thing). I don�t have the time to get to know everyone, I�m afraid. Question: Can I use your guide on my site? Answer: No way. In all my year as a walkthrough writer (yes, I�ve only been one for about a year now), I�ve only let one person ever use any of my guides, and that was not on a website. What makes you think that you can impress me that much? There are many reasons why I do not allow people to use my guides on their sites, mostly for update and e- mail purposes, and I don�t care what you say. No means no. Don�t ask why. Just no. No, no, NEVER! Questions: What other games do you have guides for? Answer: This is guide # 28. Yeah, I write these in all my spare time. I know what you�re thinking� I written ones for the following games: The Legend of Zelda: Four Swords Adventures, Harvest Moon: A Wonderful Life, Sonic the Hedgehog 2 and 1, Sonic Heroes, Mario Kart: Double Dash, The Legend of Zelda: Ocarina of Time, The Legend of Zelda: Ocarina of Time/Master Quest, The Legend of Zelda: The Wind Waker, Super Smash Bros. Melee, Zelda II: The Adventure of Link, Paper Mario: The Thousand-Year Door, The Legend of Zelda, Super Mario 64, Super Mario 64 DS, The Legend of Zelda: Majora's Mask, Sonic Adventure 2 Battle, Luigi's Mansion, Super Mario Sunshine, The Legend of Zelda: The Minish Cap, The Legend of Zelda: A Link to the Past, The Legend of Zelda: Link's Awakening, The Legend of Zelda: Link's Awakening DX, Mario Power Tennis, Mario Party 6, Paper Mario, Super Mario RPG, and you�re reading my latest. Question: So, what games are coming up [that you are writing for]? Answer: In the future (probably during the summer or maybe into fall), I plan to write guides for the remaining games of the Super Mario Bros. trilogy, possibly Super Mario Land (1 and 2), Super Mario World, and a few other Mario games. But, I need to get back on track. It seemed almost certain that I�d write guides for Oracle of Ages and Oracle of Seasons, both Zelda games, a little while back during my four-game Zelda walkthrough binge, but I received some Mario video games and I�ve been hooked to those guides ever since. Also, I am considering a guide for The Lost Levels, the Japanese version of Super Mario Bros. 2, but I might not write one. Honestly, I am not so thrilled about writing for The Lost Levels; too similar to this one to write them back-to-back. And those are all the questions that I receive. If you have a good one not in the guide, feel free to send it to me. I�ll answer to the best of my abilities. And that�s a wrap, folks. Now, let�s get to the best part of any guide � the legal section. Yippee! ----------------------------------------------------------------------- _________________________________________________________________ / \ / \ ||----------------------------Section 4*-----------------------------|| \ / \_________________________________________________________________/ ======================================================================= ====================Credits and Legal Information*===================== ======================================================================= I sarcastically pretend that I like to write this section, but I really hate it. I mean it earnestly; I can�t stand this. So, I extracted this from another guide. If you are really obsessed or if you have a freakishly good memory, this should ring a bell with you. Reading legal sections is about as fun as watching a foreign-language film about the making of boxes in black and white. First, though, the credits. Yes, I know that everybody is dying to know who helped me write this. Let's get started, shall we? First, I'd like to thank myself for writing the guide, playing the game, and for posting it. The man! The myth! The legend! Second, a big round of applause for Nintendo. They made Mario and this game, and this guide wouldn't be around without them. Third, let's all thank GameFaqs, the great site that is the only place where you can find my guides. Without them, you wouldn't be reading this. Recently, some more people have helped me out. Here's a list of who they are and what they did. Note that I have included in this updated version, as of June 9, some people who I forgot to mention in the original. You see, I always copy and paste this section, which results in leaving people out the first time around. So, my apologies for this, and I am now rectifying that problem by listing those who helped me out before. - piofinn, who sent in quite a useful glitch for getting major points at the end of castle levels. - D.Hawkins, who explained quite well in a guide of his how the NES 1- Up circle works, which I touch upon in �1-Up Tricks� of this guide. Thanks for the info, D.Hawkins! - Brian Sulpher, because his guide contains several ASCII artworks that I used as a model for my own, such as the flagpole. - Spacepope4u, a contributor here on GameFaqs. I admit to being a great fan of his Mario Series Character Guide, and I write him with various tidbits. Anyways, I learned a bit about Mario�s origins, mostly name origins, from his guide. It was this guide that I started using some of his information for Mario character bios, like �ruiji� that evolved into Luigi�s name and so on. Also, for creating a truly entertaining guide. Check it out if you haven�t, because it is great. It is nearly impossible to find an encyclopedia of Mario characters that goes as in-depth as his guide does, and for that I thank him. Plus, it�s pretty funny, too. That's it for now, but I'm sure that list will grow. Now for the legal section. If you're really obsessed with my guides, you'll know which one I copied the legal boilerplates out of. First of all, I take no credit for the creation, distribution, production, idealizing, or in any way making this game. That honor goes to Nintendo, not me, and I do not deny this. Second, this document is Copyright 2005 Brian McPhee. Third, this may not be reproduced in part of in full under any circumstances except for personal, private use. It may not be placed on any web site or otherwise distributed publicly without advance written permission. Use of this guide on any other web site or as a part of any public display is strictly prohibited, and a violation of copyright. To phrase that first item legally, all trademarks and copyrights contained in this document are owned by their respective trademark and copyright holders. To make it clear for those of you who might having problems absorbing information, no one but the website GameFaqs may use my guides on their sites, books, magazines, etc. Whoa! Did you see that? That was totally tubular, huh? I mean, first I set you up with that short little paragraph above, then I buttered you up with the copyright, and then I really hit it home with the anti- plagiarism liner. Ah, these are the things memories are made of� But, this guide is coming to an end after only three days (really two since I started it at around 11:15 on Cinco de Mayo). It�s been a blast through and through, and I loved replaying the first game I ever played. So, for all you NES fans out there trying to relive your past, or for all you youngsters trying to catch up on Nintendo�s fascinating history, I�m glad I wrote this guide. Hope you enjoyed it, but all good things must come to an end, so let�s bust out my funky good-bye catchphrase and slogan of the year. Here it comes � my great Houdini� Until next time� No, that was my geeky original catchphrase that I used in my first two guides (and I�m no geek, that�s for sure). Here come my really real one. You ready for this? Okay, drum roll please. Adios. Oh! I got you again. Okay, fine, here�s the real one. Fasten your seatbelts, ladies and gents, �cause this is going to be a wild ride. See ya later.
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How many square blocks is each game piece composed of in the game of ‘Tetris’? | NetLogo Models Library: Tetris
NetLogo Models Library:
(back to the library)
Tetris
If you download the NetLogo application , this model is included. (You can also run this model in your browser , but we don't recommend it; details here .)
WHAT IS IT?
This is the classic puzzle game, Tetris. The game involves falling pieces composed of four blocks in different configurations. The object of the game is to complete horizontal rows of blocks in the well.
Any time a row is completed it disappears and the blocks above it fall down. The more rows you clear with the placement of a single piece, the more points you receive. If you clear enough rows, you move on to the next level. The higher the level, the more points you receive for everything, but the pieces fall faster as well, increasing the challenge.
HOW TO USE IT
Monitors: -- SCORE shows your current score. -- LINES shows the number of lines you have cleared. -- LEVEL shows your current level.
Sliders: -- STARTING-LEVEL selects the beginning level for the game. Choosing a higher level to begin allows you to get more points faster and increase the initial falling speed. Your level will not increase until your number of lines is 10*(level+1). (i.e. starting-level=3, level will stay 3 until 40 lines are cleared.) -- DEBRIS-LEVEL sets how many lines of random blocks will be created at the bottom of the well at the beginning of the game.
Buttons: -- NEW sets up a new game with the initial settings. -- PLAY begins the game.
Controls: -- ROTLEFT rotates the current piece 90 degrees to the left. -- ROTRIGHT rotates the current piece 90 degrees the right. -- LEFT moves the current piece one space left. -- DROP causes the current piece to drop to the bottom of the well immediately. -- RIGHT moves the current piece one space right. -- DOWN moves the current piece one space down.
Options (Switches) -- SHOW-NEXT-PIECE? toggles the option which causes the piece which will appear in the well after you place the current one to be shown in a small box to the right of the well.
THINGS TO NOTICE
There are seven types of pieces. These are all the shapes that can be made by four blocks stuck together.
[][] Square-Block - good filler in flat areas, [][] hard to place in jagged areas [][][] L-Block - fits well into deep holes [] [][] S-Block - good filler in jagged areas, [][] hard to place in flat areas [][][] T-Block - good average piece, can fit [] almost anywhere well [][] Reverse S-Block (Or Z-Block) - good [][] filler in jagged areas, hard to place in flat areas [][][] Reverse L-Block - fits well into [] deep holes [][][][] I-Bar - Only piece that allows you to clear 4 lines at once (aka a Tetris)
Scoring System: Note: Points are scored using level + 1 so that points are still scored at level 0. -- 1 Line = 50*(level + 1) points -- 2 Lines = 150*(level + 1) points -- 3 Lines = 350*(level + 1) points -- 4 Lines = 1000*(level + 1) points (aka a Tetris) -- Clear the board = 2000*(level + 1) -- Every piece = 10*(level + 1) points
THINGS TO TRY
Add options for changing the width and depth of the well.
Add the option of including pieces composed of more than four blocks, or fewer.
NETLOGO FEATURES
This model makes use of turtle breeds.
HOW TO CITE
If you mention this model or the NetLogo software in a publication, we ask that you include the citations below.
For the model itself:
Wilensky, U. (2001). NetLogo Tetris model. http://ccl.northwestern.edu/netlogo/models/Tetris. Center for Connected Learning and Computer-Based Modeling, Northwestern University, Evanston, IL.
Please cite the NetLogo software as:
Wilensky, U. (1999). NetLogo. http://ccl.northwestern.edu/netlogo/. Center for Connected Learning and Computer-Based Modeling, Northwestern University, Evanston, IL.
COPYRIGHT AND LICENSE
Copyright 2001 Uri Wilensky.
This work is licensed under the Creative Commons Attribution-NonCommercial-ShareAlike 3.0 License. To view a copy of this license, visit https://creativecommons.org/licenses/by-nc-sa/3.0/ or send a letter to Creative Commons, 559 Nathan Abbott Way, Stanford, California 94305, USA.
Commercial licenses are also available. To inquire about commercial licenses, please contact Uri Wilensky at [email protected].
This model was created as part of the projects: PARTICIPATORY SIMULATIONS: NETWORK-BASED DESIGN FOR SYSTEMS LEARNING IN CLASSROOMS and/or INTEGRATED SIMULATION AND MODELING ENVIRONMENT. The project gratefully acknowledges the support of the National Science Foundation (REPP & ROLE programs) -- grant numbers REC #9814682 and REC-0126227.
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What is the name of the fictional English archaeologist in the game ‘Tomb Raider’? | Copying the Look and Feel of Tetris Is Software Copyright Infringement | The Software Intellectual Property Report
Copying the Look and Feel of Tetris Is Software Copyright Infringement
By Charles Bieneman on May 31, 2012 in Copyright
Xio Interactive did not dispute that it blatantly copied the look and feel of the Tetris video game, even if not its source code. After Xio’s Mino game was posted on Apple’s iTunes store, Tetris Holding, LLC, sued Xio for copyright infringement and trade dress infringement. The court granted summary judgment to Tetris on both claims, finding, with respect to the copyright infringement claim, that the look and feel of Tetris is copyrightable expression distinguishable from the ideas of the game. Tetris Holding, LLC v. Xio Interactive, Inc. , No. 09-6115 (D. N.J. May 30, 2012).
Tetris identified 14 copyrightable elements of the game that Mino had admittedly copied, and that Tetris argued constituted protectable expression. These elements included the number and configuration of playing pieces, the size of the playing field, the way pieces moved in the playing field, the behavior of the game when a horizontal line was filled, and the behavior of the game when over, just to name some.
Xio’s copying did not arouse sympathy, to say the least. Xio admitted that it had been founded for the purpose of making a game similar to Tetris for the iPhone, and that it had “downloaded Tetris’s iPhone application for the purpose of developing its own version and used it in the development of Mino.” Further, Xio conceded the elements of copyright infringement, i.e., that it had copied elements of the Tetris game, and that Tetris owned a valid copyright. Xio claimed that it had been careful not to copy protectable elements of Tetris, resting on the defense that the copied elements were not protectable expression but instead were unprotectable “rules, function and expression” that were “essential to the gameplay.” Thus, the court explained that the question was “not whether summary judgment is appropriate, but rather, which party is entitled to summary judgment.”
Much of the court’s opinion is devoted to a detailed review of the case law concerning software copyright infringement, focusing especially on Whelan Assocs., Inc. v. Jaslow Dental Laboratory, Inc., 797 F.2d 1222 (3d Cir. 1986) and Computer Assocs. Int’l v. Altai, 982 F.2d 693 (2d Cir. 1992), which each addressed the issue of how to separate ideas embodied in software from protectable expression. The court noted that Whelan has been widely criticized and Altai widely followed. However, the court here found that Altai’s abstraction-filtration-comparison test was “much the same analysis” as Whelan’s separation of “the purpose or function of a utilitarian work,” i.e., an idea, from “everything that is not necessary to that purpose or function,” i.e., “part of the expression of the idea.”
Here, Xio attempted to rely on the doctrines of merger, which holds that an expression is unprotectable when it is the only way of expressing an idea, and scènes à faire, which holds that expression compelled by a particular idea, e.g., standard or stock literary devices, are unprotectable. In what the court described as a conflation of “the doctrines of merger and scènes à faire,” Xio argued that Tetris could not “protect expression inseparable from either game rules or game function.” Further, according to Xio, Tetris could not protect by copyright what was properly only protectable by patent.
The court disagreed. Simply because a work’s functional aspects could not be protected by copyright as with a patent, it did not follow “that any and all expression related to a game rule or game function is unprotectable.” (Emphasis added.) Because “almost all expressive elements of a game are related in some way to the rules and functions of gameplay,” Xio’s argument would create “an exception to copyright [that] would likely swallow any protection one could possibly have.” Discussing a number of cases addressing the separation of idea and expression going back to Baker v. Selden, 101 U.S. 99 (1879), and focusing on Lotus Development Corp. v. Borland International, Inc., 49 F.3d 807 (1st Cir. 1995), the court extracted the principle that expression had been held unprotectable where an idea or concept would have been useless without it. For example, the hierarchical menu structure at issue in Lotus was very basic, and the ways in which it could be expressed were so limited that the expression of the menu merged with the idea of it.
Considering what could not be protected in Tetris, the court referred to fundamental rules of the game:
Tetris is a puzzle game where a user manipulates pieces composed of square blocks, each made into a different geometric shape, that fall from the top of the game board to the bottom where the pieces accumulate. The user is given a new piece after the current one reaches the bottom of the available game space. While a piece is falling, the user rotates it in order to fit it in with the accumulated pieces. The object of the puzzle is to fill all spaces along a horizontal line. If that is accomplished, the line is erased, points are earned, and more of the game board is available for play. But if the pieces accumulate and reach the top of the screen, then the game is over. These then are the general, abstract ideas underlying Tetris and cannot be protected by copyright nor can expressive elements that are inseparable from them.
With an identification of unprotectable elements out of the way, the court turned to what was protectable, beginning by showing almost indistinguishable screenshots of the two games side by side. The court noted that “if one has to squint to find distinctions only at a granular level, then the works are likely to be substantially similar.” Further, the court pointed to numerous elements of the games that were difficult to distinguish, such as the shape, color, and look of game bricks, the pieces formed from the bricks, the way the game pieces could be fitted together in a complete line, the pieces’ movement and rotation, the precise size of the playing field, the behavior of the display upon certain events, and other specific design choices that Xio had copied. Xio’s defenses to the copyright infringement claim therefore failed as a matter of law.
The court was then able to dispose of the trade dress claim relatively quickly, because of the elements of trade dress infringement (distinctiveness giving rise to secondary meaning, lack of functionality, and likelihood of confusion), Xio disputed only that Tetris’s trade dress was non-functional. Under both the analysis just conducted with respect to copyright infringement, and the standard established by Traffix Devices v. Mktg. Displays, 532 U.S. 23 (2001), Xio’s arguments failed.
I remember playing Tetris in law school as an escape from studying. Without saying how long ago that was, it suffices to note that the game was still relatively new and different back then. I certainly never would have guessed that the game would survive all those years to become embedded in the case law of the 21st century, as Tetris undoubtedly now will be.
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In the game ‘Doom’, which planet is the space marine posted to after assaulting his commanding officer? | Doom Online DOS Game
Game Objective
The player takes the role of an unnamed space marine who has been posted to Mars after assaulting his commanding officer, who ordered his unit to fire upon civilians.
Responding to a frantic distress call from a nearby science research facility, your unit is sent to investigate, where the player character is left to guard the hangar with only a pistol.
The rest of your unit is killed by invading demons from hell and soon you are the last man standing. You must fight through the onslaught of demonic enemies in order to keep them from attacking Earth.
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In the computer game ‘The Sims’, how many Simoleons does each family start the game with? | Doom - Hentai
Hentai
Doom Hentai
Doom Hentai
Doom has a science fiction / horror theme. A background story is given in the game's instruction manual; the rest of the story is advanced with short messages displayed between each section of the game (called episodes), the action as the player character progresses through the levels , and some visual cues.
The player takes the role of a nameless space marine (dubbed "Doom-Guy") who has been punitively posted to Mars after assaulting his commanding officer, who ordered his unit to fire upon civilians. The Martian marine base acts as security for the Union Aerospace Corporation (UAC), a multi-planetary conglomerate, which is performing secret experiments with teleportation by creating gateways between the two moons of Mars, Phobos and Deimos . The manual makes it clear that Phobos is considered by space marines to be the dullest assignment imaginable: "with no action for fifty million miles, your day consisted of suckin' dust and watchin' restricted flicks in the rec room." This all changes when the UAC experiments go horribly awry. Computer systems on Phobos malfunction, Deimos disappears entirely, and "something fragging evil" starts pouring out of the gateway, killing or possessing all UAC personnel. Responding to a frantic distress call from the overrun scientists, the Martian marine unit is quickly sent to Phobos to investigate, where the player character is left to guard the hangar with only a pistol while the rest of the group proceeds inside. Over the course of the next few hours, the marine hears assorted garbled radio messages, gunfire, and screams, followed by silence: "Seems your buddies are dead".
As the last man standing, the player character's mission is to fight through the entire onslaught of demonic enemies by himself in order to keep them from attacking Earth. In order for the game to be completed, the marine must fight through Phobos, Deimos, and then Hell itself, each presented as an episode containing nine distinct levels. Knee-Deep in the Dead, the first episode and the only one in the shareware version, is set in the high-tech military bases, power plants, computer centers and geological anomalies on Phobos. It ends with the player character entering the teleporter leading to Deimos, ending with him getting overwhelmed by monsters, if not killed. In the second episode, the Shores of Hell, the character journeys through the installations on Deimos, areas of which are interwoven with beastly architecture, warped and distorted by the hellish invasion. After defeating the titanic Cyberdemon lord, he discovers the truth about the vanished moon: it is floating above Hell. After climbing down to the surface, the third episode, called Inferno, begins. After the huge Spiderdemon that masterminded the invasion is destroyed in the final mission, a hidden doorway back to Earth opens for the hero, who has "proven too tough to be contained". In the game's final cutscene, the camera pans over a verdant field complete with flowers and bunny rabbits, only to reveal a burning city and a bunny's head impaled on a stake: the demons have invaded Earth, obviously paving the way for Doom II .
The Ultimate Doom, the retail store version of the game, adds a fourth episode, Thy Flesh Consumed, occurring after the three original episodes of Doom and before Doom II . This episode was developed by independent master level designers with id's approval, and was designed for expert Doom players seeking a major challenge. It is considerably more difficult than the original three episodes.
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Who plays Mario Mario in the 1993 film ‘Super Mario Bros’? | Super Mario Bros. (film) - Super Mario Wiki, the Mario encyclopedia
Super Mario Bros. (film)
“This Ain't No Game.”
—Film Tagline
Super Mario Bros. is an American science fiction live-action movie adaptation of and is loosely based on the Super Mario series of video games, released in theaters on May 28, 1993 [1] . While the film draws inspiration from the series, it spins elements from the games into a more realistic and darker fashion. The movie was originally written as a fantasy-style film, but gradually evolved to the point where it became a sci-fi/action film. It was written by Parker Bennett, Terry Runte, and Ed Solomon, and directed by Annabel Jankel and Rocky Morton. [2] Produced on an estimated budget of $42 million for its high-profile cast and special effects, Super Mario Bros. was the first Hollywood film based upon a video game property. [3] It is rated PG for sci-fi action and mild violence.
The movie involves Brooklyn plumbers and brothers Mario (Bob Hoskins) and Luigi Mario (John Leguizamo), who are struggling to get by due to their lack of money. They meet a girl, Daisy (Samantha Mathis), who is working on an excavation site while also trying to stop Scapelli from taking over the site for construction purposes. During this time, Luigi falls in love with Daisy, though she is soon after kidnapped by two men, Iggy (Fisher Stevens) and Spike (Richard Edson), who take her to a parallel dimension created by the meteorite impact 65 million years ago, where the dinosaurs were teleported to as soon as it struck. Here, they, like the other mammals in our dimension, evolved into vicious humans, led by President Koopa (Dennis Hopper). The brothers now have to go to the other dimension in order to save Daisy and stop Koopa from uniting the two dimensions once more and ruling both.
In a 1990 issue of TV Guide magazine listing some upcoming animated movies, this movie was among those listed (suggesting it was originally meant to be animated) and scheduled for release in summer of 1991. [4] Super Mario Bros. was released on VHS later in 1993, and was later re-released on DVD in 2003. On August 15, 2010, the DVD version was re-released in memory of Dennis Hopper, who had died two months earlier. [5] United Kingdom film distributer Second Sight Films later re-released the movie on both DVD and Blu-ray formats, originally stated to be released on August 11, 2014 [6] before being delayed to November 3 due to needing to work on new extras [7] . A SteelBook special edition of the Blu-ray release with even more special features is set to be released on February 13, 2017, exclusively through UK retailer Zavvi [8] .
Contents
Introduction[ edit ]
The animated intro.
In an animated segment, a prologue to the film is given, taking place in Brooklyn, sixty-five million years before the present (1993, at time of film's release). The dinosaurs are shown to be content, intelligent creatures that rule over the earth while mammals scurry about unnoticed. However, when a meteorite crashes into Earth, the impact carries a force so powerful it both killed off many dinosaurs while creating a parallel dimension. In this dimension the evolution of dinosaurs continues parallel to our world's mammals, resulting in human beings, some with reptilian traits and temperaments. The narration then offers the question, "What if they found a way back?"
The film then cuts to live-action, twenty years before present day (1973 using 1993 as the present), with a young woman hurriedly running down a Brooklyn street to a cathedral, carrying a bundle covered in a red blanket. There, she places her bundle down, revealing a metallic oval case. After locking a blue crystalline-shard into an opening on the case, she lovingly strokes it before pounding on the door repeatedly, then flees, running through the streets of Brooklyn once more.
A nun eventually opens the cathedral front door and, noticing the metallic case at their doorstep, takes it inside. Meanwhile, the young lady continues to run down the Brooklyn streets, narrowly dodging honking drivers before reaching an open manhole, and climbs down inside. Back at the church, the nuns observe the case as it opens, revealing a large egg .
The sewer scene featured in the introduction.
The woman continues to run down a long sewer tunnel, eventually reaching the end, while frequently looking back in fear. As she backs into another tunnel, a tall, sinister man emerges from the dark and demands the location of "the rock". She jumps away from him in surprise, exclaiming, " Koopa !" He grabs her, accidentally knocking a support beam which causes the tunnel to collapse around them. Koopa blocks the exit, leaving her to be crushed as she screams.
Back at the cathedral, the nuns watch as the egg they discovered hatches, hearing human crying as it does. The egg then fully hatches, revealing a baby human girl . The nuns then look at the rock shard that came with the metallic case they found.
Present day[ edit ]
Mario and Luigi, at their home.
In the present day (1993), Mario Mario and Luigi Mario are at their home and business, Mario Brothers Plumbing Services . Luigi lies on the couch, eating snacks while watching a television program, Our Miraculous World, in which the host introduces the concept of other dimensions. As the show continues, Mario receives a call in the other room for a job at the River Front Café. As the brothers hastily prepare to leave for the job, the two argue about lack of money. Mario, as he drops Luigi's boots on him, complains that Luigi has spent money on the New York Post, a tabloid magazine. Luigi protests that it has the article on the missing Brooklyn girls, which doesn't satisfy Mario.
The two set off in their van to the job, still arguing over their lack of money. Luigi decides to use his instincts instead of Mario's directions, taking a "shortcut" through an alleyway. The Mario brothers eventually arrive at the Café, get their work gear, and start to walk toward the entrance, only see that the Scapelli Construction plumbing van, their corporate rivals, have beaten them to it.
Iggy and Spike.
Meanwhile, a newscaster discusses the closing of one of New York's largest construction projects, located near the Brooklyn Bridge, to allow New York University students to continue excavation in the advent of the discovery of dinosaur bones in the area. Head construction contractor Anthony Scapelli arrives to attempt to persuade excavation to cease so he can continue construction. Noticing his arrival, a blonde, female student named Daisy approaches him and holds her ground, refusing to quit until work is finished. Scapelli threatens the project, forcing Daisy to walk off in hopes of gaining increased security.
Elsewhere, an oddly dressed man, Spike gets into a car, where another oddly dressed man, Iggy is sitting in the passenger seat. As they notice Daisy walking into town, they begin discussing their previous failures, and that if they make another, Koopa will "kill them". They then begin their attempt at capturing her. At that moment Mario and Luigi are driving down the street, their van stalling. They pull over and open the hood, steam flowing into their faces. Mario tells Luigi to check their messages for work while he attempts to fix the radiator. Daisy continues to walk down the street, oblivious to Spike's following her. Just as Spike is about to move in, several men carrying a pane of glass walk between him and Daisy and he hits his face against the glass. Defeated, he returns to their car.
Luigi first meeting his love interest, Daisy.
Mario enters a nearby store for water to cool the radiator just as Daisy approaches the pay phone. She paces about, waiting for Luigi to finish checking their messages. Rather than doing so, he wordlessly hands her the phone. Mario emerges, asking if they had any work, to which Luigi replies by simply saying, "No," as his brother walks toward the van. Luigi eventually follows, asking Mario if he thought Daisy was beautiful. Mario then urges his younger brother to talk to her, and, as soon as she finishes her call, she approaches Luigi to thank him. He awkwardly offers her a ride, leaving Mario to "translate" his message for him. She looks about and sees Iggy and Spike in their car, and, thinking them thugs of Scappelli's, accepts their offer back to the dig site. Once there Luigi asks her out for dinner later that evening, which she agrees to.
Their van eventually arrives at the excavation site, and Daisy thanks the brothers for the ride. Mario then convinces Luigi to ask her to dinner that night, which Daisy accepts.
That night, Luigi with Daisy, and Mario with his girlfriend, Daniella , have a double-date at an Italian restaurant together. Here the two girls discuss the dig and how it began: Scapelli's dig-team found iridium, suggesting that a meteorite had struck there at one time. Findings suggest that the meteorite could have been the same one that caused extinction of the dinosaurs. The conversation then shifts to the rock shard Daisy wears around her neck. She reveals that she never takes it off because it is the one connection with the life she never had when she was abandoned. On hearing this, Luigi excitedly tells that he also doesn't know his parents due to their death in his childhood. Because of this, his brother Mario brought him up as a parent as well as a brother. Daisy and Luigi looked into each others eyes before in shy connection before awkwardly looking away. At this point Daniella suggests that she and Mario take the van back themselves to allow Luigi to walk Daisy home.
The restaurant the four of them visit.
As Mario and Daniella leave the restaurant and and enter their van, Iggy wakes Spike, who was sleeping in their car. Iggy, upon seeing Daniella, believes her to be Daisy in disguise in an attempt to trick them, and gets out of the car to try and capture her, but Spike pulls him back in. Spike notices that she is not Daisy, but Iggy tells him that she is, but she is wearing a disguise. They then decide to follow Daniella to where she lives and kidnap her there.
Down the street, Luigi and Daisy start talking, eventually leading to a discussion about what Daisy is working on. They then decide to go to the excavation site so Daisy can show Luigi more about her work. Meanwhile, Mario is saying goodbye to Daniella near her apartment. Iggy and Spike then arrive at their location on foot, waiting for Mario to drive off before grabbing her. Her screams for help go unnoticed.
At the excavation site, Daisy and Luigi finally arrive, and she tells him about how Scapelli himself showed up earlier, and that she was calling her university for extra money that they wouldn't give. Daisy then leads Luigi into an underground sewer-like area, and shows him various dinosaur fossils lined the floor, one of which had opposable thumbs and looks to her as if "...it was a monster, trying to be a human being," unaware this was her mother. The two move in to kiss, but are interrupted by the sound of water spraying and the sight of two of Scapelli plumbers fleeing, after having broken a set of pipes in an effort to flood the site. Luigi and Daisy run back to Mario's apartment to get help in repairing the damage. Mario and Luigi then set to work.
Iggy and Spike then show up, arguing over how they have failed in capturing Daisy five times. Hearing a noise nearby, Iggy senses the presence of Daisy. They then find the Mario's, having fixed the pipes and stopping the flooding, and knock both of them out and capture Daisy.
Mario and Luigi searching for Daisy.
The brothers soon regain consciousness and frantically follow the sound of Daisy's voice, utilizing Mario's knowledge of pipe echoes to guide them through the cave. They finally come to a ledge over a steep drop, a river having formed from the flooding. across which Daisy's voice seems to come though the solid rock wall. As they stand there, Daisy's face appears through the rock and Luigi tries to jump for her, but is held back by Mario. Daisy leans herself though the rock again and Luigi attempts to grab her, but only succeeds in taking her necklace. With her necklace in his hand, Luigi looks back at the rock; Mario commenting that it was impossible. With a feeling, Luigi kisses Mario's forehead in goodbye and leaps straight through the solid rock. Mario then slips and falls through himself, transporting through a psychedelic landscape before disintegrating and reassembling on the other side in a large chamber.
"...We're not in Brooklyn no more"[ edit ]
The city of Dinohatten.
Circling around a giant meteorite embedded into the floor, Luigi and Mario chase after Daisy and her kidnappers, who claim to be taking her back to where she belongs. The brothers burst out of the tunnel, through a metallic door, and emerge into a crowded, noisy, and fungus-covered street in the city of Dinohattan . Pushing through the crowds, they stop dead in their tracks and look around, taking in their strange surroundings. Suddenly, they see Iggy, Spike, and Daisy on the street below. The kidnappers pull Daisy screaming into a cab. A cop then arrives and pulls the brothers away for creating an "incident." They fall through a railing, and fall onto the streets below. They then decide to take in their surroundings before taking the next step. As they are walking away from an area in the city, a hidden Goomba peers from the shadows.
In Koopa's Tower , Koopa and his lover, Lena , discuss how pathetic and disgusting their world is. Koopa notes the situation is worsening by the day, while in the parallel world the mammal-evolved humans have plenty of resources, such as food and clean air and water. He continues to bemoan the germs and fungus that fill their world, which he claims they were "exiled" too by the meteorite strike sixty-five million years ago. However, he claims that the mammals may roam free in the other dimension now, but not for much longer. With ecstatic pleasure, Koopa claims that with the rock and Princess Daisy, he will finally be able to merge their world with that of the mammals, as well as destroy them. As he sits at his desk, Iggy and Spike enter, greeting him as their cousin and reporting that the princess has been captured. Excited, Koopa asks where the rock is. The two admit that "the plumbers took it", referring to Mario and Luigi. Instantly, Koopa demands Lena to put up an alert for their capture.
Toad, a musician on the streets of Dinohattan.
Outside, Mario and Luigi are trying to figure out where they are, and are eventually confronted by an old lady who asks if they are "new in town", citing that the city is dangerous to be in without a weapon. When Luigi admits they are unarmed, the old lady pulled out a large taser and demands " Koopa coins ". Noticing Daisy's necklace around Luigi's neck, she pulls it off just as a large black woman in red, Big Bertha , approaches from behind. Seeing the necklace, Bertha grabs the old lady and throws her down into the street, causing much confusion below, and taking the necklace for herself. Mario asks for the rock back, but she then activates a pair of Thwomp Stompers and escapes to the other side of the street. Having noticed their dismay, a friendly street-musician named Toad begins to play an anti-Koopa song on his guitar detailing the far-worse things in his world. Two police officers then drive up and arrest him, then arrest the brothers after noticing they have plumber's gear.
Meanwhile, two Goombas drag Daisy to a prison room in Koopa's Tower. Daniella and four other women are also inside. The two share a joyful reunion, with Daniella explaining that Koopa is looking for a princess, but took the wrong girls. Elsewhere, Mario, Luigi, and Toad arrive at the police station. The two brothers are "de-fungused", then placed in a prison resembling a chicken coop. Toad is placed above Mario and Luigi, who are sharing a cell. Playing on his harmonica, Toad sings about the brothers being from another dimension. Luigi then asks what he meant by that. The musician clarifies by explaining that, according to history, the impact of a meteorite divided their universes into two parallel dimensions. He goes on to explain that he believes that the fungus infesting the city was their old king , who was de-evolved by Koopa and is now seeking revenge.
The police chief calls for the Mario Bros. to be brought before their lawyer. The lawyer is actually Koopa, claiming to be a "Larry Lazard of Lazard Lazard Conda Dactyl" in an attempt to trick them into giving him the necklace. His attempts fail, however, because Mario and Luigi don't understand what he's talking about. After his patience fails, Koopa drops the facade and attacks Luigi before ordering them to be taken to the de-evolution chamber.
The de-evolution chamber[ edit ]
The Devo Chamber.
Koopa casually walks into a large chamber with an elaborate throne-machine, in which Toad is strapped into. He insults Koopa while saying the King has returned and is all around them. Unfazed, Koopa orders the machine activated and Toad de-evolved. While Toad transforms into a Goomba, Koopa explains that evolution is an upward process, while de-evolution is the opposite. Using this process, he can create a strong, loyal, and, most importantly, stupid subject. In anger, Luigi tries to attack Koopa but is held back by Mario. Mario asks him what he evolved from, to which Koopa replies that his ancestor was the Tyrannosaurus rex. He then threatens to de-evolve them if they don't tell him where the meteorite piece was. Instead, the brothers shove Koopa into the de-evolution chair and take out his men. Luigi then sets the machine to the Jurassic period and the pair push the chair into the de-evolution device before running off. However, their speeding up of the process causes it to end prematurely. Koopa's eye briefly fluctuates to a reptilian-slit before returning to normal.
Pursued by Goombas, Mario and Luigi flee. They hide behind a support and Luigi notices that the fungus appears to be offering them a Bob-omb . Mario pulls him away before he can take it, though, and the two escape using a zipline-like contraption. Two Goombas attempt to blast them with flamethrowers, but fail to hit them. They brothers enter the police garage, where they steal a police car. Although Mario struggles to turn it on, Luigi successfully operates the computer as a result of his video game playing, and they drive off with two other police cars in pursuit. After a short chase, Mario tricks the officers into destroying each other. The two brothers celebrate their vicotry and enter a tunnel leading to the Koopahari Desert . The computer warns them that the tunnel is unfinished, but the car leaves the city's power grid and powers down before they can brake. The car propels out of the tunnel and nearly crashes into the rocks below but is caught by the fungus, allowing them to climb out and escape into the desert.
Back at his tower, Koopa and Lena are enjoying a mud bath together when Iggy and Spike hurry into the room. Apologizing for interrupting, they report on the location of Mario and Luigi, and Koopa tells them to go capture them. He then orders Lena to have Daisy cleaned and brought to him. She does so, bursting into the prison cell where the women are being held. She identifies Daisy as, "Princess Daisy," prompting surprised looks from the other women, and leads her away.
Meanwhile, Iggy bids farewell to a nervous Spike, who is locked into the de-evolution machine. On Koopa's signal, the machine is flipped from "de-evolve" to "evolve," resulting in a more intelligent Spike. Two nearby workers pull Spike from the chair and force in Iggy, who is unaware he will also be evolved. The two cousins, now intelligent, are ordered by Koopa to retrieve Mario and Luigi and the meteorite shard from the desert or be personally killed.
Koopa's plan[ edit ]
Daisy prepares to meet Koopa, now wearing a purple dress that belonged to her mother. Lena then enters and tells Daisy more about her mother, telling her that she took Daisy to the other dimension before she was "born," then died. Daisy asks if her father is alive, but she doesn't reveal anything. Lena then states that Koopa thinks she is the only one with the ability to merge the dimensions, and that she isn't ready to let her efforts go to waste.
Meanwhile, Mario and Luigi wander in the desert lost, arguing over who is to blame for their situation. At his tower, Koopa discusses the Goomba's Devolution Gun training with the police chief until Lena enters, announcing Daisy is ready. Daisy waits nervously in another room lit with candles and a fire, with Yoshi , a dinosaur resembling a Velociraptor walking about the room, chained by its neck. He curiously observes Daisy, who is initially frightened, then fascinated. Koopa, who had walked in seconds earlier, then surprises her by speaking and confirming that Yoshi truly is a dinosaur. He remains cool, introducing himself as ruler of this dimension. He ignores Daisy's demands about the whereabouts of her father, instead flirting while confirming that Daisy also descended from the dinosaurs. Koopa's face then begins to show lizard-like features again, which scares Daisy. She runs from Koopa and into Toad, whom Koopa instructs to take her away.
Yoshi chained to the floor.
The Marios fight back[ edit ]
Back in the desert, Iggy and Spike locate Mario and Luigi, driving a small, six-wheeled vehicle towards them. They accidentally drive off a cliff, attracting the attention of the Mario Bros. Quickly, the brothers tie them up, demanding information. They reveal the purpose of Daisy's necklace and Koopa's plan with it. Luigi offers a trade: the meteorite shard in exchange for Daisy. Iggy and Spike agree and, based off of Luigi's description of Big Bertha, head to the Boom Boom Bar .
At Koopa's Tower, Daisy is looking out the window, but turns her attention to Yoshi when she sees him trying to bite his chain in two, and offers the dinosaur sympathy. Back in the desert, the Marios, along with Iggy and Spike, notice a garbage truck, which is unloading the trash in the middle of the desert. They knock out the garbage men, hijack the truck, and drive back into the city.
At the Boom Boom Bar, Mario and Luigi don Spike's ex-wife's dance clothes to fit into the dance club. Once inside, Mario and Luigi attempt to locate Big Bertha. Iggy and Spike head to the bar, ordering drinks as a toast to Koopa's downfall. Mario finds and confronts Big Bertha, attempting to seduce her, but resulting with a punch in the face. Mario then walks over to her again, trying reverse psychology this time, and Big Bertha demands he dance with her, during which he attempts to snatch Daisy's necklace back. He finally does so, just as the song ends, but Lena and a squad of Goombas arrive after having been tipped off by the coat check. Mario and Luigi attempt escape, but lose the necklace in the process before being aided by Big Bertha. She lends them each a pair of Thwomp Stompers, instructing them on their use. They then escape through the roof, and, while they are moving, Luigi notices that the fungus is once again trying to give them a Bob-omb. The brothers then continue running from Goombas, only to be cornered on a catwalk by cops, but escape by jumping into the back of a moving garbage truck. Mario complains that it will be impossible for them to enter the tower, but Luigi insists that nothing is impossible, only improbable.
Back at Koopa's tower, the president enters a chamber filled with a type of fungus, a portion of which retreats into a larger section when Koopa enters. He then engages in small-talk with the fungus, eventually leading to him stating that, once the dimensions are merged, all its rebellion will have been in vain.
Mario and Luigi don their famous suits
The garbage truck then dumps its load, Mario and Luigi included, outside Koopa's tower. Entering, they observe the badly-maintained heating pipes that serve the tower. Under Mario's instruction, Luigi begins blocking off all of the valves. An alarm is set off, forcing them to leave quickly. As they head for the elevator, Mario stops at a locker, opens it, and pulls out two mechanics' uniforms (Which look just like the clothes that Mario and Luigi wear in the video games). As the two celebrate in the elevator, the door opens and two Goombas enter. They manage to hide behind the oblivious Goombas, and as the elevator continues upwards, more and more Goombas enter, all unaware of the Marios.
Meanwhile, Lena, secretly in possession of the meteorite piece, has returned to the tower with Iggy and Spike as her prisoners. She reports to Koopa that they were preaching his overthrow, to which Koopa orders them killed. He walks off, followed by Lena. She attempts to tell him she has the necklace, as well as tell him to not use Daisy, feeling he only cares for her, but he ignores her out of anger, and mentions that the only thing he truly cares about is the future of his species. Lena then privately decides to work on her own.
Back in the elevator, Luigi gets an idea from the elevator music. Gently rocking each of the Goombas individually, he begins making the Goombas dance, distracting them. At the top of the tower, Toad enters the chamber Daisy is held in, offering her some dinner, though she replies that she is a vegetarian, and requests some steamed vegetables. Lena then enters the chamber. Daisy asks her if she would help her escape, though Lena replies by pulling a knife in an attempt to kill her, her reason being that, "everyone deserves what they've earned." Yoshi uses his long tongue to pull Lena over, allowing Daisy to escape through the open door. However, Lena then stabs Yoshi and chases after her.
In the hall, Daisy runs into Toad, carrying her plate of steamed vegetables, and runs away from him before encountering two Goombas escorting Iggy and Spike for execution. They beg for her help as the Goombas pull out flamethrowers, and ignite Toad. Iggy, Spike, and Daisy escape, though she takes the fire extinguisher off the wall and puts out Toad. As the trio continue their escape, Iggy and Spike claim that they were her most loyal supporters, having been with her father since his demise. They take her to Devo 4, the chamber in which her father, as a fungal mass, is kept and leave her alone to take it all in.
As Mario and Luigi make their way to Daisy, they encounter a seemingly bottomless pit. Luigi tries to jump across, and both brothers are surprised when he finds he is suspended in midair. Eventually, he is able to convince Mario to jump as well; however, Luigi finds that his belt was caught by a hook attached to a rope, and tries to tell Mario, but is too late. Mario begins the plummet to his doom, only to be saved by the fungus below, which creates a trampoline for him. Luigi then grabs Mario's hands.
As Daisy is taking in the sight of her father, Yoshi enters the room. Daisy runs over to him, notices the knife in his neck, and pulls it out. The dinosaur then directs her attention to a special gun, which she uses to activate a speaker. Mario and Luigi, having heard Daisy over the speakers, then find a grate. Daisy then tells the brothers her location, Devo 4, before they knock the grate in, unaware that Koopa is watching. Walking through the air ducts, Luigi notices that the fungus is trying to communicate, and picks the mushroom, but Mario is still unconvinced.
The police chief then contacts Koopa to alert him that, per instructions, the troops were in place for the invasion of Earth. Koopa, surprised, then questions who supplied the order, to which the chief explains that he did, according to Lena. Realizing Lena possesses the meteorite piece, he demands her arrest. In Devo 4, Daisy meets up with Mario and Luigi and introduces them to her father. Luigi then realizes and tells Mario that he was the fungus that has been helping them the entire time. Daisy then reminds Mario of Daniella and tells him that she is held prisoner in the Goomba barracks. Mario quickly dashes away to save her. However, Luigi and Daisy ran straight into Koopa and an entourage of Goombas and were immediately captured.
Koopa mobilizes[ edit ]
Immediately after capturing Luigi and Daisy, Koopa orders preparations for the invasion of Earth. Meanwhile, Lena attempts her escape, but is ambushed and caught by the police chief, who takes the meteorite shard from her. In the tower, Mario locates the Goomba barracks and defeats the Goombas inside, saving Daniella and the rest of the missing Brooklyn girls. He hastily barricades the door just as more Goombas attempt to enter, then sets to work on the ventilation shaft.
The police chief presents the meteorite shard to Koopa, who orders Lena's release and begins rallying the Goombas. At the barracks, several Goombas blow the door open with flamethrowers, but are greeted by an empty room. They realize that the women had escaped with Mario by riding on a mattress down the frozen pipe, and they do the same in pursuit. The chase continues until Mario leaves a wrench in a hole, causing the Goomba's mattress to flip over and its passengers to fly off. Mario and the girls then notice the exit of the air vent, with the two Goombas still following them, one on top of the other. The mattress and its passengers fly out of the shaft, while the Goombas stop short. Their crash landing distracting Koopa and allows Luigi and Daisy to join Mario's side.
Koopa approaches with a flamethrower, declaring that he has won and Earth's humans will soon be de-evolved. Several announcements then come through his communicator, distracting him. This allows Luigi to grab a Banzai Bill from a broken shop display and hand it to Mario. Mario inserts it into a Thwomp Stomper from the shop, then activates the shoe. It flies into Koopa and knocks him into an empty vat located over the street. However, Koopa quickly recovers and starts to fire his flamethrower. Using some fungus, Mario swings onto the vat, climbs up it, and begins fighting Koopa, hitting him from above and causing Koopa to drop the meteorite shard, which he held in his mouth, to the ground below. Lena catches it, but falls off the ledge and onto some electrical wiring. However, Mario tricks Koopa into believing he has the shard, and he is attacked. Lena then runs off to the meteorite chamber to merge the dimensions. Luigi, Daisy, and the other girls run after her, hoping to stop her while Mario and Koopa continue to fight, Koopa unaware Lena has the shard.
Merging the dimensions[ edit ]
The Bob-omb ready to go off at any moment.
Luigi and Daisy enter the chamber, just in time to see Lena about to insert the shard into the meteor. Daisy begs her to stop, but she continues with her progress anyway. Koopa and Mario continue their fight on a catwalk. Looking into his belt, Mario pulls out the Bob-omb , prompting mass panic on the surrounding streets and walkways. Realizing his power, Mario winds the Bob-omb's key and places it onto the ground, where it begins walking towards a panicking Koopa. However, it falls through a crack. Unaware of its continued progress, Mario gave up on the Bob-omb and the two enemies approach each other menacingly. As the girls escape through the rock wall, Lena inserts the shard completely. The resulting energy burst destroys her. Daisy then realizes that Koopa was correct; only she could merge the dimensions, because only she could withstand the energies the meteorite would create. Back on the street, Koopa and Mario start to disappear as the dimensions merge and Koopa begins to laugh maniacally. Daisy and Luigi begin to work together to pull out the shard, using an assortment of Mario's tools.
In Brooklyn, Daniella and the other women warn those at the dig site about the coming invasion. Danielle then notes that the World Trade Center has merged with Koopa's tower. Scapelli is there, yet believes the whole thing is a hoax for publicity. Mario, Koopa, and his legion of Goombas appear next as Koopa attempted unsuccessfully to hit Mario with his fire gun, which was broken again. Casting it aside, Koopa takes a de-evolution gun from a Goomba and fires it at Mario, who dodges, allowing the beam to instead hit Scapelli, de-evolving him into an ape. Koopa then turns to de-evolve Mario, but he pulls out Luigi's mushroom and used it to absorb the beam. The mushroom becomes larger and larger, eventually to the point where Mario uses it to knock the ray out of Koopa's. Meanwhile, Luigi and Daisy manage to remove the shard from the meteor, causing the two dimensions to separate once more.
Up on the catwalk, Toad gives Luigi and Daisy each a de-evolution gun. Koopa orders his Goombas to de-evolve Mario, but Toad distracts them with his harmonica. They begin dancing as they did in the elevator. As Luigi and Daisy pass, Big Bertha throws Luigi a pair of stompers. Koopa, evidentially enraged at both the failure of his plans and the Goombas' failure to comply to his orders, angrily yells "Stupid!" and punches them, likewise resulting in them falling down dominoes-style due to their being in a single-file line. As the Bob-omb continued its trek, Koopa turned his attention to Luigi, who was coming over by using the stompers. Koopa fired at him using his fire gun, but missed, allowing Luigi to land next to his brother and hand off a de-evolution gun. As the Bob-omb walked below Koopa, the brothers began de-evolving him into a fierce, dinosaur-like form. The Bob-omb then finally reached Koopa, exploding from beneath him causing him to shoot into the air and land in the empty vat above the street. Mario, Luigi, and the city's inhabitants watched the container in silence. Suddenly, Koopa, de-evolved into a Tyrannosaurus rex, emerges with a roar. After initially panicking, the brothers aim the guns and fire once more, devolving the tyrant into another dinosaur, a lizard, a slug, and finally primordial ooze. Immediately, all of Dinohattan cheers at the defeat of their dictator.
Victory[ edit ]
Stepping onto Luigi's stompers, the brothers wave and flash a victory sign to the crowd as they jump over to Daisy, who embraces them. Meanwhile in Devo 4, Daisy's father transforms back into a human from his fungus form.
The three of them enter the meteorite chamber, prepared to leave for home. Unfortunately, the wall is now sealed, prompting Daisy to re-open it by refracting the power of the shard. Luigi then beckons her to join them, but she sadly tells him she must stay to help rebuild Dinohattan and get to know her father. With an intimate kiss, they part ways.
Three weeks later, Daniella has now moved into the brothers' apartment and is preparing dinner for them. Just as Luigi stands up to join them, Our Miraculous World comes on with the host discussing the Mario brothers, whom he calls the "Super Mario Bros.", having saved both Earth and the parallel dimension. Someone knocks on the door, Mario stating that it is open, and it bursts open to reveal Daisy, wearing torn military clothes and wielding a flamethrower, asking Mario and Luigi for help. The two strap on their tool belts, prepared to leave.
During the post-credits scene, two Japanese businessmen comment to someone that they have a proposal: a video game based on their adventures; they are then asked for the game's name. The camera pans to reveal an oddly dressed Iggy and Spike, who suggest "Iggy's World" and "The Indomitable Spike," respectively, but then agree upon "The Super Koopa Cousins."
Reception[ edit ]
At release, Super Mario Bros. received mostly mixed reviews from critics that praised the acting, set design and special effects while criticizing the writing and directing. Gene Siskel & Roger Ebert, on their program Siskel & Ebert At the Movies , gave the film two thumbs down; while they praised the film for its special effects work, their complaints were mostly about the indecision of the movie being aimed for children or adults. The film also made their list of the worst movies of 1993. Super Mario Bros. currently maintains an average review score of 15% on film review aggregator Rotten Tomatoes, with 29 out of 34 reviews being negative, their consensus stating that, "Despite flashy sets and special effects, Super Mario Bros. is too light on story and substance to be anything more than a novelty." [9]
Bob Hoskins was particularly praised for his performance as Mario. Dennis Hopper's performance was praised as well, causing him to land villainous roles for more successful films. John Leguizamo's and Samantha Mathis's performances helped kick them off into more successful productions. The film was also nominated for two Saturn Awards, one being for Best Costume and the other for Best Make-up.
However, in spite of reaching a cult film status, some of the main cast members were still displeased with the film. Bob Hoskins, despite being praised and well-known for his role, did not approve of his experience working on the film (during the filming of a chase scene, Hoskins had suffered a minor hand injury in an accident with a vehicle, and therefore had to wear a pink-painted cast afterward). In an August 2007 interview with The Guardian, he complained, "The worst thing I ever did? Super Mario Brothers". In a December 2008 interview, Dennis Hopper admitted he was also unhappy with the project (Hopper's work weeks expanded from five weeks to seventeen, which he found very exhausting and frustrating). Both claimed they did their roles to support and satisfy their children.
Mario's creator, Shigeru Miyamoto , stated, "[In] the end, it was a very fun project that they put a lot of effort into," but also said, "The one thing that I still have some regrets about is that the movie may have tried to get a little too close to what the Mario Bros. video games were. And in that sense, it became a movie that was about a video game, rather than being an entertaining movie in and of itself." [10]
Bob Hoskins, who played Mario in the film, expressed a distaste for his role.
For a list of elements cut during the film's production, see here .
“Overall, what’s your abiding memory from working on this movie?”
“Humiliation.”
—Director Rocky Morton, in a 2014 interview with Nintendo Life .
Film producer Roland Joffé visited Nintendo of America’s headquarters in 1991, and pitched his concept for a Super Mario Bros. film to then-president Minoru Arakawa , after the idea was originally decided upon during a script meeting at Lightmotive Studios. Nintendo had already received several offers for a Super Mario movie, but Arakawa was interested by Joffé’s pitch, and the producer later flew to Nintendo's headquarters in Kyoto to present his pitch directly to Hiroshi Yamauchi . [11] Joffé pitched the film as a prequel to the game [12] , described by him in his pitch as "'a food chain game — it tells us we’re all just somebody else’s dinner.'" [11] Nintendo later agreed to sell Joffé and Jake Eberts the rights to produce a Super Mario Bros. film for $2 million [11] , while Nintendo would retain merchandising rights [13] . Other than imposing a deadline on production [13] , Nintendo exerted little creative control over the project; Joffé would later speculate that Nintendo was mostly interested in seeing if a big-budget movie would have any impact on the Mario brand [11] .
Joffé initially met with Harold Ramis to direct the film, who took the meeting because he loved the Super Mario Bros. game, but he declined the offer. [14] Joffé then chose filmmaker Greg Beeman as the director, but, after losing faith in him, replaced him with duo Rocky Morton and Annabel Jankel , best known for Max Headroom [12] . Morton hated the script they were sent after reading it, but saw potential in the concept, and thought of the idea of the dinosaurs living in a parallel universe rather than going extinct, which Mario and Luigi happen to discover [15] .
Dustin Hoffman , looking to impress his kids, was the first to offer to play the role of Mario, but was let down by Bill White, who handled Nintendo of America's promotions at the time, as Nintendo wanted Danny DeVito to direct and play Mario. However, DeVito declined their offer in order to focus on his movie {{wp|Hoffa]}. Tom Hanks later agreed to the lead role, but it was decided that his offer of $5 million was too much [12] . Arnold Schwarzenegger and Michael Keaton were both offered to play King Koopa but turned the role down [13] .
A treatment for the script was done by Barry Morrow , but was turned down as it was seen as too dramatic. The job was then handed to Jim Jennewein and Tom S. Parker, who wrote a light-hearted fantasy tale comparatively closer to the source material. However, after the departure of Greg Beeman, the script went through multiple rewrites and revisions, each adding increasingly "darker" content and science-fiction elements [16] . Both the new directing team and Roland Joffé wanted a more adult-oriented production, justifying this direction by stating that Super Mario Bros. appealed to many demographics besides children [11] . A satirical, Mad Max -inspired script impressed the directors [17] and actors Bob Hoskins , Dennis Hopper , and Fiona Shaw [16] , but was revised after receiving concerns from the studio that the film was straying too far from the family-friendly license. Ed Solomon , one of the writers for Bill & Ted's Excellent Adventure , was brought in to make further revisions, and despite production being well underway the directors were forbidden from working with him [13] . Director Rocky Morton has since defended the film's more dark direction and departure from the games, stating his intention for the movie was that it would be the "real story", while the Super Mario Bros. game was an unfaithful retelling after the Japanese had heard the story [17] [15] .
There were frequent conflicts between the directors and the rest of the staff. Most of the film crew disliked Morton and Jankel, referring to them with nicknames such as "Rocky and Annabel, the Flying Squirrel Show". Furthermore, the script was rewritten and revised on a daily basis even after filming had begun [13] , making the lead actors feel apathetic toward the shoot [18] . Filming was originally scheduled to last ten weeks, but due to these issues ended up going for fifteen. [13] The directors were shut out of the production after most of the main scenes were filmed, and other production companies were brought in to complete the late and overbudget shoot [13] . Morton and Jankel were able to get back into the production during editing with help from the Directors Guild of America , and wanted the movie cut digitally, but the editors insisted on using Moviola and Steenbeck , leading to a slow editing process. [13]
In a 2007 interview with The Guardian, Bob Hoskins stated that Super Mario Bros. was "the worst thing I ever did" [19] , and was especially critical of the directors, whom he thought of as arrogant [20] . Dennis Hopper , when asked about his time on set, echoed Hoskins's statement, and stated that he did not like working on Super Mario Bros., despite enjoying his time on Waterworld , a film notorious for its troubled production [21] . John Leguizamo also expressed a dislike of his role, writing in his 2006 autobiography Pimps, Hos, Playa Hatas, And All the Rest of My Hollywood Friends: My Life, "Oh man [Super Mario Bros.] sucks. And I suck in it.", although he has since developed a somewhat more positive outlook of the film [22] . The opinions of various background staff on the overall production was also more positive [23] [24] . Director Rocky Morton has also said that the movie's production was "a harrowing experience", but that he is proud that the film is still remembered and discussed among fans. [15]
A featurette of the development of the film was also made, called The Making of... Super Mario Bros. . It describes in detail the production of the movie, with behind-the-scenes interviews with much of the key cast and production staff.
Sequel webcomic[ edit ]
A webcomic sequel, written by Steven Applebaum and Ryan Hoss and illustrated by Eryk Donovan, is currently being written and published under the name Super Mario Bros. 2 [25] . The film's surviving original writer, Parker Bennett, helped outline the webcomic's storyline, making it canonical to the film and finally revealing what would have been a sequel film [26] . The comic is loosely based on the American Super Mario Bros. 2 , directly following the end of the original film, and features Mario and Luigi trying to stop the game's villain Wart from taking over the parallel world. It can be read here .
References to the games[ edit ]
Though the story is only loosely inspired by the games, the movie includes many in-jokes and references relating to the games. Some can only be caught in a frame-by-frame viewing, such as the presence of Shigeru Miyamoto in the crowd. The following is a list of some of these references:
The Snifits featured in the film.
"King Koopa" is used by Toad in his anti-Koopa song, by Koopa when placing a pizza delivery, and as the character's name in the credits; "King Koopa" is Bowser's original Japanese name, as well as his name in the various cartoons related to the games.
Ironically, his localized name, King Bowser, was utilized with the previous ruler that he deposed and de-evolved into fungus.
Dinohattan being infested with the King 's fungus is referred to derisively as a " Mushroom Kingdom " by President Koopa.
Charges used for the Thwomp Stomper-boots resemble Banzai Bills, while the boots themselves are inspired by the item Goomba's Shoe and enemy Thwomps . The sound the boots make when activated is also the effect made when Mario takes a hit and dies.
The junkyard workers are referred to as Snifits with a vague resemblance, while a group known as the " Fungus Unit " resemble snifits and (debatably) Shy Guys .
A Bob-omb is used prominently near the end of the film after appearing twice before.
Big Bertha is a large woman in red at the Boom Boom Bar. She is based off of the giant red fish in Super Mario Bros. 3 .
The Boom Boom Bar features graphics from Super Mario World projected onto the dance floor's wall, such as the Valley of Bowser rock-protrusion in the sea and a Boo . Boom Boom is also the name of the enemy boss at the end of every fortress in Super Mario Bros. 3 .
Iggy is named after one of Bowser's Koopalings (who, at the time the film was released, were considered Bowser's children) while Spike is named for the minor enemy from Super Mario Bros. 3.
Several neon signs displayed in shots of the city read names of Mario characters/enemies. These include "Thwomp", "Bullet Bill's", " Hammer Bros . tattoos", and " Ostro ". When Daisy is first captured, she is forced into a taxi advertising the brand of a drink known as " Wiggler ".
King Bowser's transformation back into human form at the end of the film is a reference to the end of each world in Super Mario Bros. 3 where the king of that world changes back into his normal form after the defeat of a Koopalings .
Yoshi appears in the film as an actual dinosaur, complete with use of his trademark long tongue.
When Koopa is talking to one of the policemen about the Devo Guns, the sound effect of getting an extra life can be heard in the background.
After the credits end, two Japanese businessmen are seen proposing a deal to make a video game on unseen persons' adventures. The people are then revealed to be Iggy and Spike, with Iggy suggesting the game be titled Iggy's World and Spike suggesting The Indomitable Spike. Both then agree that the game should be titled the Super Koopa Cousins, a parody of Super Mario Bros.
During the film's climax, Mario faces Koopa first as Koopa hangs suspended above in a bucket, then with the two on a bridge overlooking Dinohattan, approximating the confrontations with Bowser at the end of Super Mario World and Super Mario Bros..
The original Super Mario Bros. theme can be heard over the production logo and on the DVD version's menus.
| Bob Hoskins |
Which Playstation 2 game, released in 2003, was banned by several countries and implicated by the media in a murder, due to its graphic violence? | Super Mario Bros. (1993) directed by Annabel Jankel, Rocky Morton • Reviews, film + cast • Letterboxd
4
What would you do if you found an alternate dimension where the populace have evolved from the dinosaur and not from mammals, and that mentalist leader King Koopa (Dennis Hopper) was trying to merge both his and your reality so he could rule supreme?
Who would you send?
Brad Pitt? Well, there's nothing he can't sort out, is there?
How about Bob Hoskins and John Leguziamo?
No?
Well SOME fucker did. And they had the great idea of tempting that ill fated genre of game-to-movie adaption by throwing them into a red and green boiler suit respectively and hoping the Nintendo fan base would put their arses into cinema seats.
Roland Joffe must have thought he…
30 Day Film Challenge Day Thirteen: A Film You Used to Love But Now Hate.
I love Mario. That chubby little Italian plumber in red always brought joy to my childhood, and he brings back all manner of childhood memories for me whenever I think of him. Countless hours of Super Mario 64, Super Mario Sunshine, and tons of Mario Party games ate up my free time as a child, and I wouldn't change a single thing about it. But, if I could erase one memory, it would be the fact that I loved this steaming pile of feces that people dare to call a movie and relate to the greatness of Super Mario Bros.
Where to begin with the…
5
What kind of film do you get when your two leads are taking shots of scotch between takes. When Fisher Stevens starts writing his own lines. And when you’re under tight deadlines to rush and finish the film in time only to release it up against Jurassic Park. You get this masterpiece. The mushroom kingdom is in trouble when the Princess is kidnapped by the evil Bowser. Only Mario & Luigi, two Italian plumbers can rescue her traveling though this mystical land fighting evil turtle and squid-type creatures. Wait, sorry that’s the video game.
The mushroom kingdom is replaced by Dinohatten. Kind of an alternative reality of New York where dinosaurs were evolved into humanoids. It’s hard to believe that Tom…
Yes, Mario and Luigi are father and son, even though they're brothers.
Yes, Bob Hoskins plays Mario, and John Leguizamo plays Luigi.
Yes, they're both plumbers living in the real world, and their last name is Mario.
Yes, there's no inventiveness to the plot, nor is there any colorful atmosphere like in the video game.
Yes, instead of your "save the princess" plot, we have this even more ludicrous plot to save the world from human dinosaurs wanting to turn the human race into monkeys. Um.... that's retarded, and I typically don't use that word to describe a bad movie.
Yes, Dennis Hopper hilariously plays a horrendous Koopa.
Yes, the clothing is horrendous, especially Mario and…
Review by Leonora Lermontov
"I'd high five you, but then you'd be an only child!"
I'm not at all sure how to go about rating this movie, since my enjoyment of it is incredibly far away from its actual quality as a film or an adaptation. On one hand, I understand why this film still upsets people--it not only seems to lack a fundamental understanding of the source material on any level, even the most basic, but it also throws in the occasional snide jab at its theoretical target audience. On the other hand, it's a ton of ridiculous fun. This is the rare So-Bad-It's-Good movie that never gets boring at all, thanks to the ridiculously creative production design, aggressively bonkers dialogue (much of…
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Launched in North America in 1998 Playstation game’s opening song is a Chemical Brothers remix of the Manic Street Preachers song ‘Everything Must Go’? | Learn and talk about Gran Turismo (video game), 1997 video games, Gran Turismo (series), Interactive Achievement Award winners, PlayStation (console)-only games
Single player , multiplayer
Gran Turismo (グランツーリスモ, Guran Tsūrisumo ? , abbreviated GT, commonly abbreviated GT1) is a racing game designed by Kazunori Yamauchi . Gran Turismo was developed by Polys Entertainment and published by Sony Computer Entertainment in 1997 for the PlayStation video game console . The game's development group was established as Polyphony Digital in 1998.
After five years of development time, it was well-received publicly and critically, shipping a total of 10.85 million copies worldwide as of March 2013 [6] (making it the best-selling PlayStation game ), and scoring an average of 95% in GameRankings ' aggregate, [7] making it the highest rated racing video game of all-time. [8] The game has started a series , and to date has spawned over 10 spin-offs and sequels.
Contents
Gameplay[ edit ]
Gameplay screenshot featuring a Mitsubishi FTO GPX on Trial Mountain Circuit
Gran Turismo is a racing game . The player must maneuver a car to compete against artificially intelligent drivers on various race tracks . The game uses two different modes: Arcade Mode and Simulation Mode (Gran Turismo Mode in PAL and Japanese versions). In the arcade mode, the player can freely choose the courses and vehicles they wish to use. Winning races unlocks additional cars and courses.
However, simulation mode requires the player to earn different levels of driver's licenses in order to qualify for events, and earn credits (money), trophies and prize cars by winning race championships . Winning one particular championship also unlocks a video and a few additional demonstration tracks. Credits can be used to purchase additional vehicles, and for parts and tuning.
Gran Turismo features 140 cars and 11 race tracks (as well as their reversed versions). Two Honda NSX cars from 1992 were included in the Japanese version, but were removed from the North American and European versions. They can be found in the North American version's code (and are unlockable via a GameShark cheat device). In addition to the hidden del Sols, there is also a 1967 Chevrolet Corvette and a 1998 Mazda Roadster exclusive to the Arcade mode. The Corvette and Roadster can also be accessed via GameShark.
Development[ edit ]
The game required five years to complete. [9] During an interview with Kazunori Yamauchi, it was revealed that development of Gran Turismo started in the second half of 1992. Yamauchi added that at different times there were only seven to fifteen people assisting him. [10] When asked how difficult it was to create Gran Turismo, Yamauchi remarked: "It took five years. In those five years, we could not see the end. I would wake up at work, go to sleep at work. It was getting cold, so I knew it must be winter. I estimate I was home only four days a year." [9] Sound design was one aspect that Yamauchi believed was compromised due to a lack of time. Although Kazunori considered the game's artificial intelligence to be superior to its competitors, he remained unsatisfied with its development. [11]
When Gran Turismo was released in Japan, Polyphony Digital was still a development group within Sony Computer Entertainment. The studio was established in April 1998, before the Western release of the game. [12] Yamauchi estimated that Gran Turismo utilised around 75% of the PlayStation's maximum performance. [13]
Main article: Music of the Gran Turismo series
The opening song for the North American and PAL versions is a Chemical Brothers remix of the Manic Street Preachers song " Everything Must Go ". The opening song for the Japanese version is "Moon Over the Castle", composed by Masahiro Andoh . The game itself had a selection of licensed songs, including "Lose Control" by Ash ; "Chicken on a Bone" (reworked instrumental), "Shade" (instrumental), " Tangerine " (instrumental), and "Sweet 16" by Feeder (PAL version); "As Heaven is Wide" by Garbage ; and "Oxyacetalene", "Skeletal", "Autonomy", and "Industry" by Cubanate (North American and PAL versions). The Japanese version, however, used a completely original score. Aside from "Moon Over the Castle", other songs were remixed for Gran Turismo 2 and Gran Turismo 4 .
Official UK PlayStation Magazine
Perfect 10
The game was praised by critics, including in the reviews by IGN (9.5/10) [23] and GameSpot (8.6/10). [22] Gran Turismo won the best simulation of 1999 at the Spotlight Awards , [26] won "Best Driving Game" and "Best Graphics" of 1999 according to the staff of PlayStation Official Magazine , [27] and was voted the sixth best game of all time by the magazine's readers in the same issue. [27] In 2000, readers of Computer and Video Games voted it the eighth best video game of all time. [28] Game Informer ranked it the 21st best video game ever made in 2001. The staff felt that the racing genre had not offered as "complete [a] package" as Gran Turismo. [29]
Gran Turismo was a bestseller in the UK. [30] As of April 2008, the game has shipped 2.55 million copies in Japan, 10,000 in Southeast Asia, 4.3 million in Europe, and 3.99 million in North America for a total of 10.85 million copies, in which to this day, remains the best selling video game for the PlayStation and the third highest-selling game in the Gran Turismo franchise, behind Gran Turismo 4 and Gran Turismo 3: A-Spec respectively. [2] [3] It was also a high seller in Australia, selling over 100,000 units in the first two months and with sales exceeding 130,000 as of October 1998. [31] The game was also referenced in the Eiffel 65 song " My Console ".
| Gran Turismo |
In video games, what colour is Pac-Man? | gran turismo video game : definition of gran turismo video game and synonyms of gran turismo video game (English)
Dual Analog
Gran Turismo (commonly abbreviated to GT or GT1) is a racing simulator designed by Kazunori Yamauchi . Gran Turismo was developed by Polyphony Digital and first published by Sony Computer Entertainment in 1997 for the PlayStation video game console . The game was originally only sold in Japan but the popularity of the game led to an American version and then a European version being sold in other countries. After five years of development time, [3] it was well-received publicly and critically, shipping a total of 10.85 million copies worldwide as of April 30, 2008, [1] [2] and scoring an average of 95% in GameRankings ' aggregate. The game has started a series , and to date has spawned over 10 spin-offs and sequels.
Contents
5 External links
Gameplay
Gran Turismo is fundamentally based on the racing simulator genre. The player must maneuver an automobile to compete against artificially intelligent drivers on various race tracks . The game uses two different modes: arcade and simulation . In the arcade mode, the player can freely choose the courses and vehicles they wish to use. Winning races unlocks additional cars and courses.
However, simulation mode requires the player to earn different levels of driver's licenses in order to qualify for events, and earn credits(money), trophies and prize cars by winning race championships . Winning one particular championship also unlocks a video and a few additional demonstration tracks. Money earned by winning championships can be used to purchase additional vehicles, and for parts and tuning of all vehicles.
Gran Turismo features 178 cars and 11 race tracks. Two Honda del Sol cars from 1995 were included in the Japanese version, but were removed from the North American and European versions. They can be found in the North American version's code (and unlocked by using a Gameshark , so unofficially it has about 180 cars). In addition to the hidden del Sols, there is also a 1967 Chevrolet Corvette and a 1998 Mazda Roadster exclusive to Arcade mode. The Corvette and Roadster can also be accessed via Gameshark.
Music
Main article: Music of the Gran Turismo Series
The opening song for the North American and PAL versions is a Chemical Brothers remix of the Manic Street Preachers song " Everything Must Go ". The opening song for the Japanese version is "Moon Over The Castle", composed by Masahiro Andoh ; this song is used for the opening movie in the Japanese version of every Gran Turismo game to date.[citation needed]
The game itself had a small selection of songs, including "Lose Control" by Ash ; "Chicken On A Bone" (reworked instrumental), "Shade" (instrumental), " Tangerine " (instrumental), and "Sweet 16" by Feeder (PAL version); "As Heaven is Wide" by Garbage ; and "Oxyacetalene", "Skeletal", "Autonomy", and "Industry" by Cubanate (North American version). The Japanese version, however, used a completely original score. Most of the songs from the Japanese version ended up in GT2. The in-race music ended up in the Japanese version of GT4.
Reception
The game was praised by critics, including IGN (9.5/10), GameSpot (8.6/10) and the Official Playstation Magazine (5/5). As of April 30, 2008, the game has shipped 2.55 million copies in Japan, 10,000 in Southeast Asia, 4.3 million in Europe, and 3.99 million in North America for a total of 10.85 million copies. [1] [2] It was also a high seller in Australia selling over 100,000 units in the first two months and with sales exceeding 130,000 as of October 1998. [4]
References
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‘Black Ops’ is the subtitle of which game? | Call of Duty Black Ops - Test Subtitles In English. - YouTube
Call of Duty Black Ops - Test Subtitles In English.
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Pikachu is one of the species of creatures in which series of games? | Call of Duty: Black Ops 3 - PS4, Xbox One & PC | GameStop
Call of Duty®: Black Ops III Trailers & Videos
Why GameStop is excited for Call of Duty: Black Ops III
Black Ops Returns with a Vengeance
How far can we push technology before it pushes back? Find out with the new Call of Duty.
It is 45 years in the future, and things like robotics and cybernetic augmentations are commonplace in our world. Now, a platoon of soldiers has disconnected from their Direct Neural Interfaces (brain computers) and gone missing, and it is up to you to find out why in the new Call of Duty Black Ops.
Are you ready for Call of Duty: Black Ops 3? Black Ops 3 released November 6, 2015.
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Jumpman’s goal is to save the Lady from the giant ape in which 1981 arcade game? | Donkey Kong Classic Game - Fun With Logic
Fun With Logic
Kids Games >
Donkey Kong Classic Game
Donkey Kong (Donkī Kongu) is an arcade game released by Nintendo in 1981. It is an early example of the platform game genre, as the gameplay focuses on maneuvering the main character across a series of platforms while dodging and jumping over obstacles. In the game, Jumpman must rescue a damsel in distress, Lady, from a giant ape named Donkey Kong. The hero and ape later became two of Nintendo's most popular characters.
Donkey Kong Classic Game Gameplay
Donkey Kong is one of the earliest examples of the platform game genre; it is sometimes said to be the first platform game, although it was preceded by Space Panic. In contrast to Space Panic, however, Donkey Kong was the first platform game to feature jumping, introducing the need to jump between gaps and over obstacles or approaching enemies, setting the template for the platform genre. Competitive video gamers and referees stress the game's high level of difficulty compared to other classic arcade games. Winning the game requires patience and the ability to accurately time Jumpman's ascent. In addition to presenting the goal of saving the Lady, the game also gives the player a score. Points are awarded for finishing screens; leaping over obstacles; destroying objects with a hammer power-up; collecting items such as hats, parasols, and purses (apparently belonging to the Lady/Pauline); and completing other tasks.
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| Donkey Kong |
The Covenant are fictional military alien races in which game series? | Kaiju - TV Tropes
Kaiju
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Oh no, there goes Tokyo. Again.
"I genuinely think that, deep in our thousands and thousands and millions of years with nature, there's a chance that an animal's going to come and attack us or eat us or destroy our village or eat our food. It's deep in our DNA that the creature's going to come today or tomorrow. In the modern time, just this small period of time in the lifespan of humanity, we've built these massive cities and we've pushed nature out, but it's still very strong in us that the animal is going to come, and it's going to destroy everything we've built. Our caves have gone from these little huts and caves to 30 story buildings, so our nightmares become 30 stories as well."
— Gareth Edwards on Godzilla (2014)
Giant Japanese monsters that assault Tokyo , hapless island explorers, or each other are called Kaijunote literally translated, "strange creature"; the more accurate name for these things would be Daikaiju, "great strange creature". While they have no specific form even in their own mythology, by Japanese standards they are traditionally monstrous, scaly water elementals of about 50 foot and taller.
Typically they arrive from somewhere Far Away. Whether that means space, Beneath the Earth , or a South Pacific island varies. Expect lots of Stuff Blowing Up to result, but, since Giant Equals Invincible , don't expect the explosions to actually hurt them. Do expect at least one case of Helicopter Flyswatter . Examples of this genre can range from straight-up Disaster Movie ( Cloverfield , the first Godzilla movie) to all-out wrestling matches between People in Rubber Suits (Most of the later Godzilla movies). As this genre features a judicious application of Rule of Cool , expect the MST3K Mantra to be in full effect. Often, you'll only watch this kind of movie to see the monsters fight , which can often involve an Ultimate Showdown of Ultimate Destiny (such as King Kong vs. Godzilla ).
This is actually one of the oldest genres in film, dating back to the early days of cinema when special effects were new. Pioneers of the genre were The Beast from 20,000 Fathoms , King Kong (1933) , and The Lost World . The idea probably originates from thinking of dinosaurs as fantastic beasts or ideas about giant dragons . As for why it's so popular with Japanese media: Japan is quite earthquake and tsunami-prone, and you could think of a kaiju as a sentient natural disaster, so it may feel more meaningful to them. (Consider how Godzilla, like a wave, rises from the sea.) The word kaiju became more mainstream and used in western works after the release of Pacific Rim in 2013 when before they were usually and simply called " big Japanese monster " (even to the point of its origin being often Wrongfully Attributed to this film).
Rent-a-Zilla is a Sub-Trope , where the work doesn't focus on the monster. A Not Zilla is a kaiju that is specifically an Expy of Godzilla . If kaiju offspring appear, expect Gigantic Adults, Tiny Babies . Crosses over with Behemoth Battle when there are more than one kaiju. In more modern works, kaiju are often afflicted with Proportionately Ponderous Parasites .
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Anime and Manga
A few Digimon . In particular, Tyrannomon even has the Godzilla-ish back spikes, and his larger, darker Palette Swap , Dark Tyrannomon, was once used for a very Godzilla-evocative scene when the battle was taken into the human world. Powers That Be resisted the urge to use the distinctive Godzilla roar, though.
The Angels in Neon Genesis Evangelion . There's also the Evas themselves, having been cloned from Angels. Their armor just makes them look like Humongous Mecha .
When Haruhi Suzumiya gets particularly irritated (or, presumably, watches too much Evangelion, both of which might go hand-in-hand ), she manifests Kaiju-like monsters in a Phantom Zone . Fortunately, she also dreamt up some people to fight the things.
Voltaire and Hakutenou of Lyrical Nanoha . The two of them even get to battle in a heavily damaged city. There's also the monstrous form of the Book Of Darkness.
Bleach :
The series has an example that involves Espada #0 Yammy Llargo, whose release 'Ira' transforms him into a monstrous Kaiju.
Gillian-class Menos (and Arrancar formed from them) are probably big enough to count, too, even if they are considerably weaker.
The closest we've got to a battle of two Kaiju is the fight between captain Sajin Komamura and arrancar Choe Neng Poww. Powws Resurrección Calderon turns him into a whalelike giant, where as Komamuras Bankai Kokujō Tengen Myō'ō summons a giant in full samurai armor. Then Komamura activates the Dangerous Forbidden Technique
In the CLAMP series Cardcaptor Sakura , Touya's pet name for his sister is "Kaiju", which is usually followed by Sakura shouting about how much she isn't one, complete with monstrous stomping about the house. Which naturally only adds to Touya's argument that she is a noisy kaiju.
Franken Fran had a massive human-like Kaiju that came from the sea and seemed intent on attacking an island town. Turns out that it's just a girl whose wish of living with the whales was granted by Professor Madaraki . She's just there to find her mom so she could give her the great news that she's now pregnant. Happy end!
Pok�mon : Legendary Pokémon are anywhere from "extra-large" to "titanic" in size, especially if it's a more "beastly" Legendary (Groudon, Rayquaza, Giratina). Non-Legendary examples include the cliff-sized Dragonite in "Mystery at the Lighthouse" and the skyscraper-tall Tentacruel in "Tentacool and Tentacruel".
All members of the Heroic Tribe in Heroic Age are essentially GIANT SPACE MONSTERS. Which destroy planets on a regular basis.
The main character of Kiriwo Terrible transforms himself into a Kaiju to fight the Kaiju attacking his city.
The Mimetic Beasts from Shinkon Gattai Godannar!! definitely qualify as Kaiju.
The eponymous Humongous Mecha in Dai-Guard ends up fighting a lot of kaiju.
Cenco and the other monsters in Cencoroll .
Naruto :
The largest summoned animals fit the bill in terms of size. The giant serpent is even named Manda after the Godzilla beast. There's also the Bijuu: 9 giant monsters, at least one of which was once referred to as a natural disaster, which is far more in theme with the iconic Kaiju. Lampshaded by Guy, when Kurama and Gyuki fight the five other Bijuus Matatabi, Isobu, Kokuoh, Saiken and Chomei.
Guy: "It looks like the battle of Kaijus!"
Bijuu combine into the juubi with the help of a statue, this beasts power is so great that when Naruto tried to measure its power, he got sensory overload instead
In Mahou Sensei Negima! , the Sacred Beast of the Hellas Empire recently started attacking a gigantic shadow monster, causing Haruna to start squeeing about kaiju battles. And Lovecraft .
Bokurano is about Humongous Mecha , not kaiju, but the confused populace in the work can't tell the difference, for a good reason .
In the Ranma � both Genma and Happosai have a secret Ki-technique that lets them grow to Kaiju-esque proportions. Then immediately collapse in exhaustion .
The humanoid giants dubbed "Titans" from Attack on Titan . The Colossal Titan, being 60 meters tall, intelligent and with the ability to teleport, definitely qualifies.
The demon beasts that the Big Bad Nightmare creates in Kirby: Right Back at Ya! .
Many larger Capture Beasts in Toriko fit the role. The Four Beasts and their master beast fit this especially. More powerful beasts in the Gourmet World make Godzilla look small.
In Shinzo , Enterrans are basically mons that populate the earth After the End . They don't get ginormous... usually. One Big Bad has as The Dragon an actual three-headed dragon named Grendora. Grendora is positively enormous, shoots ice blasts, and uses canned Godzilla roars.
Many of the gigantic monsters from Yu-Gi-Oh! count, especially the ones who are extremely powerful in-universe. For example, Exodia, the Egyptian Gods, the Great Leviathan, the Sacred Beasts, the Earthbound Immortals, etc.
Queen Taratects in Kumo Desu Ga, Nani Ka? are massive and extremely powerful. A single Queen was able to wipe out a fully-manned fort and the army attacking it. Also noted is Fenrir, a wolf capable of taking bites out of similar forts.
Comic Books
Superman :
There's a recurring enemy named Titano, who looks like King Kong with the power to shoot Kryptonite-flavored laser beams out of his eyes .
One "Metropolis Mailbag" episode featured Superman's annual New Year's help-by-mail tradition interrupted by a fight between a gigantic Metallo and the new Toyman, a Japanese kid with a Super Robot . Between performing his tasks and trying to keep the battle from escalating, he also had to deal with several giant monsters awakened by the fighting: a massive butterfly, a Gorilla-Whale (A literal translation of Godzilla's name), and of all things, a giant purple Pikachu .
Superman's Pal Jimmy Olsen has been one. In two main stream continuities.
Fin Fang Foom
of Marvel Comics , a giant Chinese dragon. Depending on the Writer , he's usually said to be an alien, a member of the race who invented the Mandarin's power rings. Foom is a holdover from when Marvel published monster comics as a major source of revenue. Today, Marvel's Monster Island houses lots of Kirby -designed and inspired Kaiju. Some others who show up in modern continuity are the tree-like alien Groot and the lovable giant ape-monster Gorgilla. Big Hero 6 and other Japanese superhero teams within the Marvel universe apparently spend a lot of time defending cities from giant monsters.
Marvel briefly had the rights to publish Godzilla comics ( Godzilla: King of the Monsters! ), and featured him as part of the Marvel Universe . As with Marvel's other licensed property titles, he accrued a supporting cast of friends and enemies whom Marvel does own and who still pop up once in a while, such as Yetrigar the giant yeti, a giant robot named Red Ronin, and a Mad Scientist named Dr. Demonicus who specializes in mutating animals into Kaiju.
The Monster Hunters are a Five-Man Band set in the 1950's who travel the world hunting down dangerous kaiju. They made friends with Gorgilla the ape monster, though.
During Walt Simonson's run of The Mighty Thor , Fafnir the dragon sure had the size to qualify.
The fourth volume of New Avengers has the creatively named American Kaiju, looking like a hybrid between the two Hollywood versions of Godzilla but with the Stars & Stripes on his underbelly, created thanks to injecting one Todd Ziller with a cocktail of Marvel's mad science serums (including Kurt Connor's Lizard serum) and seeing what happened.
Batman : Gotham After Midnight, a very bizarre miniseries, featured Bat-foe Clayface devouring people whole and growing into a gigantic mud-monster... which the Dark Knight fought with a Bat-mecha he had built for just such an occasion. Crazy-Prepared , indeed...
The Planetary team discover the remains of various ersatz kaiju on Island Zero.
Exiles had the Monster World arc, which envisioned Curt Connors, Bolivar Trask, Tony Stark, and Hank Pym as a team of Action Scientists fighting Kaiju in a transforming mecha. They fight it out with Fin Fang Foom in Japan at the end of the arc. It was awesome.
Avengers: The Initiative : When the new 3-D Man is sent to a superhero team in Hawaii he finds out one of his missions is to protect the state from the occasional kaiju that wanders over from Japan.
Fire Breather . Duncan's daddy, Belloc, actually calls himself king of the Kaiju and wants his son to one day take his place.
One of the Justice League of America 's oldest enemies is Starro the Conqueror (aka the Star Conqueror), a titanically huge, mind-controlling literal Starfish Alien .
The comics mini-series Gigantic combines this with Truman Show Plot . The first kaiju on Earth, Gigantic, is trying to escape the mega-corporation that controls him, and the entire earth, having built it from scratch for a TV station.
The very first issue of Plop! had a story about "Kongzilla," a beast with the top half of a giant ape and the bottom half of a giant lizard.
In the prelude to H'el on Earth , a mile-long undead prehistoric Kryptonian dragon creature rampages across Metropolis. It's so strong, that a whack from its tail sends Superman flying all the way to Ireland ! It is defeated when Superman ignites an oil rig, engulfing the creature in a huge ball of fire . It's later revealed that H'el sent the creature to test Superman's abilities.
The Warren Ellis miniseries Tokyo Storm Warning is an homage to kaiju manga and anime, with an eye turned toward realism as the robots and kaiju cause massive property damage and send literal waves of kaiju blood washing away civilians.
Dan Brereton-illustrated Giantkiller was about an invasion of California by colossal, extradimensional monsters who turn the state into an extension of their own world. It featured 25 different giant Kaiju plus a half-human hero to slay them - one for each letter of the alphabet.
Gold Digger featured an island inhabited by giant monsters, a result of the unusual emanations of the island itself. The native tribe, the Ooshoosh, also adapted... the women, while being born as normal-sized babies, grow unusually fast into 40-foot monster-slaying giantesses who are very protective of their normal-sized men. Well, mostly normal-sized, that is.
IDW has been publishing Godzilla comics since 2010. Unlike other companies before them, they also have the rights to most of his supporting cast.
Kaijumax is an Oni Press series about the titular prison, where they house giant monsters.
The Sandling of White Sand is an enormous and highly territorial subterrestial creature huge enough, a single tooth of its Lamprey Mouth is almost two-thirds of Kenton's size.
Documentary
Discovery Channel aired a doufiction story entitled Alien Planet , loosely based on Wayne Barlowe 's Expedition . One of the freaky beasties we see is the Emperor Sea Strider, a creature dwelling in the Amoebic Sea that stands 620 feet tall—that's as high as London's BT tower.
The Future Is Wild had the Toraton, a creature from the Bengal Swamp living 100 million years in the future. It's basically a giant, shell-less tortoise that grows 15 times as big as an elephant and weighs a whopping 120 tons.
Fan Works
My Little Pony: Friendship Is Magic fanfics:
Lanterns Of Equestria Blackest Night : Twilight starts recruiting these into her Corps, giving them sentience in the process. Fluttershy eventually recruits an Ursa Major.
In The Monster Mash , Kaiju are the focus of Dash�s story, where they�re created when normal animals come into contact with Chaos pollution left over from Discord�s rampage . Dash becomes a part-time Kaiju by the same method at the end.
In Persona EG , a few Personas qualify: the Ultimate Personas for Chariot and Tower are Gamera (80m length) and Gojira ( 168m), while Sonata's Rainbow Persona, Leviathan, consists of a Persona sized mermaid and a colossal sea serpent a hundred meters long.
The Pony POV Series :
Queen Tiamat, the dragons' ruler and Mother Goddess . Normal adult dragons are borderline Kaiju to begin with, but Tiamat dwarfs even them, being large enough to blot out the sun when standing at her full height and immensely powerful. She joined the fray herself during the Dragon-Hooviet War and proceeded to leave half the empire in flaming ruin, willingly stopping just short of the capital. The Hooviets weren't able to even hit her, let alone do any lasting damage.
There's also her husband, Bahamut, the Father of All Dragons. He's an equally massive platinum colored dragon and capable of Weather Manipulation on a massive scale. And the one time he fights a military goes just as well as Tiamat's. It seems to just be natural for Ryujin (Dragon Gods) to be this trope.
Dragon Turtles can grow to massive sizes. Fluttershy's friend, the Master of the Lake, happens to be the size of a small island.
There's also the Star Beasts, like the Ursa Major.
Romance and the Fate of Equestria : Sørmur dï Mitgaeard, Lady Kolassa, and occasionally Annihilara.
Jounin Quest : Kakuzumaru's final form is a one-hundred and eight headed hydra so massive it blots out the sky..
Power Rangers GPX : The Kel Monster.
Sean: "Oh my god, it's Godzilla !"
Daisuke: "That's not Godzilla! Godzilla doesn't have a big unicorn horn on his head and he doesn't have hair!"
Shinnen New Year : Godzilla, King Ghidorah, and Mothra makes an appearance. The Kaijus from Pacific Rim also make appearances by siding with Da'ath.
Film
The very oldest Kaiju in film is a Frost Giant in Georges M�li�s ' Conquest of the Pole from 1912. It was limited to an unknown area, but is still a giant worth noting.
But if the mythical Frost Giants count as Kaiju, then Satan and several Titans from Dante's Inferno from 1911 at least deserve an honorable mention.
The earliest example of the familiar Kaiju formula is present in 1925's The Lost World , in which a brontosaur wreaks havoc in London, setting the template for the genre before the sound era.
Godzilla pretty much revolutionized this trope. Every movie in the franchise contains at least one monster!
Dogora features a giant space jellyfish as the titular kaiju.
Gorgo counts too, but he gets captured and held by those damn humans ...then his much larger, angrier mother appears.
War of the Gargantuas , a sequel to Frankenstein Conquers The World features 2 giant, mutated humanoids battling it out in Japan. Both films overlaps with Attack of the 50-Foot Whatever .
The Friend to All Children , Gamera , a heroic giant space turtle, along with the creatures he fights.
He is also - assuming this film actually existed
- the earliest Japanese example!
An even bigger Kong also has a couple of movies in the Toho lineup, one where he faces Godzilla, and King Kong Escapes , which not only features Kong, but also Gorosaurus (a kaiju sized dinosaur that latter joins Godzilla's crew) , Mechani-Kong , and a giant snake .
Cloverfield is a Deconstruction of all kaiju attack movies, reminding people that Kaiju has its roots in the Disaster Movie genre and how terrifying, deadly, and incomprehensible such an attack would be to an average citizen as it did in the first Godzilla film. The Cloverfield monster itself is an interesting variant of Kaiju; instead of being a mutant or a supernatural entity, Word of God considers it to be a pretty normal animal reacting to things the way any animal in its position would. It's also apparently a lost and confused baby that wants to find its mother... which begs the question of how big and terrifying its mother must be...
Insectosaurus of Monsters vs. Aliens , down to having the same backstory as Godzilla, though generally being a homage to Mothra. The gigantic alien probe-robots also.
In an inversion, Lucas from The Ant Bully is a normal human kid, but wreaks similar wrath and destruction upon a hapless ant colony.
REPTILICUS ! The giant goop-spitting snake-dragon that destroyed Copenhagen!
THE GIANT CLAW ! The flying battleship Giant Antimatter Space Buzzard from 17,000,000 B.C.!
In Ghostbusters (1984) , Kaiju + Bathos = The Stay Puft Marshmallow Man
The climax of Ghostbusters (2016) has a Bedsheet Ghost Kaiju smashing the city.
Mongo from Shrek 2 . It especially works if Drury Lane is in Far Far Away, since Kaiju rarely live in Close Near By.
Mega Shark vs. Giant Octopus . The octopus attacks Tokyo Bay, but for some reason we never see any scenes of this, whereas the giant shark takes a bite out of the Golden Gate Bridge in San Francisco.
The Kraken in Clash of the Titans . It destroys cities, is impervious to normal weapons , and is huge. Even moreso in the 2010 remake ; one of the thing's tentacles is about half as long as the city of Argos.
Street Fighter has a tribute to these, with Zangief and E. Honda duking it out in a model city.
Referenced in Deep Rising , at the end of which something unseen but HUGE moves toward the beach and the survivors, knocking down trees as it approaches. Not to mention its own multi-armed, lamprey-headed octopus with mouths at the end of each arm. Its head fills a ballroom and its tentacles can reach throughout an ocean liner.
Thunder of the Gigantic Serpent, a Japanese kaiju flick and one of Godfrey Ho's flicks that don't involve ninjas, has one of the largest snakes in cinema. It's head being bigger than a car when it gets big enough.
The Beast from 20,000 Fathoms is an early prototype of this genre. Since the film The Giant Behemoth/Behemoth: The Sea Monster is basically the same film , it counts as one as well—with the only addition of it being able to project radioactive waves from its whole body.
Numerous films by SyFy and The Asylum .
The t-rex rampaging San-Deigo in The Lost World: Jurassic Park was a homage to these type of movies. One of the Japanese tourists even yells "I left Tokyo to get away from this!"
The Blob (1958) can be seen as a Blob Monster taken to this level as it grows larger. The 1980s remake 's climax is a full on Kaiju rampage.
Gappa: The Triphibian Monster fits the bill.
Yonggary: the Monster from the Deep and its remake Yonggary are basically Korean Godzilla-knockoffs. The later film has it fight another Kaiju, named Cykor.
Space Amoeba features an extraterrestrial parasite that possesses the bodies of various sea creatures (a cuttlefish, a stone crab, and a rock turtle), turning them into giant kaijus.
Aside from King Kong , there are other giant ape Kaiju. These include The Giant Peking Man, Konga, A.P.E., and King of the Lost World.
It Came from Beneath the Sea features an Octopus of Kaiju Proportions. Several other films (usually titled things like Octopus and Octopus 2: River of Fear) feature similarly large giant cepholopods, but aren't as good as Ray Harryhausen 's.
The title monster from Supercroc is a Kaiju-sized Crocodilian, with appropriately thick armor.
The dragons from D-War fit the bill.
The Kraken from Pirates of the Caribbean .
Iron Golem/Minotaur in Pulgasari isn't too big, but given its attacking medieval villages, it fits the bill. Notable for being from North Korea, and eventually banned there.
An American Direct-to-Video film called The Adventure of Galgameth reset it in Medieval Europe, but has the same plot as Pulgasari, right down to the eponymous monster's weakness to salt water and growing by eating iron and its derivatives.
The Daimajin series' eponymous monster is an ancient demon-god. It too battles medieval forces, but with a stone body and mystical powers. It also exists to punish the wicked—but has unreasonably high standards. So, each time after it frees the oppressed villagers from the evil warlord/king, it goes on to attack them.
The space monster Guilala from 1967's The X From Outer Space is one of the most bizarre Kaiju to have its own films. He got a sequel 41 years later called Monster X Strikes Back: Attack the G8 Summit, which introduced another kaiju - the multi-armed warrior god and mystical defender of Japan Take-Majin
Talos from Jason and the Argonauts is made of bronze, but definitely fits the bill.
The Giant Amoeba and "Rat-Bat-Spider" from Angry Red Planet fit the bill.
Kraa: The Sea Monster is actually from Outer Space, but is 200ft tall.
Zarkorr: the Invader, produced by the same company as Kraa.
The last shot of The Deadly Spawn features one of the monsters grown larger than a house.
The Ymir from 20 Million Miles to Earth just scrapes in as it constantly grows as it remains on earth.
The giant amoeba-like life form from the finale of Evolution certainly counts.
The oliphants from The Return Of The King , while smaller and less invulnerable than other examples, should get special mention for being an entire herd of Kaiju. And dressed up for battle, no less.
, a.k.a the proverbial Bigger Fish , spends most of its screen time devouring smaller sea monsters .
Though not as huge as most Kaiju (only the size of a truck), the monster of the Korean film Gwoemul, or The Host , is in many ways a tribute to the genre.
A commercial for the fast food chain Hella Burger in the Slasher Movie Drive Thru depicts Horny the Clown as one of these.
The Troll Hunter has the giant Jotannar Troll, at over 200ft tall.
The fairly obscure Daigoro vs. Goliath, produced by Tsuburaya Productions of Ultraman fame.
The Watcher of the Water in J. R. R. Tolkien 's The Lord of the Rings , which, in turn, was partially inspired by the infamous, Ax-Crazy giant squid army from Twenty Thousand Leagues Under the Sea .
In The Silmarillion , when Morgoth unleashes the first winged dragons during the Final Battle , they are led by Ancalagon the Black, bred specifically to be the greatest dragon to ever live. He could certainly fit the Kaiju bill: his approach was heralded by a firestorm, and when he died his falling body crushed three of the highest peaks on Middle-Earth which served as Morgoth's Evil Tower of Ominousness . The only things known size-wise about Ancalagon are that when he was finally slain, his downfall destroyed the Thangorodrim. From what we can read in the books, the Thangorodrim is a three-topped mountain with an assumed height of 35,000 feet and a diameter of 5 miles. Considering that the only thing that Tolkien wrote about Dragonmagic was the power of deception, we can probably be sure that the mountains were destroyed purely by his size and weight - so that makes Ancalagon big enough to - in Real Life terms - destroy Mount Everest by simply falling on it. In short: Ancalagon the Black might not just be the biggest Dragon in Tolkien's works, but might even be one of the largest dragon in fiction .
Cthulhu and his children (Ghatanothoa, Cthulhu's first born, actually has a character directly based on it in Ultraman Tiga ).
Agog Press' Daikaiju! anthology is built around these, and features a number of really weird ideas. How weird? Groundsurfing on the shockwaves made by kaiju's feet as they walk around.
The avanc from The Scar is an unusual variant, as this gargantuan marine creature didn't destroy a city by stomping through it, but by dragging the floating city of Armada to its doom in the eponymous Scar.
At the end of Unseen Academicals , Ridcully informs Ponder that a seventy-foot chicken has broken out of Brazeneck College's Higher Energy Magic building and is rampaging through the streets of Pseudopolis.
Great A'tuin and the four elephants riding its shell would qualify, if they weren't supporting the world rather than stomping all over it.
And an earlier book had a giant creature from the Dungeon Dimensions steal the form of a famous actress, escape from the Silver Screen and go on a rampage across Ankh-Morpork and climbing the UU's Tower of Art carrying a screaming ape in an inversion of King Kong .
Something inconceivably huge and six-legged walks across the highway in Stephen King's novella The Mist , nearly stomping the protagonists' SUV. Its full size is not specified, as its body is so high that it's obscured by the fog.
Gojiro by Mark Jacobson is a deconstruction of Kaiju monsters told from the point of view of the monster Gojiro and his human partner Komodo as they attempt to bring about world peace and prevent the testing of a next-generation nuclear weapon.
In The Iron Man, the children's novel by Ted Hughes that was the basis for The Iron Giant , the Iron Man confronts an alien dragon creature somewhat smaller than Australia. While this plot point wasn't featured in the movie, it was featured in "The Iron Man; The Musical", a concept album by Pete Townshend of The Who inspired by the novel.
The stavanzer, or thunder-eater, from Icerigger is a slug-like herbivore over a hundred meters long, and it's mentioned that such creatures have been known to destroy tran settlements.
Monster Blood 's title substance typically makes things grow to giant size , but the second book took it a step further when the climax involved the protagonist eating monster blood to fight a giant hamster eating his school. True to kaiju form, this involves a giant wrestling match.
The genre is parodied by a series of childrens books, one called Dogzilla and one called Kat Kong.
In the League Of Magi stories, Shahmeran's alternate form is a massive serpent.
based on Kaiju, whose schtick revolves around summoning one to each side and having them fight it out. It even has a Field Spell based on the Tokyo Tower
.
Toys
BIONICLE: Vezon's pet dragon Kardas, a transformed version of a giant mutated spider. With the ability to create concussive blasts. To quote "Who's my favorite weapon of mass destruction, then?"
Hero Factory, Bionicle's successor, has come out with the Pacific Rim -inspired "Invasion From Below" storyline, which involves giant kaiju-themed beasts that, among other things, rip out streetlights and communications antennas and rampage around the city.
From 1961, The Great Garloo!
Video Games
Resistance 2 has the Leviathan, a giant monster that roams the flooded streets of Chicago.
Spoofed heavily by the Lungfishopolis level of Psychonauts : one mind is portrayed as a city of tiny lungfish-like creatures, meaning that Raz is gargantuan compared to them. Due to his distinctive headgear , the citizens immediately nickname him Goggalor. The Boss Battle of the level is the Villain with Good Publicity kaiju, who's hailed as a hero to protect them from "Goggalor" (and a Shout-Out to Ultraman)
Destroy All Humans! 2 has the "Kojira Kaiju Battle" mission, a Godzilla parody complete with someone screaming "Kojira! Aieeee!", atomic breath , and those weird anti-Kaiju tanks common in Godzilla films. Naturally, it takes place in Japan.
X-COM: Apocalypse has the Overspawn, giant aliens dropped by the Mothership for the sole purpose of rampaging all over the cityscape. They're actually pretty weak since they're usually up against the best of X-COM manufactured vehicles and weapons by the time they appear. Some players just leave them alone since they have a tendency of accidentally killing themselves when they get too close to a building they knock over.
Speaking of rampaging, the characters you use in the Rampage series of games.
An upcoming PC game called Colossal Kaiju Combat . This is self-explanatory.
Daikaiju no Gyakushu ("The Giant Monster Strikes Back"), a 1986 Arcade Game by Taito .
Bowser , in many of the later games, has the ability to turn into Giant Bowser/Giga Bowser, becoming a full-stop kaiju. In this case, he resembles a more evil version of Gamera.
The second Ace Attorney Investigations game has Bullmoth, a giant lizard-bull hybrid that stars in an in-universe movie. In true Kaiju form, it's facing off against another big monster from the franchise, Gourdy .
Kaiju-a-Gogo, a PC game currently in development, involves players taking on the role of mad scientists who create giant monsters to dominate the planet.
Megadeth-class Gears in Guilty Gear . Most Gears are vaguely human in size, and unless they're in A Form You Are Comfortable With , human looking too. This is not the case with Megadeth-class Gears, which are utterly titanic and wouldn't look out of place tussling with Godzilla. One Megadeth-class, Hydra, threatened to destroy London, but through the efforts of Kliff Undersn , the thing's advance was halted for a week so it could be targeted and destroyed with Last Resort, a magic Kill Sat with a several-kilometre blast radius. There was another example of a Gear the size of Mount Everest going up against the main character, Sol Badguy, and... being thoroughly obliterated down to ash and dust .
Kaiju are a regular occurrence in Billy vs. SNAKEMAN . Kaiju will regularly attack villages, their digital shadows haunt the Fields as Phases, and Players completing The Impossible Mission will become a kaiju. There's also the World Kaiju, which are embodiments of hastily renamed other popular MMOs.
The NSFW game Corruptions of Champions has Venus the Turtle Woman, who is so large her shell is large enough to be mistaken as a small island. She grew so large due to the local demon factory dumping toxic waste in to the lake where she lives. Despite her imposing size, she's quite the softie. And being that kind of game, you can have sex with her , well as close to sex as you can with someone her size.
Civilization: Beyond Earth gives us three Colossal alien creatures: Siege Worm (Vermis Obsidione Colossus), Makara (Astacopsis Choanae), and Kraken (Vivens Bestia Insulae). These are very tough beasts, who automatically pillage improvements by simply moving and are difficult to kill until the late-game stage. However, for some reason, they will never attack your cities directly. Your Explorers can only "collar" them after a certain late-game tech is researched. Additionally, Harmony players can eventually build the massive Xeno Titan that dwarfs highrises (while the in-game figure may appear to be a case of Units Not to Scale , a loading animation depicting one clearly shows how incredibly huge it is). It's a genetically-engineered alienesque monstrosity completely under your control. Unlike the Colossal aliens, the Xeno Titan does not mess up your improvements and can even take advantage of your roads and maglevs (try not to think too hard about one of those things taking the train or the highway). There's not much an enemy can send that will take out a Xeno Titan, although they're certainly not indestructible, and they're excellent for sieging cities.
Web Comics
Giant Donkey Kong Jesus riding on a puff of smoke and the last incarnation of Super MechaDeathChrist 3000 .
The NES Godzilla Creepypasta warrants its own spot here because the creator actually came up with many all-new monstrosities, including the Big Bad whose final form easily dwarfs Godzilla, and can be estimated to be about 400-500m tall.
Worm includes a particularly formidable bunch called the Endbringers: Massive humanoid monstrosities with extremely powerful macro-scale superpowers and Nigh-Invulnerability , which are collectively engaged in a slow but implacable campaign to wipe out humanity for reasons unknown. They include Behemoth, a 45-foot tall creature resembling a gray demon complete with horns with the power of dynakinesis (control over all forms of energy); Leviathan, a 30-foot tall humanoid with a long tail with macrohydrokinesis and a water "shadow"; And the Simurgh, a 15 foot-tall woman with dozens of white, feathered wings that possesses a particularly malevolent form of precognition, mental influence, and telekinesis. They're smaller than most of the creatures on this page, but don't let that fool you; they're every bit as tough, if not more so, and being relatively small means that they're able to hide, ambush people, and enter buildings.
From Shut Up Cartoons , we have Krogzilla, a Not Zilla who was shrunk down by scientists to human size. Of course, this means that he now has to integrate himself into human society resulting in Hilarity Ensues . Occasionally, he mentioned other kaiju, but the only one who appeared was another shrunken-down one named Regurgitor (for his ability to vomit lava) who resembles Titanosaurus with extra arms and a more Jerkass personality.
Western Animation
Godzilla himself had a cartoon in the 1970s and the 98' Godzilla had an animated sequel starring its son. Logically, both cartoons featured Godzilla fighting other giant monsters.
The Powerpuff Girls frequently fight Kaiju assaulting their City of Adventure when not engaging their Rogues Gallery . One is actually called a Ro Beast . They all come from a place called Monster Island and apparently they consider it a rite of passage to stomp into Townsville and fight the Girls. Yet another way in which the city would actually be safer without them around.
Avatar: The Last Airbender has four of these: The Unagi in Kyoshi Bay (that needs water, and therefore cannot attack the nearby village); The Serpent from the Serpent's Pass (hence the name); Koizilla, the Fan Nickname for the Aang/Ocean Spirit Cross-fusion; and the currently unnamed Vine Monster that can be created by Huu.
In The Legend of Korra , one appears in season two. When Korra's uncle Unalaq fuses with Vaatu, the embodiment of chaos and darkness, after destroying the embodiment of light and peace they transform into a gignatic red/purple/black monster that looks like a fusion between the two fusees. It can create Spirit Wilds , use the currently-omnipresent Aurora Borealis to teleport and fire a destructive chest beam
"Poultrygeist": The ghostbusters fight a giant chicken ( yes, the writing wasn't the best on that season) .
"Attack of the B-Movie Monsters" of course. It has the literal Kaijus of Japan's cinema jumping to the real world after the tapes are exposed to toxic waste .
Men in Black has an episode that shows a giant Fmek and one of the Worms fighting Kaiju-style in the city. The joke is that they are two of the smallest alien species and were increase in size by Applied Phlebotinum .
Real Life
Size is all a matter of perspective. In an insect's point of view, we humans are kaiju.
Quite a few dinosaurs fit this trope. In particular Amphicoelias was by some estimates the single largest land-based animal — never mind dinosaur — on record. 40 to 60 metres (130 to 200 ft) in length, and may have had a mass of up to 122 metric tons (135 short tons). Unfortunately, it's only known from a single piece of vertebrae that was mysteriously lost over a century ago.
On a more complete basis, Argentinosaurus and several other enormous sauropods could have broken 100 short tons in weight and been over 30 meters long. Several species could get longer, but they weren't as robust.
Strictly speaking, though they thankfully are examples of a Gentle Giant , Blue Whales could fit the bill as the largest animals ever known to exist.
At half a meter long, Anomalocaris wouldn't qualify as a kaiju today, but considering it lived in an era when the largest non-Anomalocaris animals tended to be measured in a few inches, it certainly was at the time.
Anteaters, aardvarks, and pangolins are this trope for termite "cities".
| i don't know |
Who played the title role in the 1971 film ‘Klute’? | Klute (1971)
Klute (1971)
It's on TV where I am.
One of those films that's supposed to be so tremendous that I can never sit through.
My God...it drags.
Why didn't anyone respond to my Klute thread?
by Anonymous
We're afraid this will attract the "Pretty Woman Was an Insult to Hookers" troll.
by Anonymous
reply 2
08/05/2014
Took me decades to finally watch it, but I liked it. I tend to like slower-paced movies - Pakula seems to work that way.
by Anonymous
Very stylish movie, shot by the recently deceased Gordon Willis (The Godfather, Manhattan).
The single movie that proves Jane Fonda could really act.
by Anonymous
reply 4
08/05/2014
I found it a bit slow too and why was it named after a supporting character? It should have been called "Bree".
by Anonymous
I was offered it, but turned it down. I liked Up the Sandbox more.
by Anonymous
reply 6
08/05/2014
I tried to watch it twice, but I never made it past the first half hour.
by Anonymous
08/05/2014
[quote]The single movie that proves Jane Fonda could really act.
Actually, she's just as good in the film she made the year before, "They Shoot Horses, Don't They?"
She would have won the Oscar for that but she was up that year against Maggie Smith in "The Prime of Miss Jean Brodie."
by Anonymous
reply 8
08/05/2014
I love this movie. Fonda looked so beautiful and chic. The small human and humorous touches added so much to the movie. Reading Linda Goodman's Sun Signs before bed for instance. That made me smile. I thought Sutherland was sexy as hell and he and Fonda had tremendous chemistry. She more than deserved the Oscar for Best Actress.
by Anonymous
08/05/2014
Oh god. Lots of philistines with zero taste on DL today.
"Klute" is a classic featuring one of the best female performances of the decade (or any decade, really). Bree's scenes with her therapist rival anything you'll find in a female-centered film today. The film is also a time capsule of a gritty, dangerous NYC that is no longer giving it rare historical/ethnographic value as well.
And R8 is absolutely right about Fonda's performance in "They Shoot Horses, Don't They?" two years earlier. She absolutely should've won that year of Smith's admittedly great in "Brodie."
by Anonymous
reply 10
08/05/2014
[quote]The film is also a time capsule of a gritty, dangerous NYC that is no longer giving it rare historical/ethnographic value as well.
Oh, God...there are tons of them...most of them more interesting than this snorefest.
by Anonymous
08/05/2014
[quote]Bree's scenes with her therapist rival anything you'll find in a female-centered film today.
Those scenes were largely improvised or the dialogue was written by Fonda, which makes it even more impressive.
Fonda was at her best here. Absolutely amazing.
by Anonymous
reply 12
08/05/2014
In this movie Fonda has the grooviest early Seventies pad in all of cinema. It is beyond fabulous.
by Anonymous
reply 13
08/05/2014
It's a great piece of 70's American filmmaking. I loved the tough, noirish cynicism. Roy Schneider's in it, and Candy Darling.
by Anonymous
reply 14
08/05/2014
List them then, R11. And not just a rote list of every film made in the entire decade of the 1970s. This specific year 1970-71 New York City.
Also, one featuring a cameo by Candy Darling.
We'll wait.
Wow, you sure showed HER, Miss Bossypants at r15!
by Anonymous
reply 16
08/05/2014
R15, pull your Halliwell's out of your prolapsed rectum and fuck off whilst you're doing it, you ridiculous twat.
by Anonymous
reply 17
08/05/2014
I'd rather be bossy than lacking in any kind of cinematic discernment whatsoever, pointless person contributing nothing at R16.
by Anonymous
reply 18
08/05/2014
[quote]And not just a rote list of every film made in the entire decade of the 1970s. This specific year 1970-71 New York City.
OK:-
Andy Warhol's Trash (1970) Cotton Comes to Harlem (1970) Hercules in New York (1970) Hi, Mom! (1970) I Never Sang for My Father (19700 The Boys in the Band (1970) The Landlord (1970) The Out-of-Towners (1970) Where's Poppa? (1970)
Bananas (1971) Believe in Me (1971) Born to Win (1971) Carnal Knowledge(1971) Cry Uncle! (1971) Shaft (1971) Such Good Friends (1971) Taking Off (1971) The Anderson Tapes (1971) The French Connection (1971) The Gang That Couldn't Shoot Straight (1971) The Panic in Needle Park (1971) Who Is Harry Kellerman and Why Is He Saying Those Terrible Things About Me? (1971)
also from that era:-
What is a "klute" anyway? Sounds gross.
by Anonymous
reply 23
08/05/2014
It was supposed to be gritty and then Bree is explaining clients kinks and she said some want her to "tinkle" on them. The use of tickle blew it on that point.
by Anonymous
reply 24
08/05/2014
We've been so inundated with the MTV Video style of filmmaking in movies and even more so on TV that many people have no patience watching something that doesn't build the story at warp speed.
by Anonymous
reply 25
08/05/2014
The prototype for a million romantic thrillers since, and better than all of them. It's still incredible, still holds up for me, and I was born over a decade later.
by Anonymous
There is slow and deliberate and there is just plain sloooooooow.
by Anonymous
reply 32
08/05/2014
I didn't like the movie all the much, but Fonda was perfect in it. I thought Fonda was really good in only two roles: Bree in "Klute" and Gloria in "They Shoot Horses, Don't They?" In both she played a brittle, cold, humorless, emotionally closed off woman. I don't think it was much of an acting stretch. Jane Fonda has always struck me as being a brittle, cold, humorless, emotionally closed off woman.
She was certainly a stylish-looking hooker. Or maybe her official title was "call girl." That's supposed to be classier than a mere streetwalker. Anyway, her shag hairstyle was all the rage at one time and she looked good in the seventies sexy slut wardrobe that wore.
She talked to call girls and madams as research for the role. But I thought the scene where she's talking to one of the johns before they have sex to be rather hard to believe. I mean, do call girls REALLY act like that? She's talking to him in a fake sexy-smarmy voice, pretending to be turned on by something he wants to do to her (he whispers something in her ear and she purrs "that's exciting" but tells him it's going to cost more) and basically behaving as though she's looking forward to fucking him. Do call girls REALLY go to all that trouble to make the john think she's turned on by him? And when he's lying on top of her she moans "oh my angel"; that seems to be laying it on kind of thick. But it is kind of funny, because as she's murmuring in fake ecstasy she sneaks a look at her watch to make sure the guy gets only the amount of time that he's paid for. Now THAT seemed believeable. But I don't think hookers normally put on a big display of horniness for their clients like Bree Daniels did.
by Anonymous
reply 33
08/05/2014
R33, I'm sure at some point in time a high priced call girl has behaved that way.
by Anonymous
And you would know how call girls in the early 70s act how exactly, R33?
by Anonymous
reply 35
08/05/2014
Saw it decades ago. All I remember is her Irish accent in the audition scenes and "oh my angel" during the fuck.
by Anonymous
reply 36
08/05/2014
[quote]I thought Fonda was really good in only two roles: Bree in "Klute" and Gloria in "They Shoot Horses, Don't They?"
I would add "Barefoot In The Park", "Julia", "Agnes Of God", & "The Morning After".
by Anonymous
reply 37
08/05/2014
Jane Fonda was also fantastic in the TV movie "The Dollmaker" for which, I believe, she won an Emmy.
She also kills it in this scene from "The Newsroom."
Whoever said that all she can do is cold and emotionless bitch hasn't seen her entire oeuvre.
by Anonymous
reply 44
08/05/2014
Wonderful performance by Fonda with great improvisation in the therapy scenes - a time capsule of second-wave feminism on film.
I'm always taken by Fonda in that tight reptilian dress. It's like a chameleon's skin. When she starts unzippping it in front of Klute she presents a perfect metaphor of the film's themes - identity, concealment, role playing, the commodification of the body, and the actress/whore duality.
Love the voyeuristic cinematography in this movie as well - all shadows, overhead angles, window/door frames and reflections. The soundtrack is also excellent - especially the "love theme".
by Anonymous
reply 45
08/05/2014
She was excellent in The Morning After. And some of the films are your list, R19, just plain SUCK. Not every movie shot in New York is a good movie simply because it was shot in New York. The Gang that Couldn't Shoot Straight? Come on.
by Anonymous
reply 46
08/06/2014
R21 I never really understood why she had the "humorless" reputation. Ok, let me rephrase that: I "understand" it, I suppose...it came from her anti-war "crusader persona" and since her films were often very "issue oriented," one persona bled into the other. But if you look at her actual work, she has always been more than capable (meaning very good) at both straight comedy and adding humor to her more dramatic work. The Morning After may be the best example of the latter. I know many think that was a wtf nomination, and as a murder mystery the film isn't exactly great, but it's one of my favorite Fonda performances.
I would say Dunaway is easily more guilty of the humorless charge, both in her performances and in real life. And no, Mommie Dearest doesn't count.
I too saw Klute on TCM this past Saturday, was it? Great movie, though the psychiatrist scenes have always stood out to me as self-conscious. Therapy sessions may be the hardest thing to make believable and/or effective in movies.
by Anonymous
reply 47
08/06/2014
Klute remains a most watchable film, a paean to an era. Jane Fonda's best performance and the only one of her films that I can watch repeatedly. Donald Sutherland's John Klute was perfect, like someone just off the train from Regina.
by Anonymous
Agree on "The China Syndrome", Jane was excellent and so was Jack Lemmon.
by Anonymous
reply 51
08/06/2014
R51 that movie has some of the best/scariest car chases, that they had no score and all you could hear were the screeches only added to the tension.
Lemmon's best performance, too. And yes one of Fonda's best. Too bad Michael Douglas is of the Dubya "nucular" school.
by Anonymous
reply 52
08/06/2014
"He's seen my horrible. He's seen me ugly. He's seen me mean. He's seen me whorey. And it doesn't seem to matter. And he seems to accept me. And I guess having sex with somebody and feeling those sort of feelings towards them is very new to me. And I wish that I didn't keep wanting to destroy it."
I love that. I just really know exactly what she's talking about in that moment.
by Anonymous
It's Jane's skittishness that makes her so sexy.
by Anonymous
reply 54
08/06/2014
"She talked to call girls and madams..."? Uh, no. She did more than that. She watched through peep holes and keyholes. With permission from the women, she watched them during sessions.
And I love-love-love this film. From the madam who pencils in the appointment of an old client--"Mr. Clean!"--to Charles Cioffi, the character actor who tormented Bree, nobody put a foot wrong. This film is perfect.
by Anonymous
08/06/2014
"And you would know how call girls in the early 70s act how exactly>'
Actually, from reading and listening to interviews of women who were prostitutes I never got the impression they went out of their way to make it seem like they were achieving sexual ecstasy while with a client. Maybe some of them do that in hopes the client will fall for it (any client who would think a prostitute is really turned on by them is gullible indeed) and give them a big tip, but prostitutes are generally numb to what's being done to them. They have to be, in order to do what they have to do. But in "Klute", Bree Daniels is putting on quite an act. I don't think a lot of prostitutes would go to all that trouble. But maybe she just wanted to be a very, very good prostitute, one who wants her clients to believe that he actually loves having sex with them. But a guy would have to be very dumb to believe that.
by Anonymous
reply 56
08/06/2014
"She talked to call girls and madams..."? Uh, no. She did more than that. She watched through peep holes and keyholes. With permission from the women, she watched them during sessions."
You seem to be confusing Jane Fonda with Shirley MacLaine. In one of her memoirs, she related how she prepared for her role as Irma La Douce. Researching her role as the happy hooker Irma (contrast the cheerful Irma with the morose Bree), MacLaine, accompanied by an interpreter, went out in search of a Irma-esque hooker to study. She found one in the person of a young woman she called "Danielle", who was supposedly the best hooker around.
One of the "mecs (pimps)" wanted to sell her pornographic pictures to refer to "like a technical advisor" but she declined. Danielle insisted that in order to really know what is it to be a hooker she should watch her "at work." MacLaine said she didn't want to, but surrounded by members of the Paris underworld, she felt it was in her own best interests to go along with it. She watched through a peephole as Danielle and three other hookers serviced a regular client.
Later, trying to figure out what made Danielle tick, she questioned her about her feelings and thoughts and ideas but couldn't get much out of her except "I like my job and it pays well." During one question session Danielle starts trembling and runs out; a madam later tells MacLaine that Danielle was a heroin addict. It seems that she begged her mec to release her from her lucrative "job" and the pimp gave her heroin to numb herself instead. The story of Danielle, the happy, expert hooker, was very sad.
by Anonymous
"Klute" is great, but I loved her best in "Cat Ballou."
by Anonymous
reply 58
08/06/2014
Yep, the only movies I watch with Fonda are Barefoot in the Park, The China Syndrome, Klute and guilty pleasure, The Chapman Report.
by Anonymous
reply 59
08/06/2014
It's funny, I first saw both Klute and They Shoot Horses around the same time maybe five or six years ago. At the time, I thought her performance in Klute was stronger. But now I hardly remember a thing from it and I remember so many scenes of hers from Horses.
by Anonymous
reply 60
08/06/2014
[quote] And some of the films are your list, [R19], just plain SUCK. Not every movie shot in New York is a good movie simply because it was shot in New York. The Gang that Couldn't Shoot Straight? Come on.
And it looks as if r19 did exactly what they were told not to do: googled "1970-'71 New York movies" and listed every one but "Klute". They're even in alphabetical order, fer Christ's sake!
by Anonymous
reply 61
08/06/2014
"Jane Fonda was also fantastic in the TV movie "The Dollmaker" for which, I believe, she won an Emmy."
Apparently "The Dollmaker" was a pet project of hers, so course she would want to star in it. I read the book; I thought she was incredibly miscast as Gertie Nevels, a big, roughhewn, rural woman, a true survivor who had to endure incredible tragedy and bad luck but still managed to keep going. Jane Fonda, with her trembling voice, slender build and pretty, delicate features in no way resembles the Gertie Nevels of the novel. I didn't like her acting much, either; I just didn't find her convincing as a poor woman from Kentucky with a brood of children to feed. But she won an Emmy, I guess because she had the "courage" to take on a role that required her to look tired and worn-out. But she was still movie-star pretty, and I thought that totally ruined the integrity of the story. She was just not the right TYPE for a role like that.
by Anonymous
reply 62
08/06/2014
Give it a rest R19...please....please? Can't we ever just have a nice thread where the people that DO like something talk about it?
Do you have to do this shit every fucking time?
[BLANK],is SO overrated,SO boring, SO derivative. Just fucking STOP!
Klute is one my favorite films. I've watched it many times. Sexy. Terrifying & gorgeously filmed. Amazed that the dumbbells of The DL never get tired of repeating the same schtick. It's exhausting.
by Anonymous
Jane, winning her first Oscar for "Klute".
by Anonymous
reply 67
08/07/2014
[quote]please....please? Can't we ever just have a nice thread where the people that DO like something talk about it?
You mean...if you like a film everyone has to have the same opinion...as you.
[quote]Klute is one my favorite films. I've watched it many times
[quote]Amazed that the dumbbells of The DL never get tired of repeating the same schtick.
Talking of dumbbells...
reply 68
08/07/2014
I saw Klute when it was released in the summer of 71. What a great period that was for going to the movies. Most Hollywood films were made for adults then, not kids and fanboys.
by Anonymous
08/07/2014
"You seem to be confusing Jane Fonda with Shirley MacLaine."
R57, no the person who originally posted was not confusing the two. Jane also spoke with real-life call girls in preparation for her role as Bree Daniels.
by Anonymous
reply 70
08/07/2014
Regarding whether or not a whore would really put on an act like that - remember, Bree is also a wannabe actress. I always took those scenes as showing her trying on a character, practicing her skills.
by Anonymous
reply 71
08/07/2014
Ok, so no mention of "Barbarella." Was that a good flick? My mom saw it when I was a kid and used to make fun of it.
by Anonymous
reply 73
08/07/2014
"no the person who originally posted was not confusing the two. Jane also spoke with real-life call girls in preparation for her role as Bree Daniels."
Jane didn't look through a peephole observing prostitutes plying their trade. Shirley MacLaine, in her memoir "Don't Fall Off The Mountain", recounted how she did just that.
by Anonymous
reply 74
08/07/2014
R62 If you were from the south and had relatives from the era of that t.v. movie, you would be able to understand how Jane Fonda nailed that role. Sorry for coming across as rude.
Jane showed raw and pure acting in "Klute" and that is one of the main reasons as to why the film still lives on.
by Anonymous
reply 75
08/07/2014
I just love this movie. Bree's abject loneliness surrounds her in every scene until the end where she finally is free of it.
And, Sutherland was hot.
reply 76
08/07/2014
"If you were from the south and had relatives from the era of that t.v. movie, you would be able to understand how Jane Fonda nailed that role."
She didn't "nail" the role. She was inadequate in it. Levon Helm, who played her husband, was the one who "nailed" it. He looked and sounded exactly like the type of man he was playing.
by Anonymous
[all posts by tedious, racist idiot removed.]
by Anonymous
reply 78
08/07/2014
R76, Sutherland in Klute is like Tommy Lee Jones in Coal Miner's Daughter. Their excellence is lost because the actresses are so extraordinary in their roles.
by Anonymous
reply 79
08/08/2014
Thanks for the clip R67. That has to be the classiest acceptance speech I have ever seen.
I think Klute is a wonderful film. I've liked almost all of Jane Fonda's work. She can be very funny as in 9-5.
I'm trying to think of a film she made with George Segal that always cracked me up. They play a well to do couple who get poor when he gets fired or something and they support themselves by robbing places. Anyone remember the title of the film?
by Anonymous
| Donald Sutherland |
The Pitt Rivers Museum is in which English city? | Roy Scheider - Film Actor - Biography.com
Roy Scheider
Actor Roy Scheider landed his breakthrough role in 1971’s Klute, and later played Police Chief Martin Brody in the Steven Spielberg-directed film Jaws.
IN THESE GROUPS
“You're gonna need a bigger boat.”
Roy Scheider
Synopsis
Roy Scheider was born on November 10, 1932, in Orange, New Jersey. He made his film debut in The Curse of the Living Corpse in 1964, and landed his breakthrough role in 1971’s Klute. He earned his first starring role in 1973's The Seven-Ups. In 1975, Scheider snagged his best-known role: as Police Chief Martin Brody in Jaws, directed by Steven Spielberg. He died on February 10, 2008, in Little Rock, Arkansas.
Early Life
Actor Roy Richard Scheider was born on November 10, 1932, into a working class family in Orange, New Jersey. His, father, Roy Sr., was an auto mechanic who owned and operated a local gas station. His mother, Anna, stayed home to take care of Roy, who was stricken with rheumatic fever at the age of 6. As a result of his illness, Scheider was forced to spend long periods in bed. To entertain himself, he became a voracious reader. But Scheider didn't let his poor health sideline him for long; Roy, Jr. began helping his father in the family business when he was 8 years old. He also competed in several sports, including boxing, which he participated in through the local YMCA. A 140-pound welterweight, Scheider made it to the finals of the New Jersey Diamond Glove championships in 1951. During the competition, an opponent broke Scheider's nose, giving it its distinctive shape.
By the the time Scheider graduated from Columbia High School in Maplewood, New Jersey, he had nearly recovered from his bout with rheumatic fever. Except for a slight heart murmur, Scheider's doctors gave him a clean bill of health. He headed to Rutgers University in New Jersey to study history, but transferred to Franklin and Marshall College in Lancaster, Pennsylvania, after his first year. At Franklin and Marshall, Scheider got his first true taste of the theater, appearing in several stage productions while he earned his history degree and contemplated law school. But the acting bug hadn't quite bitten for Scheider; instead, he enlisted in the U.S. Air Force in 1955, serving three years and rising to the rank of first lieutenant before he was discharged.
Aspiring Actor
Upon his return from the military, Scheider intended to finally head to law school. But when the drama department at Franklin and Marshall offered him a part in a Shakespeare production, Scheider decided to try his hand at acting again. His performance caught the eye of a Broadway scout, and Scheider made his professional acting debut in 1961, appearing as Mercutio in Romeo and Juliet for the New York Shakespeare festival.
Scheider's film debut came three years later in The Curse of the Living Corpse (1964), a low-budget horror film. He also played minor roles in such films as Paper Lion (1968) and Stiletto (1969) before he landed his breakthrough role in the 1971 thriller, Klute. The movie, starring Jane Fonda and Donald Sutherland, featured Scheider as a pimp for a call-girl ring. The film helped put Scheider on the map in Hollywood, and landed Fonda several awards, including an Oscar and a Golden Globe. Scheider's turn at the award ceremonies would come soon enough; the budding actor landed his first Academy Award nomination that same year for his turn in The French Connection (1971), a film about two undercover cops (played by Scheider and Gene Hackman) who try to bust a heroin cartel. Scheider's fame helped him land his first starring role in 1973, playing a renegade cop in the action flick The Seven-Ups. The film featured some of Hollywood's most spectacular car chase sequences—but received no real recognition from fans or critics.
Big Break
Then Scheider snagged what would become his best known role: playing Police Chief Martin Brody in Steven Spielberg's 1975 film, Jaws. The movie, based on a novel by writer Peter Benchley, told the story of a killer Great White shark who slaughtered unwitting beach-goers in a New England resort town. To save the town's reputation, Brody and marine biologist Matt Hooper take the beast head-on, hoping to kill the creature once and for all. Jaws was an instant smash hit, becoming the first film in movie history to gross more than $100 million and launching the era of the Hollywood blockbuster. One of Scheider's most famous lines in Jaws, the ad-libbed "You're gonna need a bigger boat," was also voted No. 35 on the American Film Institute's list of best quotes from movies.
Mainstream Success
A year after the success with Jaws, Scheider appeared as secret agent Doc Levy in Marathon Man, co-starring Dustin Hoffman and Sir Laurence Olivier. The critically acclaimed thriller, which told the story of a history student caught in an international crime conspiracy, featured Scheider as double agent Doc Levy. For his next project, Scheider had to pass on a part in the Oscar-winning Vietnam War drama The Deer Hunter (the role went to Robert De Niro) to reprise his role as Chief Brody in Jaws 2 (1978). Unfortunately, the action sequel turned out not to be as successful as the original.
But Scheider bounced back from his box-office flop with the 1979 film All That Jazz. The movie gave viewers a sneak peek into the making of a Broadway musical, while also telling the semi-autobiographical story about choreographer and director Bob Fosse. Because Scheider played Fosse, the actor had to learn how to dance for the role. His performance landed Scheider another Oscar nomination, this time for Best Actor.
Scheider's film career slowed down a bit in the 1980s, but the offers kept coming. Memorable appearances included Blue Thunder (1983), 2010: The Year We Make Contact (1984), Russia House (1990) and Romeo is Bleeding (1993). One of his most praised performances during this period was as the wisecracking Dr. Benway in Naked Lunch (1991). On TV, Scheider starred in Spielberg's SeaQuest DSV and frequently appeared in the TV drama Third Watch.
Later Years
In 2004, Scheider was diagnosed with multiple myeloma, a cancer of the white blood cells. In June 2005, the actor underwent a bone marrow transplant and entered partial remission shortly afterward. But Scheider's health problems returned, and the actor died on February 10, 2008, of complications from a staph infection. At the time of his death, Scheider he had two movies due for release in 2008: Dark Honeymoon, which had been completed, and Iron Cross, which was in post-production. Dark Honeymoon, a horror film starring Daryl Hannah and Tia Carrerre, was released in 2008 to little fanfare. After fitful starts and stops, Iron Cross was completed with CGI techniques to stand in for Scheider.
Scheider was married to Cynthia Bebout in 1962. The couple had one daughter, Maximillia, before divorcing in the late 1980s. He married actress Brenda Siemer in 1989, and the two stayed together until his death. Scheider is also survived by son Christian and daughter Molly.
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| i don't know |
What is a person who makes barrels or casks called? | Barrel making
Search billions of records on Ancestry.com
Cooper or Barrel maker
On early census records an occupation listed was "Cooper." I thought it might be fun to let you see what your ancestor did for a living if he was thus employed. Having read many pages on the subject, I set forth, here a synopis of the vocation, trusting that you will folow links for more reading. If anyone would like to add to this, please feel free to write the Baker Block Museum. You will find many of the tools for this trade at the museum. Enjoy!
Cooper - n. - a person whose work is making or repairing barrels and casks (Webster" New World Dictionary). Cooperage, from same source indicates it is the workshop of or work done by a Cooper. For a first-rate look at the process go to: http://www.beekmanwine.com/prevtopah.htm
In the 1800s in Europe as well as in our fledgling country a man skilled at making barrels was an important person. Many goods were shipped and stored in barrels (also called casks, tuns, kegs or hogsheads depending on the area of the world and the size of the container).
We often think in terms of wine or whiskey when we think of the things likely to be contained in a barrel. But, all sorts of foods were stored in barrels. Sauerkraut was fermented and stored in them. Fish, meats and some vegetables were dried and salted then stored and transported in them. Most any item that could be stored for a length of time would be stored in a barrel to keep out vermin. Fragile items such as eggs would be packed in them among layers of straw to keep them cooler as well as to keep them from breaking.
Barrels were great -- they could be rolled down ship gangplanks; have wheels and handles attached to them so a man could cart them about; be strapped onto a pack animal; be strapped together to float behind a raft down a river. One could bury them in a stream or cool earth as refrigerating units. They have been cut in half to feed or water stock, make a cradle for a child, or act as a large mixing bowl for any number of reasons. They were made of any tree that could be worked. Oak was the preferred wood for wine and whiskey casks as the grain is fine and the containers could more easily be made waterproof. Modified, they become butter churns, buckets and wash tubs.
One of the biggest uses for barrels in Northwest Florida in the nineteenth century was in the Turpentine Industry. Differing sized barrels were necessary for the storage and shipping of the products (called Naval Stores), pitch, tar, turpentine and such. Most of the larger camps had their own Cooper, often trained by his father or grandfather. Many were Scots while some were blacks who had been taught by the barrel maker on the plantation where they lived. These men were skilled technicians, fashioning barrels from raw wood through many processes. Often they had to fell a tree, cut it into boards, fashion the correctly sized and shaped staves for a particular type of barrel and dry the wood before they could even start building a barrel. A keen eye was needed to assure there were no knots or weak grain in the wood used. Each stave must be strong and well made. Selecting the right tree for the job was quite a knack and took a lot of experience.
Staves had to be planned for smoothness on the outside and slightly cupped inside. The Bevel on their edges must be precise or they would neither fit together nor hold water. Also the tapering of each stave is critical to its fit. Hoops were made by the local blacksmith. (Earlier barrels were made with wooden hoops.) Staves were soaked so they could be curved properly. Some barrels were burned inside while others might be sealed with glue or pitch. Any that were to be used for food storage, needed to be relatively airtight (tight cooperage) so sealing material would not contaminate foodstuffs. "Slack cooperage" refers to containers that were not tight but would be fine for flour, grains and other non-liquids.
There is a very interesting book called "The 'Possum Hunter and the Tar Heels" -- historical novel of post Civil War days. The author, James S. Willoughby experienced many of the things he writes about and fills in with research on things which he does not know about. "Mr. Willoughby has earned his living largely as a self employed turpentine operator . . . running a sawmill and pulpwood operation . . ." Willoughby tells about the turpentine industry's use of barrels and a cooper's trick to keep the staves from falling apart before the hoops were secured on each end of the barrel. The cooper made a "barrel" that was shorter and a bit smaller in diameter than the one he would be making. He then used this form to prop up the staves, placing them all around the form and then drawing a hoop down over the ends. He then turned the staves up the other way over the form and drew another hoop over that end. To understand the process, you might try taking a bunch of sticks and placing them next to one another in a circle, trying to keep them from falling until you can gather them together with a hoop. It is not easy!
Barrel parts are:
Stave - the specially shaped board which with 24 to 36 of its kind makes the body
Hoop - circle of iron; several are used to hold the barrel together. Each is driven onto the barrel with the Hoop Driver and a hammer.
Head - top or bottom of barrel generally made of several staves cut to size
Croze - groove about an inch and a half below the rim in which the head sits or the tool (below) for making this groove
| Cooper |
Edmund Tudor, 1st Earl of Richmond and Lady Margaret Beaufort were the parents of which Engllish monarch? | Chapter 5 - Maturation of malt whisky, about wood and casks
And their word is law.
So, WOOD plays a crucial role in the development of a malt
whisky. First of all there's the species of OAK that is used by
the COOPER to make the casks. Only oak casks are used.
Not only because it's a legal requirement; oak is flexible and
solid at the same time while it adds very distinct elements to
the spirit inside the cask as well. Just like all French cognacs
have been matured exclusively in Limousin oak casks, only a
few oak species are used for whisky casks; White American
oak ( Quercus alba) and European oak (Quercus robur).
Interestingly enough, the fact that it does mature in oak casks was
discovered only by accident. In the old days wooden casks were used
merely as vessels for the freshly distilled spirit. A lot of the spirit was
consumed before it ever got the chance to evolve into anything that
smelled or tasted like the whisky we drink today. Nevertheless, here
and there some casks were left alone long enough to age in peace.
During those months or even years the rough spirit became whisky.
I can only imagine the drunken delight of the lucky Scotsman who discovered the
secret of maturation in an oak cask. Scotsmen like to gossip (at least that's what I've
been told by other Scotsmen). It wasn't long before the news of the wonders of wood
became known to more people and after a while most customers developed a clear
preference for the matured stuff. Nowadays the wood works its magic for at least 3
years before a spirit is bottled as a Scotch whisky. Younger spirits can't be legally sold
as Scotch whisky, but I've actually sampled a few young spirits that are just stunning.
Did I say that whisky does not
mature after being bottled? Well,
it actually does - but very slowly.
More information on the process
of oxidation can be found in the
10 - Conclusion
However, not only the type of wood of the cask is important. Factors like the size and shape of the cask
can have their own influence on the whisky inside as well. However, I'll get into that topic later on...
So, now the whisky is distilled - can you drink it yet? Not quite.
Well, you CAN, but it won't be much fun. Just like a fine wine, a malt
whisky is shaped by many different influences; the type of water at
the distillery, the shape and size of the pot stills, the climate within
the warehouse, etc. But unlike a fine wine (or even a not so fine one),
a single malt whisky hardly ages or changes, after it has been bottled .
Ex-Bourbon Casks versus Ex-Sherry Casks
The standard ex-bourbon cask holds some 200 liters of whisky.
It is usually called a BARREL and has been used only once for
the maturation of bourbon in the US before it was taken apart
and shipped to Scotland. There are many different brands like
Jack Daniels, Jim Beam, George Dickel, Maker's Mark, Old Crow,
Wild Turkey & Four Roses, but all these bourbons are actually
produced at just a handful of distilleries. The precise heritage
of the bourbon casks is considered a topic of relatively minor
importance. That seems rather odd when you look at all the
fuss that is made about the trouble that some blenders go
through to secure just the right sherry casks or wine casks
for their compositions. Bourbon barrels are usually heavily
charred on the inside. The carbon from the burnt layer not
only acts like a filter (removing certain nasty elements from
the spirit), it also helps to transfer vanilla and woody notes
to the bourbon. In its 'second life' in Scotland a cask keeps
influencing the contents. However, the effect that the wood
has on the whisky inside a cask slowly diminishes over time.
This is especially true when a cask is used 'more than once'.
The casks that Americans use (just once) for their bourbons
are made from the oak trees that grow in America - which is
another species (Quercus alba) from European Quercus Robur.
Most American oak casks are sourced from Kentucky, Missouri
and Tennessee. As I mentioned earlier, the size of the casks is
much more standardised (+ 200 liter) than that of sherry casks.
Sherry casks are usually larger than bourbon barrels and come
in several different sizes. A HOGSHEAD holds 250 liters, while
a BUTT is twice that size with 500 liters. Distilleries sometimes
use other sizes (like the 450 liter PUNCHEON ) as well, but the
vast majority of the casks are still barrels, hogsheads & butts.
Just like the discovery of the significant benefits of maturation
in oak casks, the magic of sherry was uncovered by accident.
Scotland relied on oak trees from the forests of England for
a long time, but at some point distilleries needed to find an
alternative source for their casks. Sherry (fortified Spanish
wine) was once very popular on the British isles. Actually,
it still is - the UK alone takes care of a whopping 29% of
the world's sherry consumption, with Holland coming in a
close second with 27%. The sherry bodegas use Quercus
Robur for their casks - i.e. European Oak. There are many
different 'types' of sherry, which means there are different
types of sherry casks as well. To name just a few of them;
Fino, Oloroso, Manzanilla, Amontillado, Pedro Xim�nez, etc.
Are you dizzy yet? No? Good - then you might like to learn
that 'Pedro Xim�nez' is also the name of the grape species
used for sherry. In fact, only two species of grape are used
for the production of sherry; the other one being 'Palomino'.
Compared to the 1970's, sherry consumption in Holland and
the UK has dropped off dramatically. As a results, production
of sherry dropped as well - and therefor availability of casks.
Anyway, sherry used to be shipped from Spain to England by the cask. Alcoholism was running rampant in those days, so empty and discarded
sherry casks were littering the 19th century Scottish landscape very much
like empty beer cans and bottles are doing today. In one of the world's
first recycling initiatives the Scots started picking up those second hand
sherry casks to use them again for the maturation of their whiskies.
And then use them again & again & again - waste not want not...
| i don't know |
How many planets are in our solar system have rings? | How many planets in the Solar System have rings? | Cool Cosmos
How many planets in the Solar System have rings?
Four the planets in the Solar System have rings. They are the four giant gas planets Jupiter, Saturn, Uranus, and Neptune. Saturn, which has by far the largest ring system, was known to have rings for a long time. It was not until the 1970s that rings were discovered around the other gas planets. The rings around Jupiter, Uranus, and Neptune are much smaller, darker, and fainter than the rings of Saturn. Rings around gas giants are thought to be transient over the the lifetime of the planetary system. That is, if we had lived at a very different time, perhaps we would not see big rings around Saturn, but another one of the gas giants.
Continue the conversation on
| four |
Red Max, Professor Pat Pending and Blubber Bear are characters in which children’s tv series? | How many planets in the solar system have rings around them? | Reference.com
How many planets in the solar system have rings around them?
A:
Quick Answer
There are four planets in the solar system that have rings around them, namely Jupiter, Saturn, Uranus and Neptune. These planets are classified as "jovian" planets, and they are massive balls of gas surrounded by rings and moons. The rings surrounding these gas giants consists of tiny fragments of ice and rock that orbit each planet as if they were miniature moons.
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Edouard Daladier became Prime Minister of which country in 1933? | Edouard Daladier
Edouard Daladier
▼ Primary Sources ▼
Edouard Daladier
Edouard Daladier was born in Carpentras, France, on 18th June, 1884. Daladier studied at Lyons under Edouard Herriot and as a member of the Radical Party , he was elected as mayor of Carpentras in 1911.
In 1911 Daladier entered the Chamber of Deputies. Nicknamed the "Bull of Vaucluse", he eventually replaced Herriot as leader of the party. In June, 1924, Daladier was appointed as minister of the colonies. Over the next nine years he held several posts including minister of war.
Daladier became prime minister in January, 1933, but his government only survived for seven months. A second government, in 1934, only lasted for a few weeks.
Concerned by the emergence of Adolf Hitler in Nazi Germany , a group of left-wing politicians, led by Leon Blum , Maurice Thorez , Edouard Herriot , Daniel Mayer formed the Popular Front in 1934. Parties involved in the agreement included the Communist Party , the Socialist Party and Daladier's Radical Party .
The parties involved in the Popular Front did well in the 1936 parliamentary elections and won a total of 376 seats. Leon Blum , leader of the Socialist Party , now become prime minister of France and Daladier became Minister of War.
Once in power the Popular Front government introduced the 40 hour week and other social reforms. It also nationalized the Bank of France and the armaments industry.
At the beginning of the Spanish Civil War Daladier supported Blum's attempt to provide military aid to the Popular Front government in Spain . However, after coming under pressure from Stanley Baldwin and Anthony Eden in Britain , and more right-wing members of the government, he changed his mind and began advocating a policy of neutrality.
In April, 1938, Daladier once again became prime minister. He was a supporter of appeasement and on 29th September, 1938, he joined with Adolf Hitler , Neville Chamberlain and Benito Mussolini in signing the Munich Agreement which transferred to Germany the Sudetenland , a fortified frontier region that contained a large German-speaking population.
| France |
On a standard dartboard, what number lies opposite 17? | The World at War - Reynaud
Biography
Edouard Daladier
French politician and three times premier of France, signer with Neville Chamberlain of the Munich Pact.
Edouard Daladier was born June 18th, 1884 at Charpentras in France and died October 10th, 1970 in Paris. He was educated as a lawyer and survived four years of trench warfare during World War I. His wartime experiences had a strong effect on Daladier and go far to explain his willingness to appease Hitler. After the war he entered politics and was elected to the Chamber of Deputies in 1919 as a member of the Radical Party from Vaucluse. Daladier quickly made his mark in Paris. In June 1924 he joined the first Herriot government as the minister of colonies. In the turbulent years from 1925 to 1933 he served in several different Cabinets as minister of war, minister of public instruction, or minister of public works.
On Jan. 31, 1933, he formed his own government, but it survived only until October 1933. In January 1934 he formed a second ministry that survived only four weeks. He continued to move in and out of ministerial assignments as he led his Radical Party into the Popular Front, a coalition with Leon Blum's Socialists and the Communist Party in 1935. Amid a deteriorating international situation, Daladier, in his effort to avoid war, joined the British prime minister, Neville Chamberlain, in signing the Munich Pact with Adolf Hitler's Germany. When France fell to Germany in June of 1940, Daladier was one of those who sought to escape to French North Africa to set up a government-in-exile, but in Morocco he was arrested on Vichy orders and brought back to France. At his trial in Riom in February 1942, he and the other defendants accused the Philippe Pétain group of partial responsibility for the failure to prepare for war. He thereafter was handed over to the Germans, whose prisoner he remained until 1945. After the war he returned to the Chamber of Deputies from 1946 to 1958. He became president of the moribund Radical Party in 1953, and opposed de Gaulle's new constitution of 1958 after which he retired to write lengthy justifications of his record and cast aspersions on Paul Reynaud and Charles de Gaulle. Even in victory he could not let go the partisan past that had proved so costly to France.
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Which year does Michael J Fox travel back to in the 1985 film ‘Back to the Future’? | Back to the Future (1985) - IMDb
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Marty McFly, a 17-year-old high school student, is accidentally sent 30 years into the past in a time-traveling DeLorean invented by his close friend, the maverick scientist Doc Brown.
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Won 1 Oscar. Another 18 wins & 26 nominations. See more awards »
Videos
After visiting 2015, Marty McFly must repeat his visit to 1955 to prevent disastrous changes to 1985...without interfering with his first trip.
Director: Robert Zemeckis
Enjoying a peaceable existence in 1885, Doctor Emmet Brown is about to be killed by Buford "Mad Dog" Tannen. Marty McFly travels back in time to save his friend.
Director: Robert Zemeckis
A cyborg, identical to the one who failed to kill Sarah Connor, must now protect her teenage son, John Connor, from a more advanced cyborg.
Director: James Cameron
Archaeologist and adventurer Indiana Jones is hired by the U.S. government to find the Ark of the Covenant before the Nazis.
Director: Steven Spielberg
During a preview tour, a theme park suffers a major power breakdown that allows its cloned dinosaur exhibits to run amok.
Director: Steven Spielberg
When Dr. Henry Jones Sr. suddenly goes missing while pursuing the Holy Grail, eminent archaeologist Indiana Jones must follow in his father's footsteps and stop the Nazis.
Director: Steven Spielberg
A computer hacker learns from mysterious rebels about the true nature of his reality and his role in the war against its controllers.
Directors: Lana Wachowski, Lilly Wachowski
Stars: Keanu Reeves, Laurence Fishburne, Carrie-Anne Moss
1 2 3 4 5 6 7 8 9 10 8/10 X
A seemingly indestructible humanoid cyborg is sent from 2029 to 1984 to assassinate a waitress, whose unborn son will lead humanity in a war against the machines, while a soldier from that war is sent to protect her at all costs.
Director: James Cameron
After the rebels have been brutally overpowered by the Empire on their newly established base, Luke Skywalker takes advanced Jedi training with Master Yoda, while his friends are pursued by Darth Vader as part of his plan to capture Luke.
Director: Irvin Kershner
Forrest Gump, while not intelligent, has accidentally been present at many historic moments, but his true love, Jenny Curran, eludes him.
Director: Robert Zemeckis
Luke Skywalker joins forces with a Jedi Knight, a cocky pilot, a wookiee and two droids to save the galaxy from the Empire's world-destroying battle-station, while also attempting to rescue Princess Leia from the evil Darth Vader.
Director: George Lucas
When a Roman general is betrayed and his family murdered by an emperor's corrupt son, he comes to Rome as a gladiator to seek revenge.
Director: Ridley Scott
Edit
Storyline
Marty McFly, a typical American teenager of the Eighties, is accidentally sent back to 1955 in a plutonium-powered DeLorean "time machine" invented by a slightly mad scientist. During his often hysterical, always amazing trip back in time, Marty must make certain his teenage parents-to-be meet and fall in love - so he can get back to the future. Written by Robert Lynch <[email protected]>
17 year old Marty McFly got home early last night. 30 years early. See more »
Genres:
3 July 1985 (USA) See more »
Also Known As:
Volver al futuro See more »
Filming Locations:
£461,194 (UK) (1 October 2010)
Gross:
70 mm 6-Track (70 mm prints)| Dolby (35 mm prints) (as Dolby Stereo)
Color:
Did You Know?
Trivia
Doc Brown refers to "jigawatts" of electricity. This is the now-obscure but once-standard pronunciation of the word "gigawatt", one billion watts. Nowadays it is usually pronounced with a hard "g" as in "gander" and "gold". In neo-Latin languages, still, it's pronounced with a soft "g". So he chose it. See more »
Goofs
The boy from whom Marty borrowed the skateboard can be seen behind the manure truck right after Biff hits it with his car. In the very next shot, he is on the sidewalk closer to Marty. See more »
Quotes
[first lines]
1985 Radio Announcer : October is inventory time, so right now, Statler Toyota is making the best deals of the year on all 1985-model Toyotas. You won't find a better car at a better price with better service anywhere in Hill Valley. That's Statler Toyota in downtown Hill Valley.
See more »
Crazy Credits
The character Marty McFly is credited as a performer on the song "Johnny B. Goode". It is actually sung by Mark Campbell with a guitar solo by Tim May . See more »
Connections
Performed by The Four Aces (as Four Aces)
Courtesy of MCA Records, Inc.
(Fraggle Rock) – See all my reviews
Zemeckis's 'Back To The Future' trilogy has been a childhood favourite for a long time. Having revisited it today, brought me to a nostalgic state. The 80's saw a lot of excellent original fun 'young' films like 'Back To The Future' (of course), 'Better Off Dead', 'Heathers', 'The Breakfast Club' etc. What really made these films immensely enjoyable then, and classics today, is that they really reflected what it was like being a young person in the 80s. The movies themselves were well written, well executed, well acted and they cut straight to the point.
Back to 'Back To The Future'. This one is sheer fun, even today. There's an incredible energy about it but it still manages to stay an 'innocent' film. The music is very effective. It's slick and follows a steady pace. The special effects are decent. Though people might pick on the plausibility of the time travelling, I think this is really a very minor flaw because it is overall a well written movie and the point was to entertain. Yet, this is not to say that it's brainless entertainment. I think it cleverly brings forth some interesting themes and I liked how they funnily used some ideas of Oedipus Rex's story.
The acting is superb overall. Christopher Lloyd as the over-the-top mad scientist is a laugh riot. Michael J. Fox totally owns Marty McFly with his natural charisma, raw energy and brilliant dialogue delivery. Lea Thompson is cute and vivacious and Crispin Glover is good.
'Back To The Future' is one of the most enjoyable time-travelling classics. It's over 23 years old and it still hasn't gotten old. Sadly, they don't make it like this these days but then again we always can revisit them. That's why they're classics.
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| one thousand nine hundred and fifty five |
Geel is Dutch for which colour? | Back to the Future Part III | Futurepedia | Fandom powered by Wikia
Back to the Future Part III
Back to the Future Part III
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"They've saved the best trip for last... But this time they may have gone too far."
—Tagline for the film
Back to the Future Part III
Directed by
James Horner (Universal logo only)
Distributed by
Back to the Future Part III is a science fiction western comedy movie starring Michael J. Fox , Christopher Lloyd and Mary Steenburgen that opened on May 25 , 1990 . It is the third and final part of the Back to the Future trilogy , following Back to the Future and Back to the Future Part II . The film is mostly set in the year 1885 with some time in 1955 and 1985 .
Contents
Synopsis
Going to 1885
Like Back to the Future Part II, Back to the Future Part III picks up where the previous film left off. On November 12 , 1955 , Dr. Emmett Brown is shocked to see Marty moments after sending him back to 1985 and he faints outside of the Hill Valley Courthouse . Marty takes him back to the mansion to recover. Once Doc regains, he briefly assumes that what he saw was just an "residual image", but resumes his state of shock when he reliazes Marty's right behind him. After calming down, he uses a magnifying glass to read aloud a letter from his future counterpart explaining that he has been accidentally sent back to 1885 by a lightning bolt, damaging the time circuits which Doc was unable to repair since the only suitable parts wouldn't be invented until 1947. Enclosed is a map describing where the DeLorean time machine is located, with the letter mentioning that in the DeLorean are instructions on how to repair it using 1955 components so that Marty can return to 1985; once he has arrived back, he must destroy the time machine. The 1985 Doc explains in the letter that he doesn't want Marty to come and pick him up from 1885; he is perfectly happy there and has accepted his new life as a blacksmith in the Old West, as well as fearing that unnecessary time travel will cause further damage to the space/time continuum. After they recover the DeLorean from an abandoned gold mine , the excavation of which is documented using Doc's camera , they discover a tombstone bearing Doc's name and stating that he died on September 7, 1885, only six days after writing the letter. The tombstone also reads that Doc had been shot in the back by Biff 's great grandfather Buford "Mad Dog" Tannen "over a matter of eighty dollars" and was erected for him "by his beloved Clara", a name which Doc doesn't recognize. Marty takes a photograph of the tombstone. Going against the 1985 Doc's instructions to go immediately back to that year and then destroy the time machine, Marty decides to go back to 1885 to rescue his comrade.
Doc restores the DeLorean to working order with replacement parts that are available in 1955. It is now equipped with historic whitewall tires (to replace the original tires which had long since rotted away), and a tray of vacuum tubes strapped to the hood to replace the damaged time circuit control microchip. The time machine's flying circuits were also damaged, as mentioned in the letter, so the car will never fly again. Doc and Marty take the fixed DeLorean to the Indian-motifed Pohatchee Drive-In Theater outside of town. Marty, wearing a novelty cowboy costume, takes off from the back of the lot and heads towards the screen tower, reaching the required 88 mph and transports to September 2, 1885 just before hitting the tower.
The time machine gets a warm welcome by Native Americans in 1885.
After surviving scares from Indians , the Cavalry chasing them, and a black bear residing in the cave Marty hides the DeLorean in (during which the DeLorean's fuel line is ripped), he finds refuge with his own great-great-grandfather Seamus McFly (also played by Michael J. Fox). He introduces himself as " Clint Eastwood ", and Seamus, followed reluctantly by his wife Maggie, agree to help Marty find his "blacksmith friend". The next day, Marty goes into Hill Valley, and goes into the local saloon to try and find out where Doc lives. Buford shows up however, and picks a fight with Marty, in no small part due to the ridiculous "Western" clothing given to him by the 1955 Doc. The result is a chase that ends with Buford and his gang attempting to hang Marty from the partly-complete clock tower, at which point Doc shows up carrying a rifle with a full-size telescope attached to the top as a rifle-sight. Doc severs the rope with a single shot, saving his young friend. Buford then demands $80 from Doc to replace a horse he shot a few days previously, along with a bottle of Kentucky Red-eye, blaming a horseshoe Doc attached (a job which Buford didn't pay for). Doc refuses, and Buford promises to kill him. Doc takes Marty back to his workshop, and the two are set to return home when Marty mentions that the car is out of gas, much to Doc's horror. Marty is unconcerned, believing they can use " Mr. Fusion " to draw energy from any object placed inside to power the time machine, but Doc tells Marty that Mr. Fusion only powers the time circuits and flux capacitor . The actual car has always run on unleaded gasoline . "There won't be a gas station around until sometime next century...", hence they are out of gas and luck (the exact opposite problem to the first movie: enough power, not enough propulsion). Doc's first idea is to get a team of horses to pull the DeLorean to 88 mph, but this is obviously a flop, as the car barely breaks 20 mph. The second plan is to fill the DeLorean's gas tank with the strongest whiskey from the saloon; unfortunately this proves too volatile and destroys the engine's fuel injector.
The plan to return to 1985
Marty McFly even dresses like Clint Eastwood
Doc devises a plan to push the DeLorean with a train locomotive across a bridge over Shonash Ravine (which they know as Clayton Ravine) that has not been completed yet, but will be in use in 1985 when Marty arrives. However, Doc finds himself infatuated with the town's schoolteacher Clara Clayton after rescuing her from falling into the ravine. Afterwards, Marty realizes that Clayton Ravine was supposed to be named after her, remembering the story that it was named after a schoolteacher who fell in. Doc is shocked that he saved a person who was meant to die, and this deepens his resolve to destroy the time machine.
Soon after, Marty and Doc attend the town festival which is also doubling as the inauguration of the clock tower which is still being built, with Marty and Doc getting a photo in front of the clock before it is set in place. However things take a turn for the worse when Buford arrives to kill Doc, two days earlier than the date of death revealed on his tombstone. Buford reveals to Doc that the last time he shot a person with a derringer , a small pistol that can only fire a single shot, it took two days for them to bleed out. Marty foils his attempt to shoot Doc by flinging a plate at Buford's hand (causing the derringer to go off harmlessly in the air, wasting Buford's only shot) and tells Buford to leave his friends alone. When Marty starts to leave, Buford calls him " yellow ", Marty's self-control crumbles, and now Marty is challenged to a duel that Monday morning.
The next day however, Marty notices that a photo he took of the Doc's gravestone has changed... now the tombstone is blank. Doc points out that the tombstone may be blank but since it's still actually present means that one of them could be dead on Monday. Marty tells Doc that he will leave with him in the DeLorean on Monday, but "if Buford Tannen comes looking for trouble, he's gonna get it." Doc warns him that he shouldn't get mad every time someone calls him a name because that what causes him to "get into that accident in the future" referring to the Rolls-Royce incident mentioned in Part II. Marty is curious at what Doc means, but the Doc does not tell because "it could make things worse". Marty tries again, and asks, "Doc, what is wrong with my future?" but his friend just answers "Marty, we all do things that affect the course of our lives. You gotta do what you gotta do, and I gotta do...what I gotta do".
Later that night, Doc tells Marty that he wants to stay with Clara in 1885 because he is in love with her, but Marty talks him out of it. Marty suggests that Clara come with them, but Doc rejects the idea and sadly notes that travelling through time is too painful. Going to Clara's house, Doc angers Clara by telling her that he is a scientist from 1985 and that he has a time machine. Clara thinks Doc is making fun of her and lying, so she slaps and rejects him. While Clara starts weeping, Doc, who is heartbroken, goes to the Palace Saloon to get drunk. The next day, Marty finds Doc at the bar before he drinks his glass of whiskey but is too late to prevent Doc from drinking it. Marty tends to the unconscious scientist and revives him just in time to fight Buford. Outside, Marty looks at the photo of the gravestone, and the name "Clint Eastwood" appears. During the fight while using a gun, Buford angers Marty by trying to shoot him, and Marty kick the gun out of Buford's hand. However, Marty is able to defeat Tannen with a trick the real Clint Eastwood once used, and punches him into a wheelbarrow full of manure . The sheriffs come to arrest him, and when asked if he has anything to say, Buford spits out manure, and exclaims, "I hate manure!" Marty looks at the photo of the tombstone, which was broken in half during his fight with Buford, just in time to see it vanish from the picture. Doc and Marty then leave to go "borrow" the locomotive.
Meanwhile, Clara prepares to leave town but then hears from a traveling salesman just how upset Doc is that he hurt her. Clara stops the train and returns to his workshop, finding the model that Doc prepared to illustrate his plan to push the DeLorean and realizes he was telling the truth. She quickly leaves to catch him.
Holding up the train, Doc and Marty tells him to detatch the train from the coaches. When the driver asks if it is a hijack, Marty and Doc look at each other, and Doc answers, "It's a science experiment!" In order to get the train up to 88 m.p.h., he is intending to use special Presto logs to push the train far above its maximum speed. This will destroy the train's engine, but should do the trick. They then put the DeLorean in front of the train and begin to push it, with Doc in the cab to insert the logs and Marty waiting in the car. Neither notices Clara catch up and board the train.
Marty holds out his hoverboard for Doc to catch with his feet.
As Doc is climbing on the outside of the train to reach the DeLorean, Clara blows the train's whistle. As there's no way to slow the train down in time before they hit the ravine Doc goes back for her, making the decision to take her back to the future. Before he can reach her however, the train releases an explosion as the final log ignites, causing Doc to lose his footing and Clara to hang precariously as the train sharply speeds up. Luckily, Marty is able to slip Doc the hoverboard he took back with him from 2015. Doc rescues Clara just in time. However the DeLorean is about to hit 88 mph and there's no time to get them aboard so Marty is forced to go back to the future himself. As the DeLorean hits 88 m.p.h. and disappears the train flies off of the bridge, crashing into the valley, and is destroyed in a spectacular explosion.
Back in 1985
Marty escapes from the DeLorean before its destruction.
Upon arriving back to October 27, 1985 at Eastwood Ravine (named after Marty's pseudonym), the DeLorean returns to the present. As the car rides along the rails, Marty gets several strange looks from onlookers but is too relieved to be back to worry. A few seconds after the DeLorean finally stops, Marty suddenly hears a loud horn and sees a massive freight train heading towards him. He barely has time to escape from the car before the train plows through and completely demolishes it. Marty returns to the wreckage seconds later, knowing that Doc's wishes have been fulfilled and the time machine has been destroyed but is terrified as it means Doc is trapped in 1885 and Marty will never see him again.
Marty then reunites with his girlfriend Jennifer and his family (as well as Biff) at home - in relief that everything had returned to the now-normal 1985 after the events of Back to the Future Part II. On their way to the wreckage in Marty's truck, Marty runs into Needles and his gang, who challenges him to a speed race at a traffic light. Jennifer tries to persuade Marty not to accept it, but when Needles calls Marty a " chicken ", Marty shifts the truck into gear and looks like he is going to take the challenge. However, a few seconds later, while Marty listens to Jennifer by using his better judgment, he escapes the challenge by shifting the truck into reverse gear, having decided he doesn't care what a jerk like Needles thinks of him; he then discovers that if he had gone on with the race, he would have hit a Rolls Royce (see Marty McFly page). In 2015, Jennifer had overheard Marty's mother and daughter talking about how Marty was sued by the driver and, because he injured his hand in the accident, he gave up his dream of being a rock star. She looks at the fax she kept of Marty McFly's firing in 2015 as the words "YOU'RE FIRED!!!" fade away, causing her to exclaim "It erased."
The new time machine, in the form of a steam locomotive.
He returns to the DeLorean's wreckage site with Jennifer. Thinking he would never see Doc again, Marty is surprised as the railroad crossing lights activate without a train in sight. The Doc has returned to 1985 in a new time machine , fashioned in the form of a modified 1880s -era locomotive, which runs on steam as the Doc says, with the Flux Capacitor located on the front. Doc is now married to Clara and they have two sons, Jules and Verne (named after Clara and Doc's favorite author, Jules Verne ). He gives Marty a gift... the framed photo that the two took in front of the clock, with the inscription "To Marty, Partner in Time. September 5th, 1885" Jennifer asks about the fax, and Doc assures her that the future isn't set in stone but whatever they make of it... and tells them to make it a good one. Marty asks Doc if he's going back to the future, but Doc tells him that he's already been there. The two watch as the train itself lifts off of the track and turns around in midair, much like the DeLorean did in Part I , accelerates toward the viewer, and with Marty and Jennifer waving goodbye the train vanishes into another time, as the movie and the story come to an end before the cartoon begins.
Release and recognitions
The movie grossed US$23 million in its first weekend of US release and $87.6 million altogether in US box office receipts – $243 million worldwide.
In 1990, the movie won a Saturn Award for Best Music for Alan Silvestri and a Best Supporting Actor award for Thomas F. Wilson . In 2003, it received AOL Movies DVD Premiere Award for Best Special Edition of the Year, an award based on consumer online voting.
On December 17 , 2002 Universal Studios released Back to the Future Part III in a boxed set with the first two films on DVD and VHS which did extremely well. In the DVD widescreen edition there was a minor framing flaw that Universal has since corrected, available in sets manufactured after February 21 , 2003 .
The three films were re-released in 2009 individually on DVD, and in a 25th anniversary set on October 26, 2010 on Blu-ray and DVD.
Cast and crew
| i don't know |
Ascham, Clout and Limbs are all terms used in which sport? | ARCHERY TERMS GLOSSARY - Legend Archery
ARCHERY TERMS GLOSSARY
Actionwood: A preferable choice of material used for primary arm which is made using ‘rock maple’.
Aluminium: A popular choice of metal that is used in the making of modern time arrows.
Aim: A focused attempt for directing the arrow towards its goal.
Anchor: A stable spot of the bowstring arm (on jaw/cheek) during the aim. Also known as ‘anchor point’.
AMO Length: The systematic length for gauging the bowstrings. Here, AMO stands for ‘Archery Manufacturers and Merchants Organization’
Archer: Archer is an individual who is well versed in shooting by using a bow and arrow.
Archer’s Paradox: The reaction that is being produced by the bending of an arrow as it departs from the bow.
Archery: The method of shooting the arrows by making use of a bow.
Arm guard: A strap on the bow arm that is used for protection against the impact of the bowstring during release.
Arrow: The projectile shot using a bow. Most typically, it would be a linear, slender rod.
Arrowhead: This is generally a distinctive piece that is sealed to an arrow shaft. This is the hitting end of an arrow.
Arrow Nock: A notch at the edge of an arrow for accepting the bowstring.
Arrow Plate: A piece of shell that is placed on the lateral side of the bow and above the handle where the arrow crosses when it is expelled from the bow. The function of the arrow plate is to get the arrow chaffing during the release.
Arrow Rest: A tool on the arrow shelf that is used for holding the arrow until the release.
Arrow Shaft: A rod from which the arrow is made. This is the arrow before it is cut, feathered and pointed.
Arrow Shelf: This is where the arrow sits and is above the bow’s handle/grip.
Arrowsmith: This term is widely used for denoting the person who makes an arrow although originally, this was used to denote the person who makes arrowheads.
Ascham: A wooden cabinet in which the bows and/or arrows are stored.
Back: The surface of the bow that is facing away from the person who draws the bow.
Backing: A piece of material that is placed at the bow’s back for strengthening the limbs.
Backset: A bow design in which the limbs face away from the archer (backward in reflex position). This would preload the limbs upon bracing.
Ballista: A larger cross-bow of the middle ages that had the capacity to fire larger rocks.
Banana Fletch: A feathering design which has the highest part of the arc at the center. Both the ends will be tapered equally.
Barb: A protuberance on an arrow which makes it difficult to pull back.
Barebow: The process of shooting without any bow sight or release aids.
Barrelled Arrow: An arrow design in which it is heavier at the center and tapered towards both the ends.
Belly: The side of the bowstring which would face the shooter at the time when bow is drawn.
Billet: A short piece attached at the handle for making selfbows. Billets will be split side by side in the same log for getting identical limb performance attributes.
Blunt: An arrow without a sharpened head. This is usually designed for use in small games.
Bob-tailed Arrow: An arrow design in which it is bulkier at the pile margin while it is tapered towards the notch.
Bodkin: An arrow design of the middle ages in which the arrowhead is conical-shaped with 3 to 4 sides. Used for penetrating chain mail armor.
Bolt: An arrow that is released using a crossbow.
Bow: A vehicle which is used to propel the arrow. Most typically, it will be longer. There will be a string for connecting the ends.
Bowhunter: An individual who is hunting by making use of a bow and an arrow.
Bowyer: A person one who involved in crafting, building and making bows.
Bow Sling: A strap attached to the bow/shooter’s hand for preventing the bow from dropping onto the ground while shooting.
Bow Sight: A machine that is adhered to the bow which will be used by the shooter for aiming at the target.
Bow String: A multi-stranded cord that is coiled to the notches of the bow. Used for drawing the bow.
Brace Height: The distance between the cord and intense part of the bow’s handle.
Bracing: The method of threading the bow by having the loops of the bowstring in position in the nocks for shooting purposes.
Broadhead: A large arrowhead with sharper razor-like edges. This is primarily used in bow-hunting.
Brush Button: A piece of rubber that is kept on bowstring where it touches the belly. This would prevent the brush from getting arrested.
Bull’s Eye: The nucleus of the target or the point which has highest score points.
Butt: A pile of earth on which the targets are placed.
Cables: Plastic-covered steel materials fastened to the bowstrings. They serve along with cams during the process of draw and execution of the fire.
Cam: An elliptical-shaped pulley at the end of the limb in a compound bow that is used for providing power.
Cant: To lean the bow to the right/left while drawing the arrow at full force. The direction of tilting will be determined by the top limb’s position.
Carriage Bow: A bow design in which it is connected below the handle in a metal cap for making it easy to transport.
Cast: The maximum distance that a bow can shoot an arrow.
Centerline: A linear line running through the center of the bow’s handle and extending through the middle of the limbs to the limbs’ tips.
Center Serving: A protective covering at the middle of the string that is wound where the arrow is notched.
Centershot Bow: A bow design in which the sight window is cut beyond the centerline of the bow.
Chested Arrow: An arrow design where it is bulkier towards the notch and tapered towards the pile.
Clicker: Equipment which is used for pointing out the optimal draw length of the shooter.
Clout Archery: The practice of archery in which the shooters will aim the arrow towards a clout (a flag) from longer distances.
Cock Feather: The feather which is placed in right angle to notch and is differently-colored than the other two.
Composite Bow: A bow which is made by binding multiple layers of different materials together.
Compound Bow: A modern type bow which is using a set of cords and pulleys for gaining leverage. This type would decrease the holding draw weights.
Compressed Shaft: An arrow shaft that has been squeezed for making it stronger and straighter.
Core: The material that has been used at the nucleus of the bounded bow.
Creeping: To let the arrow to move forward prior to its delivery during which full draw length will not be maintained.
Crest: The design that has been used on an arrow for the identification purposes. Can be band of colors or decoration.
Crester: An equipment that is used for turning the arrow while cresting (applying colors/design).
Crossbow: A weapon of the ancient times that has been produced with steel and set diagonally over the stock. This will be smaller and stronger which will be held and fired like a rifle.
Crossbow Bolt: A projectile that has been shot using a crossbow.
Crown: The notch edge of the arrow where usually the cresting or colors are put.
Dead Shaft: An arrow without any life/spine. This would fly slowly.
Decurve Bow: A bow design wherein the non-stranded tips are bent towards the shooter.
Deflex: A design of the bow in which the limbs are pointing towards the bow’s belly.
Delamination: The process of separating the limbs from a composite bow which has different materials bound together.
Die Cut Feather: The feathers that have been cut to a specific shape by making use of a ‘cutting die’.
Director of Shooting: The personnel who is commanding the shooting tournament. Also called as ‘Field Captain’.
Dished Grip: A hollow grip on the bow for facilitating the recurrent hand placements over the bow.
Draw Check: An appliance that is attached to a compound bow to facilitate the shooter in maintaining a constant draw length.
Drawing: To pull the cord that is fastened to the bow.
Drawing Fingers: The fingers that are employed while dragging a bow. Most typically, the first three fingers of the hand that is drawing.
Draw Length: The distance between the front of riser and the bowstring in the shooter’s fingers while at full draw.
Draw Weight: The amount of force that is applied on the bowstring while drawing a particular distance. Usually, this will be calculated at draw length of 28 inches.
Dry Fire: To release the bowstring at full draw without having an arrow connected to it.
End: A set of arrows that are hit before hitting the goal. Most typically, three, five or six.
Eye: An opening at either ends of the bowstring.
Face: The bow’s side that is closest to the bowstring. Also known as ‘Belly’.
Fadeout: A narrowed piece of wood that would fade out into the limbs from the sight window.
Feather: A feather as a whole or its part being used on the arrow for direction.
Feet per Second: The calculation of the speed of an arrow that is released from the bow.
Finger Pinch: A condition in which the archer’s finger will be pinched against the arrow by bowstring while dragging it back.
Finger Tab: A leather instrument that will be put on the surface of fingers to avoid the burning sensation.
Fistmele: The perfect distance from the handle of the bow to the bowstring when the bow is stretched.
Flatbow: A straight bow that has a flattened, wider limb.
Flemish String: A spirally wound string consisting two distinctive bundles of string. These bundles will be differently-colored which are hand-twisted with one another.
Fletch: Act of pasting or binding feathers to the arrow shaft.
Fletcher: An individual who is involved in making arrows.
Fletching: The feathers/vanes that are utilized for stabilizing an arrow during its flight.
Fletching Clamp: A segment of fletching jig that would fasten the fletching while it is being adhered or pasted to the arrow shaft.
Fletching Jig: An appliance used for holding the arrow shaft in position and locating as well as aligning the fletching application.
Flex: The amount of curve that is provided by the arrow shaft
Flight Arrow: A longer and lighter arrow that has little feathers. This is typically used for distance shooting.
Flight Bow: A stronger bow whose draw weight would surpass hundred pounds. This is specifically designed for flight shooting.
Flight Shooting: Act of shooting to check how far the archer can shoot an arrow. Also called as ‘distance shooting’.
Flinching: To move the bow’s arm or drawing hand just prior to its release.
Flu-Flu Arrow: An arrow design in which it has larger, spiral fletching. This design will increase the pull while decreasing the range of the arrow.
Follow the String: This is when a bow bends in the drawing direction.
Follow-Through: To hold the release position until the target has been hit by the arrow.
Footed Arrow: An arrow design in which it has hardwood interweaved into its pile end for increasing its stability and durability.
Foot Markers: The devices which denote the foot positions of the shooter at the shooting line. This is for ensuring the constant foot position.
Freeze: Incapable to move the vision to the desired spot or incapable to release the arrow.
Glove: Also known as ‘shooting glove’ which is a three-fingered one for protecting the fingers of shooting hand. The material used for making is ‘leather’.
Grain: The standard units of measurement used when weighing the arrow and its parts.
Grip: The central portion of the bow-handle which is clutched by the shooter.
Ground Quiver: A metallic device which will be pressed into the ground for holding bows and arrows.
Handle: The central part of the bow. The limbs of the bow will be attached to it. This is the non-working part of the bow.
Hand Shock: The tremor that is being felt in the drawing hand while releasing an arrow from the bow.
Hanging Arrow: The arrow that is not penetrating the target but droops from its spot.
Heel: The process of applying pressure using the heel of drawing hand on the lower end of the grip while shooting.
Hen Feathers: The feathers on an arrow that are of same color. In a 3-feathered arrow, these are the two feathers projecting inwards when arrow is being nocked.
High Braced: When the distance from the handle to the string of a stretched bow is more than 7 inches.
Hinged Bow: A bow in which a hinge is fixed at the back for facilitating easy transportation.
Hit: An arrow which penetrates itself into one of the scoring regions on the target’s face.
Holding: To maintain the bow and arrow in a constant position during full draw just before the release.
Home: An arrow when it is completely drawn and all set to be shot.
Horse Archer: A shooter who is mounting on a horse.
Idler Wheel: In a single cam bow, idler wheel will substitute the top cam with wheel which would contact the bowstring alone but not the cords.
Index Feather: A feather at right angles to the cut of the notch and is differently-colored than the others.
Insert: A hollow stringed aluminum segment incorporated in the front part of the arrow thereby enabling field points broadheads to get fastened into it.
Instinctive Shooting: To utilize hand-eye conformation for sending an arrow where the shooter is viewing.
Judo Point: A flattened point with spring wires that would grip and have the arrow from tripping.
Kiss Button: A communication point on the bowstring for the shooter’s lips for touching. This is to assure the stability and precision of the anchor point.
Laminated Bow: Although, this is same as ‘composite bow’, this term is particularly used for denoting the bow made from wood and fiberglass.
Lamination: A layer of the laminated bow limb in which fine layers of materials are glued together for making a riser.
Level: A spirit level that is fitted to the bow sight for indication purposes when the bow is held in a vertical position. This will be used in compound bows only.
Let Down: To release the tension after having fully drawn but without having the arrow released.
Limb: The parts of a bow that are stretching from riser till the tips. This is the working section of the bow.
Limb Dampeners: A rubber unit being attached to the bow limb for reducing the vibration felt in the limb after releasing the arrow. This is usually of ‘mushroom’ shape.
Limb Pocket: A suspended slot at the upper and lower ends of the riser perfectly shaped for fitting the ends of the limbs and maintaining the right limb alignment.
Longbow: Any perfectly straight or approximately straight bow in which the bowstring is not touching the limb while it is being braced. Generally, this would be of five feet and longer.
Long Rod: A rod fitted to the bow in order to decrease the intensity of vibrations.
Loop: A U-shaped cord around the nock of the bowstring so that a release aid could be attached while shooting.
Loose: To release the arrow from a bow that is fully drawn. Also known as ‘Release’.
Micarta: A thick fiber infused resin which is being used for reinforcing the limb tips when the bow is making use of a fast flight.
Mass Weight: The real weight of the bow.
Mechanical Blades: Two or more blades on an arrow point for opening an impact on the target. Usually used for hunting purposes.
Mechanical Release: An instrument used for helping the archer to draw the bow and release the arrow.
Minnowing: A rapid crisscross movement of an arrow during transit indicating a poor clearance.
Mongolian Draw: To draw the bow with an archer’s thumb finger. Also known as ‘Mongolian Release’.
Nock: A notch at the hind side of the arrow that enables the arrow to be held at the bowstring while keeping it in position for shooting.
Nocking: The procedure of settling the arrow on bowstrings while preparing for a shoot.
Nocking Point: A point on the bowstring where the archers would constantly nock the arrows.
Nocking Pliers: Pliers being used for installing and/or removing nocks.
Nock Piece: A fine bit of material (wood, horn and so on) pasted alongside in self-nock for the purpose of reinforcing it.
Nock Set: A little brass fitting included to the string for marking the ‘nocking point’. This is to facilitate the nocking on the same place each time.
Overbowed: A condition in which the shooter is making use of a bow that is very powerful.
Overdrawn: A situation during which the bowstring is extremely short for the given bow.
Overspine: An arrow that is too rigid for the bow from which it is being released from.
Overshoot: The act of shooting past the mark.
Pair: In archery, pair would mean ‘three’. Indicates two arrows plus a spare or three feathers.
Parabolic Fletching: A round-shaped fletching at the rear end of the feather towards the notch of an arrow.
Peak Weight: The upper limit of draw weight in a compound bow.
Peep Sight: A metal/plastic/rubber piece with a hollow. Placed in the bowstring that enables the archer to see through the string.
Pile: Old term indicating the front side of an arrow.
Pinching: To squeeze the index and middle fingers as opposed to the notch while drawing in order to deflect an arrow.
Pluck: To pull the string off the face in some other direction during the release.
Plunger: Also known as ‘pressure button’. Equipment used for correcting the arrow’s tension during its release.
Point: The ring-like end of an arrow that sticks at the tip for protecting and balancing the hitting end of the arrow.
Point Blank: A range will be mentioned as ‘point blank’ when an arrow navigates flat to the target.
Point-On: To measure the distance that can be shot by a bow and arrow.
Point of Aim: A technique of pointing an arrow in which it is spotted on an item.
Pressure Point: A spot on the arrow plate opposed to which the arrow would lie and exert pressure during its release.
Puller: A mat made of rubber used for protecting hands as well as for providing grip while the arrows are being pulled.
Quill: The shaft of the feather that is grounded flat for the purpose of fitting on an arrow.
Quiver: A container which would hold the arrows comfortably during the shooting process.
Range: The zone that is being assigned for archery.
Recurve: A bow design in which the limbs would form a curving arc between the riser and the limb tips, and the string when you brace the bow.
Reflexed Bow: A bow which has its ends reflexed as a smooth arc.
Release: To shoot the arrow from the bow at full draw.
Release Aid: A mechanical tool used for pulling the bowstring thereby enabling a better release.
Rest: A tool for holding the arrow against the bow-handle until the release.
Riser: The central part of the bow separating the limbs. This is the part which will not bend when you pull the string.
Round: The number of strikes at the given distances at given targets or target faces.
Roving: A practice of archery in which the shooter would choose a goal in the field.
Run: A condition in which a strand of bowstring would let the string go.
Safety Arrow: An arrow in which the tip is wider or padded. Utilized in reenactments.
Self Arrow: An arrow containing a single piece of wood with an incision into the shaft.
Self Bow: A bow which has been produced from a single piece of wood.
Serving: The wrapped section in the central portion of the string for accepting the nock.
Serving Jig: A tool for holding the serving cord which would help maintaining constant tension while wrapping the thread around the bowstring.
Shaftment: The part of an arrow at which the feathers will be pasted.
Silencer: Layers of material attached to the bowstring for stopping it from vibrating after the arrow release thereby preventing the string noise.
Spine: The rigidity of an arrow shaft in contrast to the flex.
Stabilizer: A set of rods being utilized for providing stability to the bow.
Tackle: A set of equipments being used by the shooter.
Throat: The tapered part of the grip where the thumb and index fingers would hold the grip.
Timber Hitch: A knot being used on the string making a flexible loop for quickly changing the extent of the string.
Tip Overlays: Material bound at the rear end of limb tip for strengthening it and providing extra material for fashioning of the nock.
T-Square: A tool used for measuring brace height and locating the nocking point on the string.
Tune: The act of getting the bow to fire an arrow straightly and quietly.
Underspine: An arrow that is too light for the given bow.
V-Bar: A small extender attached between the riser and stabilizer. Allows the inclusion of two small stabilizers being added as a counter support.
Windlass: A device of the middle ages used for pulling the string back on a crossbow.
Window: The viewing place between the bow’s side and the bowstring at full draw.
Yarn Tassel: A bunch of yarn being used for wiping dirt from the arrow.
| Archery |
Which British author and campaigner for women’s rights, born in 1880, was a pioneer of birth control? | Archery - Encyclopedia
Archery
GEOGRAPHICAL NAMES
ARCHERY, the art and practice of shooting with the bow (arcus) and arrow, or with crossbow and bolts. Though these weapons are by no means widely used amongst savage tribes of the present day, their origin is lost in the mists of antiquity.
History somewhat shorter than a man, and their arrows varied in war. between 2 f t. and 2 ft. 8 in. in length. Here, as elsewhere, flint heads for arrows were by no means rare, but bronze was the usual material employed. The Biblical bow was of reed, wood or horn, and the Israelites used it freely both in war (Gen. xlviii. 22) and in the chase (xxi. 20). The Assyrians also were a nation of archers. Amongst the Greeks of the historic period archery was not much in evidence, in spite of the tradition of Teucer, Ulysses and many other archers of the Iliad and Odyssey. The Cretans, however, supplied Greek armies with the bowmen required. In the " Ten Thousand " figured two hundred Cretan bowmen of Sosias' corps. Riistow and Kochly (Geschichte des griechischen Kriegwesens, p. 131) estimate the range of the Cretan bow at eighty to one hundred paces, as compared with the sling-bullet's forty or fifty, and the javelin's thirty to forty. The Romans as a nation were, equally with the Greeks,indifferent to archery; in their legions the archer element was furnished by Cretans and Asiatics. On the other hand nearly all Asiatic and derived nations were famous bowmen, from the nations who fought under Xerxes' banner onwards. The Persian, Scythian and Parthian bow was far more efficient than the Cretan, though the latter was not wanting in the heterogeneous armies of the East. The sagittarii, three thousand strong, who fought in the Pharsalian campaign, were drawn from Crete, Pontus, Syria, &c. But the Roman view of archery was radically altered when the old legionary system perished at Adrianople (A.D. 378). After this time the armies of the empire consisted in great part of horse-archers. Their missiles, we are told, pierced cuirass and shield with ease, and they shot equally well dismounted and at the gallop. These troops, combined with heavy cavalry and themselves not unprovided with armour, played a decisive part in the Roman victories of the age of Belisarius and Narses. The destruction of the Franks at Casilinum (A.D. 554) was practically the work of the horse-archers.
In the main, the nations whose migrations altered the face of Europe were not archers. Only with the Welsh, the Scandinavians, and the peoples in touch with the Eastern empire was the bow a favourite weapon. The edicts of Charlemagne could not succeed in making archery popular in his dominions, and Abbot Ebles, the defender of Paris in 886, is almost the only instance of a skilled archer in the European records of the time. The sagas, on the other hand, have much to say as to the feats of northern heroes with the bow. With English, French and Germans the bow was the weapon of the poorest military classes. The Norman archers, who doubtless preserved the traditions of their Danish ancestors, were in the forefront of William's line at Hastings (1(366), but contemporary evidence points conclusively to the short bow, drawn to the chest, as the weapon used on this occasion. The combat of Bourgtheroulde in 1124 shows that the Normans still combined heavy cavalry and archers as at Hastings. Horse-archers too (contrary to the usual belief) were here employed by the English.
Yet the " Assize of Arms " of 1181 does not mention the bow, and Richard I. was at great pains to procure crossbowmen for the Crusades. The crossbow had from about the 10th century gradually become the principal missile weapon in Europe, in spite of the fact that it was condemned by the Lateran Council of 11 39. As early as 1270 in France, and rather later in Spain, the master of the crossbowmen had become a great dignitary, and in Spain the weapon was used by a corps d'elite of men of gentle birth, who, with their gay apparel, were a picturesque feature of continental armies of the period. But the Genoese, Pisans and Venetians were the peoples which employed the crossbow most of all. Many thousand Genoese crossbowmen were present at Crecy.
It was in the Crusades that the crossbow made its reputation, opposing heavier weight and greater accuracy to the missiles of the horse-archers, who invariably constituted the greatest and most important part of the Asiatic armies. So little change in warfare had centuries brought about that a crusading force in 1 104 perished at Carrhae, on the same ground and before the same mounted-archer tactics, as the army of Crassus in 55 B.C. But individually the crusading crossbowman was infinitely superior to the Turkish or Egyptian horse-archer.
England, which was to become the country of archers par excellence, long retained the old short bow of Hastings, and the far more efficient crossbow was only used as a rule by mercenaries, such as the celebrated Falkes de Breaute and his men in the reign of John. South Wales, it seems certain, eventually produced the famous long-bow. In Ireland, in Henry II.'s time, Strongbow made great use of Welsh bowmen, whom he mounted for purposes of guerrilla warfare, and eventually the prowess of Welsh archers taught Edward I. the value of the hitherto discredited arm. At Falkirk, once for all, the long-bow proved its worth, and thenceforward for centuries it was the principal weapon of English soldiers. By 1 339, archers had come to be half of the whole mass of footmen, and later the proportion was greatly increased. In 1360 Edward III. mounted his archers, as Strongbow had done. The long-bow was about 5 ft., and its shaft a cloth-yard long. Shot by a Welsh archer, a shaft had penetrated an oak door (at Abergavenny in 1182) 4 in. thick and the head stood out a hand's breadth on the inner side. Drawn to the right ear, the bow was naturally capable of long shooting, and in Henry VIII.'s time practice at a less range than one furlong was forbidden. In rapidity it was the equal of the short bow and the superior of the crossbow, which weapon, indeed, it surpassed in all respects. Falkirk, and still more Crecy, Poitiers and Agincourt, made the English archers the most celebrated infantry in Europe, and the kings of England, in whatever else they differed from each other, were, from Edward II. to Henry VIII., at one in the matter of archery. In 1363 Edward III. commanded the general practice of archery on Sundays and holidays, all other sports being forbidden. The provisions of this act were from time to time re-issued, particularly in the well-known act of Henry VIII. The price of bows and arrows was also regulated in the reign of Edward III., and Richard III. ordained that for every ton of certain goods imported ten yew-bows should be imported also, while at the same time long-bows of unusual size were admitted free of duty. In order to prevent the too rapid consumption of yew for bow-staves, bowyers were ordered to make four bows of wych-hazel, ash or elm to one of yew, and only the best and most useful men were allowed to possess yewbows. Distant and exposed counties were provided for by making bowyers, fletchers, &c., liable (unless freemen of the city of London) to be ordered to any point where their services might be required. In Scotland and Ireland also, considerable attention was paid to archery. In 1478 archery was encouraged in Ireland by statute, and James I. and James IV. of Scotland, in particular, did their best to stimulate the interest of their subjects in the bow, whose powers they had felt in so many battles from Falkirk to Homildon Hill.
The introduction of hand-firearms was naturally fatal to the bow as a warlike weapon, but the conservatism of the English, and the non-professional character of wars waged by them added to the technical deficiencies of earl ?' as firearms, made the process of change in England very gradual. The mercenary or professional element was naturally the first to adopt the new weapons. At Pont de 1'Arche in 1418 the English had" petits canons" (which seem to have been hand guns), and during the latter part of the Hundred Years' War their use became more and more frequent. The crossbow soon disappeared from the more professional armies of the continent. Charles the Bold had, before the battle of Morat (1476), ten thousand coulevrines et main. But in the hands of local forces the crossbow lingered on, at least in rural France, until about 1630. Its last appearance in war was in the hands of the Chinese at Taku (1860). But the long-bow, an incomparably finer weapon, endured as one of the principal arms of the English soldier until about 1590. Edward IV. entered London after the battle of Barnet with 500 "smokie gunners" Amongst the great peoples of ancient history the Egyptians were the first and the most famous of archers, relying on the bow as their principal weapon in war. Their bows were (foreign mercenaries), but at that engagement Warwick's centre consisted solely of bows and bills (1471). The new weapons gradually made their way, but even in 1588, the year of the Armada, the local forces of Devonshire comprised 800 bows to t600 " shot," and 800 bills to 800 pikes. But the Armada year saw the last appearance of the English archer, and the same county in 1598 provides neither archers nor billmen, while in the professional army in Ireland these weapons had long given way to musket and caliver, pike and halberd. Archers appeared in civilized warfare as ]ate as 1807, when fifteen hundred " baskiers," horse-archers, clad in chain armour, fought against Napoleon in Poland.
As a weapon of the chase the bow was in its various forms employed even more than in war. The rise of archery as a sport in England was, of course, a consequence of its military value, which caused it to be so heartily encouraged by all English sovereigns.
The Japanese were from their earliest times great archers, and the bow was the weapon par excellence of their soldiers. The standard length of the bow (usually bamboo) was 7 ft. 6 in., of the arrow 3 ft. to 3 ft. 9 in. Numerous feats of archery are recorded to have taken place in the " thirtythree span " halls of Kioto and Tokyo, where the archer had to shoot the whole length of a very low corridor, 128 yds. long. Wada Daihachi in the 17th century shot 8133 arrows down the corridor in twenty-four consecutive hours, averaging five shots a minute, and in 1852 a modern archer made 5583 successful shots in twenty hours, or over four a minute.
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Incheon International Airport serves which Asian city? | Seoul Incheon Airport (ICN)
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Seoul Airport - Incheon (ICN)
Use this website to quickly find the most important information about the main airport in South Korea, called Incheon International Airport or Seoul-Incheon International Airport: Departures, Arrivals, Parking, Car Rentals, Hotels near the airport and other information about Seoul airport. Plan your travel to ICN Airport with the information provided in this site.
Seoul Airport, known officially as Incheon International Airport (IATA: ICN, ICAO: RKSI) is located 30 miles west of Seoul, the largest city and the capital of South Korea.
The airport serves as the main hub for Asiana Airlines, Jeju Air, Korean Air and Polar Air Cargo. The Seoul airport operates as a hub for cargo traffic and international civilian air transportation in East Asia.
The Seoul airport is the eighth busiest airport in terms of international passengers (2015) with more than 49M passengers per year
Seoul Airport (IATA: ICN) is located 30 miles (48 km) west of Seoul
he airport operates as a hub for cargo traffic and international civilian air transportation in East Asia
Is the largest airport in South Korea and one of the busiest and largest airports in the world
Seoul has many cultural and historical landmarks as the Emperor Palace, the main royal palace built in 1395 of the Joseon dynasty
Most of the flights operated at Incheon Airport (ICN) are domestic and shuttle flights that alternate the airports in Taiwan, China and Japan. Seoul airport is connected to the mainland through the 130 Expressway.
In 2015 the airport handled more than 49 million passengers. It is ranked as the world’s and Asia’s 8th busiest airport in terms of International Passengers. It is rated as the 4th busiest airport by cargo traffic.
Terminal information
Seoul Airport has a Main Terminal for passengers and in 2017 it is going to open a new one. The Main Airport is going to be named as Terminal 1 and the new terminal, Terminal 2.
In addition, there’s a Passenger Concourse connected to the Main Terminal by two parallel 870-metre (2,850 ft) underground passageways equipped with IATs (Intra Airport Transit).
The Main Passenger Terminal is the largest airport terminal in area in South Korea with 44 boarding ports, 120 arrival passport inspection counters, 50 customs inspection ports, over 250 check-in desks and 120 departure passport inspection counters, and more.
The Passenger Concourse has 30 boarding gates (101-132) and 6 lounges available for passengers of different airlines. Seoul Airport has also a Cargo Terminal Complex with 6 cargo terminals.
Since 2015 it has an automatic check-in counter lane and it can be used for passengers travelling via Asiana Airlines, Korean Air and China Southern Airlines.
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The Pontipines and the Tombliboos appear in which UK children’s tv programme? | Incheon: Korea’s Air City - DFW Airport Project
DFW Airport Project
Airport City > Asia's Airport Cities and Aerotropolises >
Incheon: Korea’s Air City
Perhaps the most ambitious effort to develop an airport city and Aerotropolis is taking place around South Korea’s Incheon International Airport. At its core is Air City, a set of multimodal commercial complexes being developed with all the features of a modern metropolitan center: retail areas, office buildings, logistics and high-tech assembly facilities, ICT functions and leisure activities, a conference and exhibition center, as well as a mixed-use new town. Elaborate expressways, bridges and tunnels connect the airport to Seoul (42 miles to the North) and to nearby islands, the latter forming an expansive commercial and residential complex. A high-speed commuter rail line between downtown Seoul and Incheon International Airport is under construction.
The airport property (15,000 acres) is considerably larger than most in Asia. Opened in March 2001, Incheon was immediately among Asia’s major airports in passengers and cargo. Its current master plan (with a 15-year horizon) has commercial and residential development evolving through three phases, creating an ever broadening and deepening urban expanse. The first phase (already complete) is an Airport Support Community consisting of airport-related industries (primarily logistics), commercial services, and housing for airport area employees and their families, which total 100,000. The second phase (in process) involves expanding (both spatially and functionally) the Airport Support Community while transforming it into an International Business City. Around the airport, a 360 acre international business center composed of four office complexes, a shopping mall, convention and exhibition facility and two five-star hotels opened this year.
An additional 220 acre commercial project under development is the Airport Free Zone. This international logistics and manufacturing zone became fully operational in 2006. Both the International Business Center and Airport Free Zone are planned to double in space in the coming five years with the population of Air City doubling, as well, to 200,000.
The third and most ambitious stage (The International Free Trade City) is a full-blown aerotropolis tied together by an extended international free enterprise zone (IFEZ). The IFEZ will encompass three islands, connected by expressway bridges (man-made Songdo and Cheongra, along with Yeongjong where the airport is located). A pivotal component in the Republic of Korea’s plan to transform the country into the commercial and trading center of Northeast Asia, IFEZ is being promoted as ―Pentaport‖—a combined airport, business port, seaport, teleport, and leisure port.
The greater Incheon Aerotropolis has dual urban growth poles. The first, Yeongjong Island, is its Air City, with development around the airport focusing on aviation-oriented office functions, hotel, trade and exhibition facilities, logistics, and tourism and leisure activities (Figure 4). Two of the largest are a 384-acre water park and a 250-acre fashion island immediately south of the airport. The latter, being developed at a cost of $1 billion, is planned to be the fashion mecca of Asia with state-of-the-art luxury outlets, hotels, and exhibition space. Universal Studios announced plans in 2007 to construct a US$2 billion entertainment complex near the airport.
Songdo Island will host the aerotropolis’ second urban growth pole, New Songdo City, being created from scratch entirely on reclaimed land by Gale International of New York City and Posco (South Korea's largest steel producer) in partnership with the Korean Government with financing through Morgan Stanley, the World Bank, ABN Amro and Kookmin Bank. This 1,500 acre, US$30 billion project is the largest private development project currently underway in the world. At full build-out in 2016, New Songdo City will have over 15 million square feet of office and commercial space, more than 9,000 residences (mostly condominium and town houses), a convention center, a cultural center, a central park greenway, an 18-hole golf course designed by Jack Nicklaus, a state-of-the-art medical facility, and an international school for children of expatriate workers being planned by Harvard.
Phase I of this mega-project commenced in 2005 and will include a 1 million sq. ft. retail complex, a 1,000 room hotel, a 65-story trade center, and 2,360 homes by the end of 2008. As an incentive to its developers, the Korean government has agreed to construct a seven-mile, six-lane bridge from New Songdo City directly to Incheon International Airport and provide all utilities.
From the start of Air City crossing the airport property line to the development of New Songdo City six miles away, the Korean government is actively soliciting private-sector participation and foreign investment. Tax holidays and other generous financial incentives along with the provision of extensive infrastructure throughout the greater Incheon airport region are likely to catalyze considerably more private-sector development throughout this emerging Korean Aerotropolis.
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Who was Britain’s first divorced Prime Minister? | BBC - History - British History in depth: Prime Ministers and Politics Timeline
On This Day
Prime Ministers and Politics Timeline
Do you know which prime minister brought 'fallen women' to 10 Downing Street? Or which one fought a duel? Or who was known as 'the Goat'?
Take a political journey through nearly 300 years of high ideals and low cunning, from Gordon Brown to the first man to hold prime ministerial powers, Robert Walpole.
Margaret Thatcher
Conservative, 1979 - 1990
Britain's first female prime minister came to power with the country descending into industrial and economic chaos. A relatively inexperienced politician, she nonetheless adopted a personal style of indomitable self-confidence and brooked no weakness in herself or her colleagues. Derisively dubbed the 'Iron Lady' by the Soviet press, she wore the moniker with pride. Her government's free-market policies included trade liberalisation, deregulation, sweeping privatisation, breaking the power of the unions, focus on the individual and the creation of an 'enterprise culture'. 'Thatcherism' has had a profound and lasting economic and social impact on Britain, and still sharply divides opinion to this day. The first PM to serve three consecutive terms (including two 'landslide' victories) she was eventually toppled by her own party following the disastrous imposition of a 'poll tax'. Nonetheless, she is generally considered to be one of the best peace time prime ministers of the 20th Century.
James Callaghan
Labour, 1976 - 1979
Callaghan inherited the office of prime minister following the surprise resignation of Harold Wilson. With only a tiny parliamentary majority to support him, he faced an increasingly one-sided confrontation with organised labour in the form of rampant strike action. Things came to a head in the so-called 'Winter of Discontent', a phrase from Shakespeare borrowed by Callaghan himself to describe the events leading up to February 1979. Britain was 'strikebound', with public servants staging mass walk outs, leaving food and fuel supplies undelivered, rubbish uncollected and - most notoriously - bodies unburied. Things became so bad in Hull it was dubbed 'the second Stalingrad'. The tabloid press has since been accused of overstating the severity of the situation (and wrongly quoting him as saying 'Crisis? What Crisis?') but it was enough at the time to sound the death knell for Callaghan's government later in the same year.
Harold Wilson
Labour, 1974 - 1976
In March 1974, Wilson became prime minister for the third time at the head of a minority government, following the first hung parliament (one where no party holds a majority) for 45 years. Often described as a wily fixer and negotiator, it took all of his skills to hold on to power in the face of economic and industrial turmoil. His party was also sharply divided, with many Labour members of parliament (MPs) bitter about Wilson's manoeuvring against his colleagues. He called another general election in October 1974, thereby ending the shortest parliament since 1681, and was returned to office with a majority of just three seats. He presided over a referendum on Britain's membership of the European Economic Community (EEC), and a collapse in the value of the pound which prompted a humiliating 'rescue operation' by the International Monetary Fund (IMF). Exhausted, Wilson resigned saying 'politicians should not go on and on'.
Edward Heath
Conservative, 1970 - 1974
Heath succeeded in taking Britain into the European Economic Community (EEC), the precursor to the European Union, despite two previous failed attempts by Britain to gain entry, in 1961 and 1967. But his government was dogged by torrid industrial relations and recurrent economic crises. Things came to a head in January 1974, when industry was put on a 'three-day week' to conserve fuel. Fuel was in dangerously short supply following a combination of domestic industrial action (coal miners on 'work-to-rule') and a quadrupling of prices by Middle Eastern oil exporting nations in the wake of Israel's victory in the Yom Kippur War. In March 1974, Heath called a general election on the question of 'who governs Britain?' - the unions, or the elected representatives of the people. To his surprise the result was a hung parliament (one where no party holds a majority) and he was ousted.
Harold Wilson
Labour, 1964 - 1970
In 1964, 'Good old Mr Wilson' - an avuncular, pipe-smoking figure - came to power amid much excitement and optimism. He had promised a 'new Britain' forged in 'the white heat of a second industrial revolution'. In reality, his administration never escaped from a cycle of economic crises, vainly battling against further devaluations of the pound. Wilson won a second general election in 1966 (the year England lifted the football World Cup) making him the first Labour PM to serve consecutive terms. In 1967, the government failed in its application for membership of the European Economic Community (EEC) and was also finally forced to devalue sterling. The electorate became disillusioned with Wilson, who lost narrowly to the Conservatives in the 1970 election.
Sir Alec Douglas-Home, Conservative, 1963 - 1964
In 1963, a change in the law allowed hereditary peers to disclaim (or 'drop') their titles, which in turn meant they were able to become members of parliament (MPs). The only peer ever to do so and become prime minister was Douglas-Home, formerly the 14th Earl of Home, who assumed the office when Harold Macmillan retired due to ill health. He was the first prime minister in the post-war period not to win his own mandate (be elected or re-elected by popular vote).
Harold Macmillan, Conservative, 1957 - 1963
Macmillan came to power at a time when Britain was confronting its loss of world-power status and facing mounting economic troubles. Nonetheless, he successfully associated the Conservatives with a new age of affluence and the burgeoning consumer revolution. But his oft-quoted assurance 'You've never had it so good' actually finishes 'What is beginning to worry some of us is, is it too good to be true?'. His government is principally remembered for the so-called 'Profumo Affair', a sex scandal that erupted in 1963 and contributed to the Conservatives' defeat at the general election the following year. Secretary of State for War John Profumo had been having an affair with a showgirl who was also seeing the Soviet naval attaché to London - a serious transgression at the height of the Cold War. After lying to the House of Commons, Profumo admitted the truth in June 1963 and resigned in disgrace. Macmillan resigned due to ill health in October the same year.
Sir Anthony Eden, Conservative, 1955 - 1957
When Sir Winston Churchill retired due to ill health, Eden took over as prime minister. Many years before, Churchill had anointed Eden as his successor, but later acknowledged he had made 'a great mistake'. His opinion was born out as the new PM blundered into the Suez Crisis. Following Egypt's decision to nationalise the Suez canal, Britain (the principal shareholder), France and Israel invaded in October 1956 to near-universal condemnation and the threat of nuclear strikes by the Soviet Union. Within a week, Britain was forced into an embarrassing climb-down. Humiliated and in ill-health, Eden left the country for a holiday at the Jamaican home of James Bond author, Ian Fleming. He returned in mid-December to the sarcastic newspaper headline: 'Prime Minister Visits Britain'. He resigned on 9 January 1957.
Sir Winston Churchill, Conservative, 1951 - 1955
Churchill's desire to return to power, despite his assured place in history, had much to do with his belligerent refusal to accept that the British public had rejected him in 1945. Now the electorate was seeking to put behind it the hardships and privations of the post-war years under Clement Atlee and return to a more traditional idea of society - so-called 'housing and red meat' issues. Churchill tried - and failed - to recreate the dynamism of his wartime administration, and he struggled to adjust to the political realities of the Cold War, preferring direct action and personal diplomacy to proxy wars and cabinet consensus. His refusal to retire, despite suffering a stroke, caused mounting frustrations among his colleagues. At the age of 80, he finally conceded to his failing health and stepped down, although he continued to serve as an MP.
Clement Attlee, Labour, 1945 - 1951
World War Two had sharply exposed the imbalances in Britain's social, economic and political structures. For a population that had sacrificed so much, a return to the pre-war status quo was simply not an option. In 1942, a report by Sir William Beveridge, chairman of a Ministry of Health committee, had advocated a system of national insurance, comprehensive welfare for all and strategies to maintain full employment. The 'Beveridge Report' formed the basis of Labour pledges in the 1945 election and resulted in a landslide victory. Attlee's government successfully harnessed the wartime sense of unity to create the National Health Service, a national insurance scheme, a huge programme of nationalisation (including the Bank of England and most heavy industries) and a massive building programme. He also made Britain a nuclear-armed power. These sweeping reforms resulted in a parliamentary consensus on key social and economic policies that would last until 1979. But by 1951, a row over plans to charge for spectacles and false teeth had split the cabinet. Party disunity and a struggling economy contributed to Attlee - cruelly dubbed by Churchill 'a modest man with much to be modest about' - losing the next election.
Winston Churchill, Conservative, 1940 - 1945
By the time Churchill was asked to lead the coalition government in 1940, he had already enjoyed colourful and controversial careers as a journalist, soldier and politician. He had twice 'crossed the floor' of the House of Commons, the first time defecting from Conservative to Liberal and serving as First Lord of the Admiralty during the early years of World War One. Demoted in the wake of the slaughter at Gallipoli, he preferred to resign and take up a commission fighting on the Western Front. Despite standing against the Conservatives in a 1924 by-election, Churchill was welcomed back into the party that same year and served as Chancellor of the Exchequer for five years under Stanley Baldwin. But personal disagreements and his vehement anti-Fascism would lead to nearly a decade in the political wilderness. Following Neville Chamberlain's resignation in 1940, Churchill finally realised his 'destiny' and accepted the office of prime minister. Promising nothing more than 'blood, toil, tears and sweat', he almost single-handedly restored Britain's desire to fight on in adversity. Despite Churchill's enormous personal popularity, by 1945 the electorate no longer wanted a war leader and the Conservatives lost by a landslide.
Neville Chamberlain, Conservative, 1937 - 1940
Rarely has the hyperbole of politicians been as resoundingly exposed as when Neville Chamberlain returned from his 1938 negotiations with Adolf Hitler, brandishing his famous 'piece of paper' and declaring the agreement it represented to be 'peace for our time'. Within a year, Germany had invaded Poland and Britain was plunged into World War Two. With his policy of 'appeasement' towards Hitler utterly bankrupted, Chamberlain resigned in 1940. He was replaced by Winston Churchill. When the issue of honours was discussed, he stated that he wanted to die 'plain Mr Chamberlain, like my father'. His father, Joseph Chamberlain, was the politician who split the Conservatives in 1903 by pushing for tariffs on imported goods. It was this very issue that convinced Churchill to defect to the Liberals, with whom he first achieved high office. Chamberlain died six months after resigning.
Stanley Baldwin, Conservative, 1935 - 1937
When Baldwin returned to power in 1935, the financial crisis sparked by the Wall Street Crash six years before appeared to be over. It was to be swiftly replaced by a constitutional crisis brought about by Edward VIII's desire to marry a twice-divorced American, Wallis Simpson. Baldwin advised Edward that Mrs Simpson would not be accepted as Queen by the public, and that the king could not condone divorce as head of the Church of England. The king proposed a 'morganatic' marriage, whereby Mrs Simpson would become his consort, but not Queen. The government rejected the idea and threatened to resign if the king forced the issue. The story then broke in the press, to general disapproval by the public. Rather than break the engagement, Edward abdicated on 11 December 1936. Credited with saving the monarchy, Baldwin is also condemned for failing to begin re-arming when it became clear that Nazi Germany was building up its armed forces.
Ramsay MacDonald, Labour, 1929 - 1935
MacDonald began his second term at the head of a minority government (one that does not have an outright majority) and with the economy in deep crisis. Britain was still in the grip of the Great Depression and unemployment soon soared to two million. With fewer people able to pay tax, revenues had fallen as demand for unemployment benefits had soared. Unable to meet the deficit, by 1931 it was being proposed that benefits and salaries should be cut. Labour ministers rejected the plan as running counter to their core beliefs. MacDonald went to the king, George V, to proffer his resignation. George suggested MacDonald to try and form a 'national government' or coalition of all the parties. (This is the last recorded direct political intervention by a British monarch.) The National Government was formed, with MacDonald as prime minister, but Stanley Baldwin, leader of the Conservative Party, the de facto 'power behind the throne'. MacDonald is still considered by many in the Labour Party as their worst political traitor.
Stanley Baldwin, Conservative, 1924 - 1929
In May 1926, the Trades Union Congress called for a general walkout in support of a coal miners' protest against threatened wage cuts. It was the first and, to date, only general strike in British history. The strike affected key industries, such as gas, electricity and the railways, but ended after just nine days due to lack of public backing and well-organised emergency measures by Baldwin's government. Far from succeeding in its aims, the General Strike actually led to a decline in trade union membership and the miners ended up accepting longer hours and less pay. It also gave impetus to the 1927 Trade Disputes Act, which curtailed workers' ability to take industrial action. Baldwin's government also extended the vote to women over 21 and passed the Pensions Act, but eventually fell as a result of the Wall Street Crash of 1929, and the Depression that followed.
Ramsay MacDonald, Labour, 1924
In 1924, MacDonald briefly became the first Labour prime minister, ending two centuries of Conservative - Liberal domination of British politics. It was the first party to gain power with the express purpose of representing the voice of the 'working class'. An MP since 1906, MacDonald was respected as a thinker, but criticised by many within his own party as insufficiently radical (despite appointing the first female cabinet minister, Margaret Bondfield, in 1929). His opposition to World War One had made him deeply unpopular and he continually suffered a torrid time at the hands of the press. The publication by two newspapers of the 'Zinoviev letter' did much to damage his chances in the run up to the 1924 election. The letter (which he had seen but decided to keep secret) purported to be from Soviet intelligence and urged British communists to commit acts of sedition. He lost by a wide margin. The letter is now widely accepted to be a fraud.
Stanley Baldwin, Conservative, 1923
During his very brief first term as prime minister, Stanley Baldwin bumped into an old school friend on a train. Asked what he was doing these days, Baldwin replied: 'I am the prime minister.' Having come to power following Andrew Bonar Law's resignation, he called an election in the hope of gaining his own mandate (election by popular vote), but lost.
Andrew Bonar Law, Conservative, 1922 - 1923
Branded the 'unknown prime minister' by his bitter political rival HH Asquith, Canadian-born Bonar Law is principally remembered for a single speech he made in 1922. The Conservatives had been part of a coalition under the Liberal prime minister, David Lloyd George, since 1916. Many were considering joining Lloyd George permanently, but Bonar Law's speech changed their minds. Instead, the Conservatives withdrew from the coalition and Lloyd George was forced to resign. The king, George V, asked Bonar Law to form a new government. Reluctantly he accepted, despite still grieving two sons killed in World War One and - as it turned out - dying of throat cancer. He held office for 209 days before resigning due to ill health. He died six months later and was buried at Westminster Abbey, upon which Asquith commented: 'It is fitting that we should have buried the Unknown Prime Minister by the side of the Unknown Warrior.'
David Lloyd George, Liberal, 1916 - 1922
Lloyd George guided Britain to victory in World War One and presided over the legislation that gave women the vote in 1918, but he is remembered as much for his private life as his public achievements. Nicknamed the 'Welsh Wizard', he was also less kindly known as 'The Goat' - a reference to his countless affairs. (Scandalously, he lived with his mistress and illegitimate daughter in London while his wife and other children lived in Wales.) The first 'working class' prime minister, Lloyd George had risen to prominence by solving the shortage of munitions on the Western Front. It was his desire to get to grips with the requirements of 'total war' that led to his split with then Liberal Prime Minister HH Asquith. It also brought him closer to the Conservatives, with whom he formed a new coalition government when Asquith resigned. That coalition would disintegrate six years later in the midst of a scandal. Serious allegations were made that peerages had been sold for as much as £40,000. (One list even included John Drughorn, who had been convicted for trading with the enemy in 1915.) Lloyd George resigned in October 1922.
HH Asquith, Liberal, 1908 - 1916
Asquith's government had shown great longevity, but disintegrated in the face of the unequalled disasters of the Somme and Gallipoli. With World War One going badly, fellow Liberal David Lloyd George had seized his chance and ousted Asquith. But in the preceding eight years, the two politicians had together overseen one of the greatest constitutional upheavals of the 20th Century and ushered in some of the predecessors of the Welfare State. Old Age Pensions were introduced and Unemployment Exchanges (job centres) were set up by then Liberal minister Winston Churchill. But when Lloyd George attempted to introduce a budget with land and income taxes disadvantageous to the 'propertied' classes, it was thrown out by the House of Lords. Lloyd George branded the Lords 'Mr Balfour's poodle' (a reference to Conservative leader AJ Balfour's supposed control over the peers). The stand-off resulted in two general elections during 1910, the second of which the Liberals won with a 'peers against the people' campaign slogan. The budget was passed and, in 1911, the Parliament Act became law. The Act stated that the Lords could only veto a Commons bill twice, and instituted five-yearly general elections.
Sir Henry Campbell-Bannerman, Liberal, 1905 - 1908
Arthur James Balfour, Conservative, 1902 - 1905
The nephew of the Marquess of Salisbury, Balfour had none of his uncle's political skills despite a long period of mentoring. He was instead something of a philosopher, publishing several weighty books, including 'A Defence of Philosophic Doubt', 'The Foundations of Belief', and 'Theism and Humanism'. Following a cabinet split Balfour resigned, gambling that the Liberals would be unable to form a government and that he would be returned to power. He was wrong.
Marquess of Salisbury, 1895 - 1902, Conservative
Salisbury came to power for the third and final time when the weak Liberal government of the Earl of Rosebery fell. The political climate was one of rising resentment among the lower and middle classes, who demanded better conditions, social reforms and proper political representation. Bitterly divided, the Liberals would nonetheless experience a revival as they sought reforms of the squalid, disease-ridden British 'concentration camps' used in the Boer War. But it was the founding of the Labour Representation Committee (LRC) on 27 February 1900 that signalled a quiet, yet highly significant sea-change in British politics. This coalition of socialist groups would win two seats in the 1900 general election and 29 seats in 1906. Later that same year, the LRC changed its name to the Labour Party. Despite failing health, Salisbury agreed to stay on to help Edward VII manage the transition following the death of his mother, Queen Victoria. He resigned in favour of his nephew, AJ Balfour, in the first months of the new King's reign. (Notably, he was the last serving prime minister to sit in the Lords.)
Earl of Rosebery, Liberal, 1894 - 1895
Rosebury reluctantly became prime minister on the insistence of Queen Victoria, despite still mourning the loss of his wife. Desperate to have a minister she actually liked, Victoria had taken the unusual step of not consulting the outgoing PM, William Gladstone, about his successor. Rosebery, who always loved horseracing more than the 'evil smelling bog' of politics, was gratefully allowed to resign a year later. Notably, he is the only prime minister to have produced not one, but three Derby winners, in 1894, 1895 and 1905. (Despite his aversion to politics, Rosebery was no stranger to scandal. The Prince of Wales had reputedly once intervened to prevent him from being horsewhipped by the Marquess of Queensbury, with whose son Rosebery was believed to be having an affair. Queensbury's other son was Lord Alfred Douglas, Oscar Wilde's lover.)
William Ewart Gladstone, Liberal, 1892 - 1894
Gladstone's fourth term as prime minister was completely overshadowed by his insistence on introducing a third bill on the subject of 'Home Rule' for Ireland. The Conservative-dominated House of Lords threw the bill out and generally obstructed Liberal attempts to pass legislation. With his cabinet split and his health failing, the 'Grand Old Man' stepped down for the last time. The public was, in any case, exhausted with Home Rule and instead wanted reforms to working conditions and electoral practices. (Meanwhile, out on the political fringe, the Independent Labour Party had been set up under Keir Hardie to represent the working class and 'secure the collective ownership of the means of production, distribution and exchange'. Leading figures in the party included George Bernard Shaw and Ramsay MacDonald.)
Marquess of Salisbury, Conservative, 1886 - 1892
William Ewart Gladstone, Liberal, 1886
Gladstone came to power for the third time with 'Home Rule' (devolution) for Ireland still the dominant issue. A bitter election battle had seen the Conservative government fall after Irish Nationalist members of parliament sided with the Liberals to defeat them. Instead, the Liberals formed a government in coalition with the Irish Nationalists and Gladstone tried to push through his second attempt at a Home Rule bill. The bill split the Liberals and Gladstone resigned. He lost the general election when the 'Liberal Unionists' - those who wanted Ireland to be ruled from Westminster - broke away from Gladstone's Liberals to fight the next election as a separate party. Most Liberal Unionists were of the 'Whig' or propertied faction of the party, which meant that when they went, they took most of the money with them.
Marquess of Salisbury, Conservative, 1885 - 1886
William Ewart Gladstone, Liberal, 1880 - 1885
Having failed to force Gladstone to serve under Lord Hartington, Queen Victoria reluctantly accepted 'that half-mad firebrand' as prime minister for the second time. He had only lately returned to politics from retirement after his so-called 'Midlothian Campaign', in which he spoke to large crowds - a practice considered by polite Victorian society to be 'undignified'. His campaign did much to discredit Disraeli's government and had clearly struck a chord with a public eager for social and electoral reform. The Ballot Act in 1872 had instituted secret ballots for local and general elections. Now came the Corrupt Practices Act, which set maximum election expenses, and the Reform and Redistribution Act, which effectively extended voting qualifications to another six million men. There were other burning issues. The United States had just overtaken Britain as the world's largest industrialised economy, and 'Home Rule' (devolution) for Ireland continued to dominate. In seeking support for Home Rule, James Parnell's Irish Nationalists sided with the Conservatives to defeat a Liberal budget measure. Gladstone resigned and was replaced by the 'caretaker government' of the Marquess of Salisbury.
Benjamin Disraeli, Conservative, 1874 - 1880
After a brief taste of power in 1868, it had taken Disraeli six years to become prime minister again. He wasted no time in bringing about the social reforms he had envisaged in the 1840s as a member of the radical Young England group. His Acts included measures to provide suitable housing and sewerage, to protect the quality of food, to improve workers rights (including the Climbing Boys Act which banned the use of juveniles as chimney sweeps) and to implement basic standards of education. In 1876, Disraeli was made the Earl of Beaconsfield, but continued to run the government from the Lords. He persuaded Queen Victoria to take the title 'Empress of India' in 1877 and scored a diplomatic success in limiting Russian influence in the Balkans at the Congress of Berlin in 1878. He retired in 1880, hoping to spend his remaining years adding more novels to his already impressive bibliography, but died just one year later.
William Ewart Gladstone, Liberal, 1868 - 1874
Upon taking office for the first time Gladstone declared it his 'mission' to 'pacify Ireland' - a prize that was always to elude him. Nonetheless, Gladstone was to become the dominant Liberal politician of the late 19th Century, serving as prime minister four times despite earning Queen Victoria's antipathy early in his career. (She famously complained that 'he always addresses me as if I were a public meeting'.) He had started his career as an ultra-conservative Tory, but would end it as a dedicated political reformer who did much to establish the Liberal Party's association with issues of freedom and justice. But Gladstone also had his idiosyncrasies. He made a regular habit of going to brothels and often brought prostitutes back to 10 Downing Street. In an era when politicians' private lives were very private, his embarrassed colleagues nonetheless felt it necessary to explain his behaviour as 'rescue work' to save 'fallen women'.
Benjamin Disraeli, Conservative, 1868
On being asked to become prime minister following the resignation of the Earl of Derby, Disraeli announced: 'I have reached the top of the greasy pole'. He immediately struck up an excellent rapport with Queen Victoria, who approved of his imperialist ambitions and his belief that Britain should be the most powerful nation in the world. Unhappily for the Queen, Disraeli's first term ended almost immediately with an election victory for the Liberals. Despite serving as an MP since 1837 and twice being Chancellor of the Exchequer, Disraeli's journey to the top was not without scandal. In 1835, he was forced to apologise in court after being accused of bribing voters in Maidstone. He also accrued enormous debts in his twenties through speculation on the stock exchange. Disraeli suffered a nervous breakdown as a result, but eventually paid off his creditors by marrying a rich widow, Mary Anne Wyndam Lewis, in 1839.
Earl of Derby, Conservative, 1866 - 1868
The introduction of the 1867 Reform Act made Derby's third term as prime minister a major step in the true democratisation of Britain. The Act extended the vote to all adult male householders (and lodgers paying £10 rental or more, resident for a year or more) living in a borough constituency. Simply put, it created more than 1.5 million new voters. Versions of the Reform Act had been under serious discussion since 1860, but had always foundered on Conservative fears. Many considered it a 'revolutionary' move that would create a majority of 'working class' voters for the first time. In proposing the Reform Act, Benjamin Disraeli, Conservative Leader of the House of Commons, had warned his colleagues that they would be labelled the 'anti-reform' party if they continued to resist. The legislation was passed, and also received the backing of the Liberals under their new leader, William Gladstone.
Earl Russell, Whig, 1865 - 1866
Viscount Palmerston, Liberal, 1859 - 1865
Earl of Derby, Conservative, 1858 - 1859
The property qualification - the requirement that a man must own property in order to stand as a member of parliament - was finally abolished during Derby's second term as prime minister. It meant that members of parliament (MPs) were no longer drawn exclusively from the 'propertied' classes and could realistically be 'working class'. This fulfilled one of the six conditions set out by the Chartists - supporters of the Third Chartist Petition, written in 1838. It demanded universal male suffrage (votes for all adult men), secret ballots (rather than traditional open ballots), annual parliamentary elections, equal electoral districts (some had less than 500 voters, while others had many thousands), the abolition of a property qualification for MPs, and payment for MPs (which would allow non-independently wealthy men to sit in parliament).
Viscount Palmerston, Liberal , 1855 - 1858
Earl of Aberdeen, Tory, 1852 - 1855
It was something of a cruel irony that Aberdeen came to be blamed for blundering into the dreadful Crimean War. As plain George Hamilton Gordon he had made a successful career as a diplomat and had done much to normalise Britain's relationships with its powerful neighbours. Vivid reports from the front by WH Russel of the Times have since led to the Crimean being styled the first 'media war'. His reports publicised the squalor and disease that were claiming more soldiers' lives than the fighting, and inspired Florence Nightingale to volunteer and take the first 38 nurses out to treat the wounded. In 1855, Aberdeen conceded to his critics and resigned.
Earl of Derby, Conservative, 1852
Earl Russell, Whig, 1846 - 1851
Confronted by the Irish Potato Famine, declining trade and rising unemployment, Russell still managed to push through trade liberalisation measures and limits on women's working hours. A dedicated reformer, he nonetheless presided over the rejection of the Third Chartist Petition. Set out 1838, it demanded universal male suffrage (votes for all adult men), secret ballots (rather than traditional open ballots), annual parliamentary elections, equal electoral districts (some had less than 500 voters, while others had many thousands), the abolition of a property qualification for members of parliament (MPs), and payment for MPs (which would allow non-independently wealthy men to sit in parliament). Already rejected once by parliament in 1839, the petition had gathered 5 million signatures by 1848. Presented to parliament a second time, it was again rejected. The Chartist movement slowly petered out, even as revolutions blazed across Europe, but many of its aims were eventually realised.
Sir Robert Peel, Tory, 1841 - 1846
Peel's second term as prime minister was nothing short of tumultuous. Economic depression, rising deficits, Chartist agitation, famine in Ireland and Anti-Corn League protests crowded in. A raft of legislation was created to stabilise the economy and improve working conditions. The Factory Act regulated work hours (and banned children under eight from the workplace), the Railway Act provided for cheap, regular train services, the Bank Charter Act capped the number of notes the Bank of England could issue and the Mines Act prevented women and children from working underground. But a failed harvest in 1845 provided Peel with his greatest challenge. There was an increasing clamour for repeal of the Corn Laws, which forbade the import of cheap grain from overseas. Powerful vested interests in the Tory Party opposed such a move, but in the end Peel confronted them and called for repeal. After nearly six months of debate, and with the Tories split in two, the Corn Laws were finally repealed. Defeated on a separate issue, Peel resigned the same day, but was cheered by crowds as he left the Commons. (The 'Peelite' faction of the Tories is widely recognised as the foundation of the modern Conservative.)
Viscount Melbourne, Whig, 1835 - 1841
Sir Robert Peel, Tory, 1834 - 1835
Invited by William IV to form a new government, Peel immediately called a general election to strengthen his party. Campaigning on his so-called 'Tamworth Manifesto', Peel promised a respectful approach to traditional politics, combined with measured, controlled reform. He thereby signalled a significant shift from staunch, reactionary 'Tory' to progressive 'Conservative' politics. Crucially, he pledged to accept the 1832 Reform Act, which had recently increased the number of people eligible to vote. Peel won the election, but only narrowly. He resigned the following year after several parliamentary defeats. (Peel is probably best remembered for creating the Metropolitan Police in 1829 while Home Secretary in the Duke of Wellington's first government. The nickname 'bobbies' for policemen is derived from his first name.)
Duke of Wellington, Tory, 1834
Viscount Melbourne, Whig, 1834
In a bid to repress trade unions, Melbourne's government introduced legislation against 'illegal oaths'. As a result, the Grand National Consolidated Trades' Union failed. In March of the same year, six labourers were transported to Australia for seven years for attempting to provide a fund for workers in need. They became known as the 'Tolpuddle Martyrs'. Melbourne himself was notoriously laid back. When first asked to become prime minister he declared it 'a damned bore'. Having accepted, he would often refuse to allow his cabinet colleagues to leave the room, insisting 'I'm damned if I know what we agreed on. We must all say the same thing.'
Earl Grey, Whig, 1830 - 1834
In June 1832, the Reform Act finally passed into law after 15 torrid months of debate. It extended the vote to just 7% of the adult male population, based on a series of lowered property qualifications. Introduced in March 1831, the bill scraped through the Commons by a single vote, but was thrown out at the committee stage (when the bill is debated in detail - sometimes called the 'second reading'). Parliament was dissolved and the general election was fought on the single issue of the Reform Act - an unprecedented event in British political history. The Whigs won the election and passed the bill, but the House of Lords (with a majority of Tories) threw it out, sparking riots and civil disobedience across the country. With the spectre of France's bloody revolution clearly in mind, William IV eventually agreed to create 50 Whig peers to redress the balance in the Lords if the bill was rejected again. The Lords conceded and the Act was finally passed into law. After all his efforts, Earl Grey is principally remembered for giving his name to a fragrant blend of tea.
Duke of Wellington, Tory, 1828 - 1830
Wellington's first term in office was dominated by the thorny subject of Catholic emancipation. Catholics were permitted to vote, but were not allowed to sit as members of parliament (MPs) and had restrictions on the property they could own. Initially, the 'Iron Duke' was staunchly in favour of the status quo, but soon came to realise that emancipation might be the only way to end conflict arising from the Act of Union between Britain and Ireland in 1801. He became such an advocate that he even fought a duel with the 10th Earl of Winchilsea over the issue. The Earl had accused him of plotting the downfall of the 'Protestant constitution', but then backed down and apologised. They still had to go through the ritual of the duel at Battersea Fields, with both men deliberately firing high and wide. Wellington eventually drove the legislation through, opening the way for Catholic MPs.
Viscount Goderich, Tory, 1827 - 1828
George Canning, Tory, 1827
Canning finally became prime minister after a long career in politics, only to die of pneumonia 119 days later. He had famously fought a duel in 1809 with his bitterest political rival, Lord Castlereagh, and was shot in the thigh. Castlereagh committed suicide with a penknife in 1822, after becoming depressed about his falling popularity.
Earl of Liverpool, Tory, 1812 - 1827
Liverpool is the second longest serving prime minister in British history (after Robert Walpole), winning four general elections and clinging on to power despite a massive stroke that incapacitated him for his last two years in office. Liverpool became PM at a time when Britain was emerging from the Napoleonic Wars and the first rumblings of 'working class' unrest were just beginning to be felt. Staunchly undemocratic in his outlook, Liverpool suppressed efforts to give the wider populace a voice. He was unrepentant when, in 1819, troops fired on a pro-reform mass meeting at St Peter's Fields in Manchester, killing eleven - the so-called 'Peterloo Massacre'. Trade unions were legalised by the 1825 Combination Act, but were so narrowly defined that members were forced to bargain over wages and conditions amid a minefield of heavy penalties for transgressions. (Liverpool's one concession to popular sentiment was in the trial of Queen Caroline on trumped up adultery charges. The legal victimisation of George IV's estranged wife, who was tried in parliament in 1820, brought her mass sympathy. Mindful not to provoke the mob in the wake of Peterloo, the charges were eventually dropped.)
Spencer Perceval, Tory, 1809 - 1812
Perceval bears a dubious distinction as the only British prime minister to be assassinated. As chancellor of the exchequer he moved in to 10 Downing Street in 1807, before rising to the office of prime minister two years later. His 12 young children - some born while he was in office - also lived in the PM's crowded residence. Against expectations, he had skilfully kept his government afloat for three years despite a severe economic downturn and continuing war with Napoleon. He was shot dead in the lobby of the House of Commons on 11 May 1812 by a merchant called John Bellingham who was seeking government compensation for his business debts. Perceval's body lay in 10 Downing Street for five days before burial. Bellingham gave himself up immediately. Tried for murder, he was found guilty and hanged a week later.
Duke of Portland, Tory, 1807 - 1809
Lord Grenville, Whig, 1806 - 1807
William Pitt 'the Younger', Tory, 1804 - 1806
Faced by a fresh invasion threat from Napoleon, George III once again turned to Pitt. A shadow of his former self due to failing health and suspected alcoholism, Pitt nonetheless accepted. He made alliances with Napoleon's continental rivals - Russia, Austria and Sweden - then, in 1805, Admiral Lord Nelson shattered French invasion hopes at the Battle of Trafalgar. Pitt did not have long to savour victory before Napoleon defeated both Russia and Austria to stand astride the whole of Europe. Heartsick, utterly exhausted, penniless and unmarried, Pitt died on 23 January 1806 at the age of 46.
Henry Addington, Tory, 1801 - 1804
Addington secured the Peace of Amiens with France in 1802, but would see Britain plunge into war with Napoleon again just two years later. He also passed the first Factory Act into law. The Act was the earliest attempt to reform working conditions in factories. It set a maximum 12 hour working day for children and addressed issues like proper ventilation, basic education and sleeping conditions. (Notably, his government also awarded Edward Jenner £10,000 to continue his pioneering work on a vaccine for smallpox.) But he was generally poorly regarded, prompting the satirical rhyme 'Pitt is to Addington, as London is to Paddington' - a reference to his distinguished predecessor as prime minister, William Pitt.
William Pitt 'the Younger', Tory, 1783-1801
Pitt 'the Younger' was the youngest prime minister in British history, taking office at the tender age of just 24. But his youth did not seem to disadvantage him as he threw himself into the manifold problems of government, holding on to the top office for 17 years - fifteen years longer than his father, Pitt 'the Elder'. His first priority was to reduce the National Debt, which had doubled with the loss of the American colonies in 1783. George III's mental illness then threw up the spectre of a constitutional crisis, with the transfer of sovereignty to the erratic Prince of Wales only narrowly averted by the king's recovery. Further threats to the monarchy emanated from across the Channel, with the bloody French Revolution of 1789 and subsequent war with France in 1793. War increased taxes and caused food shortages, damaging Pitt's popularity to the extent that he employed bodyguards out of fear for his safety. In a bid to resolve at least one intractable conflict, he pushed through the Act of Union with Ireland in 1800, but the related Emancipation of Catholics Bill was rejected by the king a year later. Having lost George III's confidence, Pitt was left with no option but to resign.
Duke of Portland, Tory, 1783
Earl Shelburne, Whig, 1782 - 1783
Marquess of Rockingham, Whig, 1782
Lord North, Tory, 1770 - 1782
North is chiefly somewhat unfairly remembered as the prime minister who lost the American colonies. Groomed by George III to lead his parliamentary supporters, North was fiercely loyal to his king, whose policy it had been to 'punish' the American colonials. The American War of Independence, reluctantly entered into by both sides, had been prosecuted at the king's behest in retaliation for their refusal to pay more towards their own defence. As hostilities progressed, North's blundering and indecision worsened an already difficult situation, and by 1782 it was clear that the outcome was likely to be a disaster. He begged George III to be allowed to resign, but the king refused to release him until the war was over. North has since become the yardstick for prime ministerial mediocrity, with later PMs being criticised as 'the worst since Lord North'.
Duke of Grafton, Whig, 1768 - 1770
An unremarkable prime minister, Grafton had a quite remarkable appetite for extra-marital affairs and openly kept several mistresses. He scandalised polite society in 1764 by leaving his wife and going to live with his mistress, Anne Parsons, also known as 'Mrs Houghton'. (Horace Walpole referred to her derisively as 'everybody's Mrs Houghton'.) Popular opinion had disapproved of Grafton's behaviour, until his wife did something even more shocking. She eloped with the Earl of Upper Ossory and had a child by him. Grafton divorced her in 1769, then abandoned Mrs Houghton and married Elizabeth Wrottesley, with whom he had 13 children. The Mrs Houghton ended up marrying the king's brother. This unsuitable union gave impetus to the Royal Marriages Act of 1772, which decreed that the monarch had to give permission for all royal weddings.
Earl of Chatham, Pitt 'The Elder', Whig, 1766 - 1768
Pitt 'the Elder' is widely credited as the man who built the British Empire, although much of this was done in the role of secretary of state under the governments of the Duke of Newcastle. He chose his fights carefully, conducting military campaigns where conditions were best suited to British merchants. Pitt added India, West Africa, the West Indies and the American colonies to Britain's overseas possessions, and was persistently belligerent towards colonial rivals like France and Spain. His relentless imperialism kept the merchants happy but infuriated men like Newcastle who counted the financial cost of his wars. Pitt was a superb public speaker and a master of the devastating put-down, but his career was dogged with recurrent mental illness and gout. Ironically, it was during his term as prime minister that he was at his least effective, often struggling to build support. He collapsed in the House of Lords in October 1768 and died four days later. (Pitt was the MP for a 'burgage borough' - an empty piece of land with no-one living on it. His constituency, Old Sarum, was a mound in Wiltshire. On polling day, seven voters met in a tent to cast their votes.)
Marquess of Rockingham, Whig, 1765 - 1766
George Grenville, Whig, 1763 - 1765
Grenville is one of the few prime ministers to have been sacked by the monarch. He was fired after a row with George III over who should rule in his place if his mental health continued to deteriorate.
Earl of Bute, Tory, 1762 - 1763
Bute was one of Britain's more unpopular prime ministers. Things came to a head when he failed to lower the taxes he had raised to fight France in the American colonies. Rioting erupted, his effigies were burnt and the windows in his house were smashed. Bute was generally disliked by colleagues and public, and was lampooned for his 'fine pair of legs', of which he was reputed to be extremely proud. His close relationship with the Prince of Wales's widow, the Dowager Princess Augusta, was also the subject of much scurrilous gossip. The nickname 'Sir Pertinax MacSycophant' was a contemptuous reference to the Roman Emperor Publius Helvius Pertinax, who was murdered three months after his meteoric assent by his own bodyguard. Unable to muster support in parliament, Bute resigned in 1763.
Duke of Newcastle, Whig, 1757 - 1762
Newcastle healed his rift with Pitt 'the Elder' by inviting him to serve in his government as secretary of state. Effectively a power-sharing coalition of two powerful men, the relationship gave birth to the British Empire. Their government eventually fell as a result of the new king, George III's hostility to Pitt, who had sought to restrict the influence of the monarch in political matters.
Duke of Devonshire, Whig, 1756-1757
Duke of Newcastle, Whig, 1754 - 1756
Newcastle became PM after his brother, Henry Pelham, died in office. It is the only instance of two brothers serving as prime minister. Newcastle enraged Pitt 'the Elder' by refusing to promote him in the new government, then compounded the insult by sacking him.
Henry Pelham, Whig, 1743 - 1754
Earl of Wilmington, Whig, 1742 - 1743
Sir Robert Walpole, Whig, 1721 - 1742
Walpole is widely acknowledged as the first prime minister, although he never actually held the title. He was also the longest serving, lasting 21 years. But Walpole's first stint in government, as secretary of war, had ended inauspiciously with a six month spell in the Tower of London for receiving an illegal payment. Undeterred, he rose to power again on the back of a collapsed financial scheme in which many prominent individuals had invested. Walpole had the foresight (or luck) to get out early, and as a result was credited with great financial acumen. George I invited him to become chancellor and gave him the powers that came to be associated with the office of prime minister. His owed his longevity in office (and the incredible wealth he accumulated) to a combination of great personal charm, enduring popularity, sharp practice and startling sycophancy. The accession of George II saw him temporarily eclipsed, but he worked hard to win over the new monarch. He was rewarded with both the new King's trust and 10 Downing Street, which remains the official residence of the prime minister to this day. Walpole was eventually brought down by an election loss at Chippenham and died just three years later.
| Anthony Eden |
What is the name of the sea which lies between the Philippines and Borneo? | BBC NEWS | Programmes | Newsnight | Who has been UK's greatest post-war PM?
Who has been UK's greatest post-war PM?
Newsnight asked you to help decide the UK's greatest and worst post-war prime minister.
Many thanks for playing 'Place that Face' - our game that has run throughout the party conference season.
The game has now closed but the results will be on Newsnight tonight.
You can read more about Britain's 12 post-war prime ministers below.
CLEMENT ATTLEE 1945-51
Clement Attlee, Labour's post-war Prime Minister is credited with the welfare state
Although the 1945-1951 Government is revered by the Labour Party, and along with Thatcher's Government did more to shape modern Britain than any other (the welfare state, social housing, the NHS etc). He was admired for his quiet, determined style.
"A modest man with much to be modest about," was Churchill's damning judgement, although in three head-to-head contests he never got more votes than the modest man. Attlee saw his role as balancing the different factions within the party and managing his Cabinet, particularly the so-called "big five" (Morrison, Dalton, Cripps, Bevin and Attlee himself).
WINSTON CHURCHILL 1951-55
War leader Winston Churchill returned to power in 1951.
Britain's great war Prime Minister, and exception to almost every rule: he served five years as Prime Minister before leading his party at an election; he lost his first election as party leader in a landslide; and only "won" at his third attempt where he gained more MPs but fewer votes than Labour. Few of his successors have such poor electoral records; few have such iconic achievements to their name.
First elected as a Conservative in 1900, he switched sides and served under Liberal leaders Asquith and Lloyd George, before switching back to the Conservative Party where he was regarded as a gloomy eccentric for his warnings about Nazi Germany and support for rearmament.
ANTHONY EDEN 1955-57
Anthony Eden had 'waited in the wings' for a long time to become prime minister.
Churchill's longstanding heir apparent and Foreign Secretary, he called a snap election upon becoming PM which he won. He then launched a disastrous military intervention in Egypt, lost the confidence of his party, suffered from ill health (retreating to Ian Fleming's Jamaican estate in November 1956) and resigned after serving only 21 months.
Eden was described by rival Rab Butler as "half mad baronet; half beautiful woman". His initial Cabinet is primarily remembered for the fact that ten of its 18 members were educated at Eton.
HAROLD MACMILLAN 1957-63
Harold Macmillan took the Conservatives to a 100 seat majority at the 1959 election.
Epitome of the "you've never had it so good" (from a 1957 speech) 1950s "Supermac" cultivated an aristocratic, country squire image, although he himself was from newish money.
He is politically remembered for the "night of the long knives" when a desire to move a troublesome Chancellor and reassert his authority ended with him sacking a third (seven) of his cabinet.
Liberal leader Jeremy Thorpe memorably reacted by saying: "Greater love hath no man than this, that he should lay down his friends for his life."
He left office in 1963 after being badly damaged by the Profumo affairs and being (incorrectly) diagnosed with inoperable cancer. In the event he lived until 1986 and took over his family publishing company upon leaving politics.
ALEC DOUGLAS-HOME 1963-64
Alec Douglas-Home served as Prime Minister at the end of the Tories' 13 years of rule.
Britain's shortest serving Prime Minister since the war, he was related distantly to the royal family and educated at Eton and Oxford.
His defeat at the hands of the self-proclaimed "man of the people" Harold Wilson so scarred the Tories that it was not until Iain Duncan Smith 38 years later that they chose another privately educated leader, and not until David Cameron 42 years later that they repeated the pattern.
Unlike Ted Heath and Margaret Thatcher, both of whom proved a thorn in the side of their successor, Sir Alec Douglas-Home was widely praised for serving in Ted Heath's Shadow Cabinet and then as his Foreign Secretary without rancour.
HAROLD WILSON 1964-70, 1974-76
Harold Wilson won four out of five elections and oversaw many social reforms.
Just as Tony Blair would 33 years later, Harold Wilson entered Downing Street promising to modernise Britain and make it a less stuffy, less class-obsessed country.
In the event his first Government is most widely remembered for social reforms such as legalising homosexuality and abortion, abolishing capital punishment and making divorce easier.
Originally a "Bevanite" from the left of the party (he resigned from Attlee's Government along with Bevan), Wilson moved to the centre without ever becoming part of the party establishment.
His conspiratorial style did manage his party, although critics charge it was at the expense of having the leading figures at each others' throats. At his lowest moment in 1969 he famously said: "I know what is going on; I am going on."
EDWARD HEATH 1970-74
Edward Heath took Britain into the Common Market and faced industrial unrest.
Heath won the Conservative leadership after Sir Alec Douglas-Home changed the rules to allow Conservative MPs for the first time a vote on their leader (prior to that the leader "emerged" from soundings).
Despite leading the party to a decisive defeat in 1966 he remained party leader and won in 1970 despite trailing in the polls. In response to a miners' strike in 1974 he called an election on "who governs Britain" and lost, despite gaining more votes than Labour.
Best known for sacking Enoch Powell following his "Rivers of Blood" speech in 1968 and taking Britain into the European Union (for which some modern Conservatives have not forgiven him), he resigned after failing to defeat a challenge by Margaret Thatcher on the first round in 1975 (just as she would 15 years later).
He remained politically active until retiring from the Commons in 2001. His bad relations with Thatcher were known as "the longest sulk in history".
MARGARET THATCHER 1979-90
Margaret Thatcher ended the post-war consensus and reformed Britain from the right.
Britain's only female Prime Minister is, along with Churchill, the most iconic of all post-war Prime Ministers. Her unbroken 11 years in office were the longest for any prime minister in the 20th century.
She is credited with transforming the British economy and society, and reasserting British power through the Falklands war and her strong alliance with the USA; she is also reviled in many areas for dividing the country into "us" and "them" and abandoning communities struggling with huge economic changes to their fate.
Margaret Thatcher began as much as an insurgent against her party establishment (which she saw as wedded to consensus, compromise and decline) as against Britain's post-war settlement, but it was that party establishment that eventually caught up with her after she lost her Chancellor (Lawson) and Deputy PM (Howe) in quick succession over European policy and found herself dangerously isolated in Cabinet.
She remains the only post-war Prime Minister to be publicly forced from office by their party (although others went seeing the writing on the wall), something which haunted her party long after she had gone.
JOHN MAJOR 1990-97
John Major's government was undermined by scandal and economic problems.
Despite serving longer than all post-war Prime Ministers except Thatcher, Blair and Wilson (although longer in one stretch than Wilson) and the Conservative Party receiving more votes in 1992 than any other party has achieved before or since, John Major has not generally been kindly dealt with by historians.
He had a gentler, more collegiate style than his predecessor, but his Government was wracked by deep divisions over Europe, a series of scandals and he faced an opposition invigorated under a young leader.
TONY BLAIR 1997-2007
The Iraq war came to dominate the term of Labour's longest serving prime minister.
Labour's longest serving Prime Minister, and along with Macmillan and Thatcher he left office undefeated at a General Election.
He was the culmination of a long period of change in the Labour Party as it slowly re-orientated itself following the traumas of the 1980s, and he symbolically re-wrote the Party's constitution to end its commitment to public ownership.
However from the start of his second term it was his decision to staunchly back the war in Iraq that came to dominate his premiership and deeply divided his party and the country.
Weakened by the 2005 General Election which many Labour MPs saw as being won because of Gordon Brown's economy and despite Tony Blair's foreign wars, he was forced to name a leaving date following a series of resignations by junior government members in September 2006.
However in the end he almost did manage to leave, in the words of a much-mocked memo, "like a rock star, with the crowds wanting more".
GORDON BROWN 2007-present
Gordon Brown originally stood aside to allow Tony Blair to lead the Labour party.
Gordon Brown's place entry is not yet written, although if he wins the next election it will rank as the greatest comeback in this list. He has already served longer than Sir Alec Douglas-Home and next Spring he will just pip Anthony Eden.
His 11 years as Chancellor or Prime Minister (16 years if you include his time as Shadow Chancellor) is a remarkable period at the top of the political tree, but he took power too late to help the Labour Party avoid the backlash to the Iraq war, and many now think he was the wrong man for the party to transform itself fundamentally, Sarkozy-style, while in power.
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Singer Sertab Erener won the 2003 Eurovision Song Contest for which country? | Turkey's Sertab Erener Wins 2003 Eurovision Song Contest - 2003-05-25
Turkey's Sertab Erener Wins 2003 Eurovision Song Contest - 2003-05-25
October 29, 2009 7:03 PM
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Turkey for the first time has been proclaimed the winner of this year's Eurovision Song Contest, following a fiercely fought battle with Russia and Belgium. At the opposite end of the ratings came the United Kingdom, the only contestant to score zero points in the event. This year's competition was in Latvia.
"Ladies and gentleman, the winner of tonight's show [is] Turkey, and there is celebration in the sky."
And indeed, when the winner was announced, fireworks illuminated the skies over Riga, capital of Latvia.
But not everyone was overjoyed by the outcome. As he watched the spectacle, British radio commentator Ken Bruce noted that the United Kingdom had its worst performance in Eurovision history. "The ashes that are falling from the sky are landing in my mouth. United Kingdom with no points at the end of a Eurovision Song Contest. I never thought I would hear myself saying that," he said.
Britain's previous worst Eurovision placing was in 2000, when Nicki French took 16th place with a song prophetically titled Don't Play That Song Again.
Some commentators saw a connection between the U.K. failure and European anger over British support for the American-led war in Iraq. Others said it was simply that the Liverpool performers Chris Cromby, 21, and Gemma Abbey, 20, did not have what it takes.
But victory was sweet for the scantily-clad Sertab Erener of Turkey, whose winning song was Every Way That I Can.
Ms. Erener was overcome by emotion by her unexpected victory, a huge boost for Turkey and her own popularity and profits. She has already sold an estimated four million albums.
The audience packed into Riga's Skonto Hall was less enthusiastic about the two young girls making up Russia's entry, even though they had been tipped as favorites to win.
Backed by loud instruments and electronic backing, teenagers Lena Katina and Julia Volkova, known together as Tatu, managed to be only slightly louder than the boos mixed with cheers from the audience.
Their song was Don't Believe, Don't Fear, Don't Ask, and it came out slightly out of tune with the music. The teenagers from Moscow were, prematurely, wearing tee-shirts bearing the number one.
The girls had earlier angered organizers by arriving late for rehearsals and then threatening to perform in the nude. But organizers said no to toplessness. The Eurovision Song Contest, with 26 European countries taking part, is a family event watched by an estimated 160 million television viewers worldwide. Organizers say they want to keep it that way.
Despite their hostile reception inside the theatre, Russia's Tatu group got good support from outside, via telephone votes from television viewers. In fact, host country Latvia gave maximum points to Russia. This was a remarkable outcome in a nation which proudly declared its independence from the Russian-run Soviet Union just more than a decade ago.
As it turned out, Russia managed to get into third place slightly behind Belgium, whose song, made up of unintelligible words, won it second place.
Turkish singer Erener and her band admitted they were surprised by their country's victory. Turkey has never been able to come higher than third place in Eurovision contests. "You see what is happening here? But can you imagine what is happening in your country at the moment?" the Latvian television presenter wondered.
"They are getting crazy I think. Thank you Turkey, thanks a lot," she said.
Latvia became host of the 48th Eurovision Song Contest when 22-year-old law student Marija Naumova won last year's event in Tallinn, Estonia. The contest in Riga's Skonto Hall, with a capacity of 6,000, was described as the biggest indoor concert in Latvia's history.
| Turkey |
In the Bible, what are the names of the two cities destroyed by God for their sins? | Free Sertab Erener biography and latest music, latest album, top tracks | SONG365
Country:Turke
Genres:Turkish Pop, Turkish, Pop, Female Vocalists, Eurovision
Biogphiy: Sertab Erener (born December 4, 1964, Istanbul, Turkey) is a well-known Turkish pop star, who won the Eurovision Song Contest 2003 with Every Way That I Can in Riga, Latvia. She was originally educated professionally as an opera singer and has a well-tamed soprano voice. However, she proceeded to establish herself in popular music. Initially working with Sezen Aksu, another significant Turkish music star, she released her first album Sakin Ol in 1992, followed by Lal (1994), Sertab Gibi (1996), Sertab (1999) and Turuncu (2001). Lal was included in the “Soundtrack For A Century” collection by Sony music. Sertab Erener is also remembered for her duets with José Carreras and Ricky Martin and her single with Greek singer Mando. In 2004 she released her first English album called “No Boundaries” and a few English singles, which increased the number of her international fans. Also she made a special re-production of the album regarding the Far-East countries. Her two songs “One More Cup of Coffee” (a Bob Dylan cover) and “Here I Am” were used in international movie soundtracks. She also worked with famous musicians Desmond Child, Indonesian singer Anggun, and Belgian band Voice Male. She released Ask Olmez, another Turkish-language album in 2005 and the singles Ask Olmez, Biz Oluruz (Love never dies, we die) and a dance remix of Satilik Kalpler Sehri. There was an electronic/club remix album of some of her best-known songs (“Sertab Goes to the Club”) along with Murat Uncuoglu and Aytekin Kurt in 2007. She also released her best-of album (“The Best of Sertab Erener”) in 2007.
Sertab Erener Tracks
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What is the name of the sharp-toothed wheel inserted into the end of a spur? | rowel - definition and meaning
rowel
from The American Heritage® Dictionary of the English Language, 4th Edition
n. A sharp-toothed wheel inserted into the end of the shank of a spur.
from Wiktionary, Creative Commons Attribution/Share-Alike License
n. The small spiked wheel on the end of a spur.
v. To use a rowel on something, especially to drain fluid.
from the GNU version of the Collaborative International Dictionary of English
n. The little wheel of a spur, with sharp points.
n. A little flat ring or wheel on horses' bits.
n. A roll of hair, silk, etc., passed through the flesh of horses, answering to a seton in human surgery.
transitive v. To insert a rowel, or roll of hair or silk, into (as the flesh of a horse).
from The Century Dictionary and Cyclopedia
To use the rowel on; put spurs to.
In farriery, to apply a rowel to.
To furnish with a rowel, as a spur.
n. . A small wheel, ring, or circle.
n. The wheel of a horseman's spur, armed with pointed rays.
n. A roller on the mouthpiece of an old form of bit for horses.
n. In farriery, a seton inserted in the flesh of an animal.
n. The spiked wheel of some forms of soil-pulverizers and wheel-harrows.
from WordNet 3.0 Copyright 2006 by Princeton University. All rights reserved.
n. a small spiked wheel at the end of a spur
Etymologies
from The American Heritage® Dictionary of the English Language, 4th Edition
Middle English, from Old French roelle, diminutive of roue, wheel, from Latin rota.
from Wiktionary, Creative Commons Attribution/Share-Alike License
Old French roel, from late Latin rotella, diminutive of Latin rota ‘wheel’.
Examples
They are of blue steel inlaid with strips of silver, and the rowel is a sort of cogged wheel, from an inch and a half to three inches in diameter.
| Spur |
What is name of cartoon character SpongeBob SquarePants pet snail? | Spur (zoology) - iSnare Free Encyclopedia
Spur (zoology)
Masked lapwing (often called the Spur-winged Plover) in flight with wing spurs clearly visible on the leading edge of the wings.
A spur is an outgrowth of bone covered in a sheath of horn found in various anatomical locations in some animals. Unlike claws or nails , which grow from the tip of the toes, spurs form from other parts of the foot, usually in connection with joints where the toes meet the foot or the foot meets the long bones. [1] Spurs are most commonly found on the hindfeet, though some birds possess spurs at the leading edge of the wings. [2]
Contents
5 References
Anatomy
A spur is much like a true horn ; it is a bony core attached to the skeleton and has an outer horny layer. Like horns, the spur grows from the base outwards, so the tip is older than the base. Some spurs form as an outgrowth of an existing bone, though most are secondarily formed as dermal bone hinged to the skeleton through a semi-rigid joint. Spurs on the hind-feet do not appear to molt , but the wing spurs of birds are molted once a year along with the wing feathers. [2]
Unlike claws, spurs are normally straight or only slightly curved, making them suited to striking or stabbing. In birds and mammals, their function appears to be for fighting, defense and territory marking, rather than for predation. [2] In reptiles, spurs are usually only found in the males and are used as holdfasts or to stimulate the female during copulation. [3]
In reptiles
The term spur is sometimes used to describe the pelvic spur , vestigal limbs found in primitive snakes , such as boas and pythons and in the striped legless lizard . [3] [4] The spurs primarily serve as holdfasts during mating. As these form at the terminal end of the limb, they may properly be claws rather than true spurs.
External view of anal spurs on a male, albino Burmese python
The Boinae (a sub-family of boas) possess pelvic or anal spurs on each side of their cloaca . These spurs have a high degree of mobility and can be moved by appropriate musculature from their normal position lying along and against the body, into a perpendicular plane to resemble miniature legs. The pelvic spurs are usually held in the "erect" position and used by the male (at least) to stimulate the female. During mating, the male has a tendency to dig his pelvic spurs into the female's body. Whilst crawling over the female the male's spurs will scratch the surface of the female snake often making a distinct scratching sound. On other occasions the male's spurs will move rapidly in and out, up and down, again to stimulate the female snake. This supports the theory that the pelvic spurs have a sexual role. [5] [6] In at least one species, the Madagascan Boa ( Sanzinia madagascariensis ), the spurs are also used in combat where they are erected perpendicular to the body and flexed vigorously against the scales of the opponent. [7] It has been claimed that pelvic spurs are retained parts of the pelvic girdle and are small, vestigial hind legs. [8] However, it has also been claimed the spurs are modified scales and do not appear to be linked to any bone structure. [5]
Male mating spurs are also found in most species of the chameleon genus Chamaeleo . [9] A tarsal spur can be found on the back of the rear feet on male Veiled chameleons . This is present at birth and grows with age. It has been stated they are used in breeding. [10]
In the striped legless lizard, the males can be distinguished externally from the females by spurs under each hind-limb flap. [3] These flaps have been described as "...greatly reduced hind limbs". [11]
Some tortoises in the genus Testudo also bear spurs, though these form on the femur rather than the foot. Unlike other spurs, they serve no obvious function. In the spur-thighed tortoise (Testudo graeca), both males and females have spurs. In a related tortoise, Hermann's tortoise (Testudo hermanni), neither the male or female have thigh spurs but both have a spur on the tip of the tail which is larger in the male. [12]
In birds
Most birds have four toes. The first points backwards in most species while the second, third and fourth digits point forwards. The fifth toe is lost completely except in some birds where it has become a spur. A number of birds have spurs on their feet or legs, usually formed from the lower portion of the tarsometatarsus bone. Best known are the spurs on chicken , though most galliform birds bear spurs. The spurs are mostly found in males, and used in mating competition or territory defence. Some birds have spurs on the wings rather than the legs. These are mostly found in both sexes and probably serve other functions, possibly defense. [2]
Domestic chickens have metatarsal spurs which project from the axis of the metatarsus at an angle of about 90 degrees and are pointed posteromedially at about 45 degrees. They are placed between the middle and distal thirds of the metatarsus. [13] Both hens and roosters can develop spurs, but they are more common and generally larger and better developed in roosters. Domestic and wild turkeys also have metatarsal spurs. In the wild turkey, the spurs continue growing through life and become longer and sharper. Spur length is generally considered to be the most reliable characteristic in determining the age of wild males. There are also differences in spur length between the different sub-species, probably due to habitat differences. Ocellated turkeys usually have the longest spurs; they generally live in swamps and areas with soft dirt and few rocks so they do not wear off the spur tips. Contrary to this, the western sub-species, like the Merriam's, often live in rocky areas which usually means even very old birds will have spurs that have been worn off to less than 2.5 cm long. [14] During mating in domesticated hens and turkeys, the claws and spurs of the male may often scratch and injure the back and shoulders of the female. To prevent this, the females are sometimes fitted with "saddles" to protect them. [15]
The spur-winged goose with visible carpal spurs
The spur-winged goose (Plectropterus gambensis), the largest of Africa's waterfowl, has prominent carpal spurs [16] which are not visible when the wings are folded. The spur is an extension of the radiale : one of the two distal carpal bones. It therefore has a completely novel origin compared to the spurs and spikes seen in screamer and other waterfowl. It is a stout, conical structure that is typically oval in cross-section, but sharp keels are present on the spur in some individuals. The genus name, Plectropterus, is from the Greek plektron, "a cock’s spur" and pteron, "feathers" or "wings". It has been claimed that the spur is used in defence against predators [17] although they have also been described as "especially effective weapons" making this species "the most dangerous of all waterfowl". [18] When disturbed, the male often stretches both wings over the back in the usual manner of a stretching bird. This behaviour brings into view the spurs and white wing patches, and may possibly function as a simple threat display. It has also been claimed that a number of other bird species are known to fight by hitting each other with their wings; some, including screamers, lapwings and spur-winged geese, "have evolved spurs to increase the damage they can wreak". [19]
Screamers (Anhimidae) have two large spikes on the carpometacarpus . The larger one emerges from the extensor process, and a more distally located spur grows from near the end of the major metacarpal . In the black-necked screamer (Chauna chavaria) the spikes are oval in cross-section, but in the southern screamer (Chauna torquata) there is a sharp-edged keel along the spike’s proximal edge, and in the horned screamer (Anhima cornuta) the spikes are triangular in cross-section with three sharp keels. [20] In the black-necked screamer, the proximal spike can be 4.5-4.7 cm long, but in the male horned screamer it can reach 6.1 cm in length. [21]
Carpal spurs are also present in the torrent duck (Merganetta armata). These are different from the carpal spurs of the spur-winged goose as they are borne on the extensor process. The torrent duck spur has a stout base and tapers quickly to a point. The spurs are typically bigger and more sharply pointed in males than females (0.9-1.7 cm compared to 0.6-1.3 cm). The species name for the duck means ‘armed’, suggesting it was named specifically for its spurs. [20]
The masked lapwing (also known as the spur-winged plover) has carpal spurs. Nesting pairs defend their territory against all intruders by calling loudly, spreading their wings, and then swooping fast and low, and where necessary, striking at interlopers with their feet and attacking animals on the ground with the conspicuous yellow spurs. There is a much-believed but incorrect myth that the spur can inject venom. The myth may have been based on fear of the masked lapwing's territorial behaviour.
In mammals
The calcaneus spur found on the male platypus ' hind limb is used to deliver venom.
Spurs are uncommon in mammals.
The male platypus has well developed spurs on the heels of its hind feet. The spurs are hollow and connected to a venom gland, allowing the platypus to deliver a very painful kick both in mating competitions and as a defense. [22] Similar, but non-venomous spurs are found in echidnas . [23] Similar spurs have been found in the fossils of several early mammals, and is possibly the primitive condition in mammals as a whole. [24]
The male ring-tailed lemur (Lemur catta) has spurs used in making visual/olfactory territorial marks . Both males and females have a scent gland on their inner forearm (antebrachial) approximately 25 cm above the wrist joint, however, in the males, this is covered by a spur. In a behaviour known as "spur marking", they grasp the substrate, usually a small sapling, and drag the spur over it, cutting into the wood and spreading the gland's secretions. When on the ground, ring-tailed lemurs preferentially mark small saplings and when high in the trees, they usually mark small vertical branches. [25] The spur grows with age and seems to be developed from the secretions of the underlying gland, which may have up to 1,000 tiny ducts connecting through the skin. [26]
References
^
Fisher, H.I. (1940). "The occurrence of vestigial claws on the wings of birds". American Midland Naturalist. 23 (1): 234–243. doi : 10.2307/2485270 . JSTOR 2485270 .
1601, William Shakespeare , Troilus and Cressida , Act II, Scene II, line 198.
But, worthy Hector, She is a theme of honour and renown, A spur to valiant and magnanimous deeds...
An appendage or spike pointing rearward, near the foot , for instance that of a rooster .
Any protruding part connected at one end, for instance a highway that extends from another highway into a city.
1609, William Shakespeare , Cymbeline , Act IV, Scene II, line 57:
I do note / That grief and patience, rooted in them both, / Mingle their spurs together.
1610, The Tempest , by Shakespeare , act 5 scene 1
[...] the strong-bas'd promontory
Have I made shake; and by the spurs pluck'd up
The pine and cedar […]
A mountain that shoots from another mountain or range and extends some distance in a lateral direction, or at right angles .
A spiked iron worn by seamen upon the bottom of the boot, to enable them to stand upon the carcass of a whale to strip off the blubber .
(carpentry) A brace strengthening a post and some connected part, such as a rafter or crossbeam ; a strut .
(architecture) The short wooden buttress of a post.
(architecture) A projection from the round base of a column , occupying the angle of a square plinth upon which the base rests, or bringing the bottom bed of the base to a nearly square form. It is generally carved in leafage .
Ergotized rye or other grain.
A wall in a fortification that crosses a part of a rampart and joins to an inner wall.
(shipbuilding) A piece of timber fixed on the bilgeways before launching, having the upper ends bolted to the vessel's side.
(shipbuilding) A curved piece of timber serving as a half to support the deck where a whole beam cannot be placed.
To prod (especially a horse ) on the side or flank , with the intent to urge motion or haste , to gig .
1592, William Shakespeare, Richard III, Act V, Scene III, line 339:
Draw, archers, draw your arrows to the head! Spur your proud horses hard, and ride in blood; Amaze the welkin with your broken staves!
To urge or encourage to action, or to a more vigorous pursuit of an object ; to incite ; to stimulate ; to instigate ; to impel ; to drive .
1599, William Shakespeare, Twelfth Night, Act III, Scene IV, line 4.
My desire / (More sharp than filed steel) did spur me forth...
2014 November 17, Roger Cohen , “The horror! The horror! The trauma of ISIS [print version: International New York Times, 18 November 2014, p. 9]”, in
[1] :
What is unbearable, in fact, is the feeling, 13 years after 9/11, that America has been chasing its tail; that, in some whack-a-mole horror show, the quashing of a jihadi enclave here only spurs the sprouting of another there; that the ideology of Al Qaeda is still reverberating through a blocked Arab world whose Sunni-Shia balance (insofar as that went) was upended by the American invasion of Iraq.
To put spurs on
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British athlete Jonathan Edwards competed in which event? | British Athletics Official Website | Jonathan Edwards
Coach(s): Carl Johnson, Norman Anderson and Peter Stanley.
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Decision Time
Jonathan Edwards took triple jumping to another level in the summer of 1995, where he established a world record which could last more than one generation.
When he leapt 18.29m, he became the first athlete to clear 60ft for this event and since then only other athlete, American Kenny Harrison, has cleared the 18m-barrier - and he did that to beat Edwards to Olympic gold in Atlanta in 1996. Edwards achieved his success in a career where this vicarâs son, as a committed Christian, at first he chose not to compete on Sundays, passing the chance of taking part in the World Championships in 1991. But by Stuttgart in 1993, he had changed his mind, which proved a fortunate decision because the qualifying round of the triple jump at the World Championships was on a Sunday. He progressed safely to the final, where he took the bronze medal and it proved the foundation to greatness.Â
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Itâs Longâ¦Itâs Very Long
Edwards had first jumped 16m in 1986 and progressed rapidly to become the best triple jumper in Britain by 1989, when he burst into world class and was third at the World Cup with 17.28m. In 1990 his form was affected by an injured right ankle, but he won the Commonwealth silver medal, a feat he repeated in 1994. He won the World Cup in 1992, but the sensational part of his amazing 1995 was the fact it was so unexpected.
 The previous summer he had finished sixth at the European Championships in Helsinki before winning silver at the Commonwealth Games in Victoria, solid-enough performances but nothing to say that 12 months later he would become untouchable. Edwards had fabulous speed on the runway. It is believed he was even quicker than Linford Christie, Britainâs 1992 Olympic 100m champion, over 20m - and combining that with his slick hop, skipping and jumping, it became an unbeatable package.
He had started the outdoor season with a British record 17.58m, having achieved a wind-assisted best of 17.70m in 1993. But it was at the European Cup in Lille, ironically on a Sunday, that Britain realised it had a phenomenon on its hands. His series was 17.90m(w), an amazing 18.43m(w,+2.4), 17.72m with a legal wind to add 14 cm to his British record, and 18.39m(w,+3.7). The previous longest ever jump was 18.20 m (w,+5.2) by American Willie Banks at Indianapolis in 1988 who also held the world record of 17.97m.
 His best of 18.43m (w) was comprised of a 6.50m hop, a 5.60m step and a 6.33m jump and the world record was not too far away. It came at Salamanca, Spain, when he jumped 17.98m, before the World Championships in Gothenburg became his finest hour. Edwards was at his peak. His speed was remarkable on that afternoon in Sweden and his first jump blew away the rest of the competition. He jumped 18.16m, smashing his world record, and then in the second round, he went even further, clearing 18.29m.
He had recorded the first legal 18m and 60ft jumps with legal wind and ended the year unbeaten in 14 competitions. He was voted BBC Sports Personality of the Year, the LâEquipe International Champion of Champions and he was the IAAF Male Athlete of 1995. But often he recalled how his âfameâ hit him most when he was shopping at the Metro Centre near his home in Gateshead, when suddenly he was mobbed by people who just wanted to congratulate him.Â
Â
Olympics Here We Come
One of the difficulties Edwards faced was the level of expectation and while he entered the Olympic Games in Atlanta as favourite, it was not to be. It was there that his run of 22 successive wins was ended by Harrison, whose 18.09m beat Edwards into silver by 21 centimetres.
He remained optimistic that he would be still be around at this level for Sydney four years later, but before that he had to battle through some of the most traumatic times of his career. In 1997, the defence of his world title in Athens saw him finish second before he had keyhole surgery on his left ankle at the end of the 1998 season, forcing him to miss the Commonwealth Games, though he had finally lifted the European title in Budapest.
He won nine of his 12 competitions in 1999, although he was left disappointed by finishing third at the World Championships in Seville, an event which ended with him and wife Alison cuddling by the trackside, during a difficult time for their family because of his mother-in-law being ill. In 2000, he was the World No 1 again, but days before the Games were about to start, his mother-in-law died. Edwards contemplated returning home. He was told to stay, and fuelled up with even more emotion and dedication to the cause, he won the gold medal.
His moment arrived in the third round, with a jump of 17.71m, the best in the world and further proof of the way he had shown how mentally he could climb through the barrier of not winning a global title since 1995.He was back, and though he had to settle for silver at the World Indoor Championships in Lisbon with 17.26m as Paolo Camossi won with 17.32m, outdoors he reigned supreme again. After securing a place in the World championship final in Edmonton with the last of his three jumps in qualifying, he then leapt 17.92m to become only the second Briton to regain a world title (Colin Jackson in 1999 was the other).Â
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Manchester Calling
The main gold medal to elude Edwards was the Commonwealth Games title, but he put that right on a Sunday evening in Manchester in 2002. Londoner Phillips Idowu had been fast progressing as the man who one day would succeed him as British No 1 and here he led the competition with 17.68m. Edwards took to the runway, looked around, knew his time had come again and in the third round set a world-leading mark of 17.86m to complete the set of the four majors.
Christian Olsson, of Sweden, who had sat in the stand in his home city of Gothenburg in 1995 watching Edwardsâ exploits, was the new kid on the block and he won the European title in Munich in 17.53m as the British star finished third with 17.32m. In 2003, Edwards made a late start to his outdoor campaign, but then produced an amazing 17.61m, his best ever seasonâs opener, in the Gateshead with an even bigger no jump in the third round in the competition won by Olsson with 17.92m (w). He was third at Stockholm with 17.14m and at the London Grand Prix with 17.19m, yet in the latter he sustained an ankle injury and was carried off. A scan showed no break and he was able to compete at the World Championships in Paris, qualifying with 16.94m, but he took only two jumps in the final, thus ending his wonderful career in anti-climatic fashion, last with 16.31m.
He has moved into television, as an athletics commentator on the BBC and as the presenter of the Sunday evening religious show Songs Of Praise. He received an MBE in 1995 and CBE in 2000, but still there is no sign of his world record being eclipsed.
Â
International Championships at triple jump
1987: 9th World University Games
1988: dnq 23rd Olympics
| Triple jump |
Pico da Neblina is the highest mountain in which South American country? | BBC - World Athletics Championships - BBC commentators - Media Centre
BBC Radio 5 live
Allison Curbishley
A former British Olympian, Allison is now a familiar voice for athletics on BBC Radio 5 live. Allison, a 400 metre runner, competed at the highest level including two Olympic Games (Atlanta and Sydney), World and European Championships and the 1998 Commonwealth Games in Kuala Lumpur. Allison remains the Scottish record holder for the women’s 400 metres.
Since 2003, Allison has been a key part of the 5 live commentary team, covering three Olympic Games (Athens, Beijing and London), two Paralympic Games (Beijing and London) we well as World and European Championships and Commonwealth Games.
Away from her broadcasting career Allison promotes International Netball and works with Sporting Ambassadors; teaming current sporting professionals with schools and community groups to provide positive role models to young people and encouraging participation in sport.
Steve Backley OBE
Olympic medallist Steve Backley OBE will be a key part of Radio 5 live’s commentary team at London 2012.
Steve won Olympic bronze in Barcelona in 1992 before winning silver medals in Atlanta 1996 and Sydney in 2000 in the javelin and as a result is the only British athlete to have medalled at three consecutive Games.
He also won three Commonwealth and four European Championship gold medals between 1990 and 2002. Steve was part of the 5 live commentary team at the Beijing Olympics in 2008 and London 2012.
Mike Costello
Mike Costello is one of BBC Radio 5 live's most recognisable voices, having commentated on athletics and boxing for the station since 2006. His passion for both sports has guided listeners through the highs and lows of these much-loved events.
Having previously worked for the BBC World Service in a similar role, Mike has covered every World Athletics Championships since Gothenburg in 1995.
Mike was a key part of the 5 live sports team for London 2012, having commentated on the previous five. He credits being able to follow the successes of athletes, such as Usain Bolt, as the most uplifting experiences of his broadcasting career so far.
Sonja McLaughlan
Broadcasting on the BBC since 1998, Sonja has been part of some of the biggest sporting events in the world, including every Olympic games since Atlanta 1996, the Rugby World Cup, World Championship Athletics, the London Marathon and the University Boat race.
Since joining as a trainee in 1988, Sonja has become one of the BBC’s most experienced broadcasters. She learnt her trade as a news reporter before joining the sports team from where she has never looked back.
Sonja was the first woman to produce BBC Radio’s rugby union output and made her name on the BBC’s Six Nations coverage, along with her work as a reporter for BBC Radio 5 live and Rugby Union for Grandstand.
Sonja can also be seen presenting the sports news throughout the week on BBC News and BBC World News and played a major role in the commentary team for last year’s Olympic Games.
Mark Pougatch
A seasoned and respected broadcaster across radio and television over many years, Mark Pougatch has presented some of the biggest shows in sports journalism and his CV includes Match of The Day and Football Focus on BBC television. Mark has also broadcast from every major sporting event that the station covers including the Cricket, Rugby and Football World Cups and Commonwealth Games. He presented from London 2012 for Radio 5 live – his fourth summer Olympics and from Wimbledon 2013.
On Radio 5 live he has broadcast right across the schedule in both sport and news roles including presenting 5 live breakfast, Drive, Test Match Special, on 5 live sport anchoring the flagship Saturday programme and presents the iconic Sports Report.
Donovan Bailey
Donovan Bailey, once the fastest man on earth, is a track and field legend having competed at world class level throughout the 1990s.
He held the world record for the men’s 100 metres at the 1996 Olympic Games in Atlanta with a time of 9.84 seconds. He also claimed gold as part of the men’s 4x100 metre relay.
The Canadian sprinter is a three-time World Athletics Champion, having competed in Gothenburg (1995) where he claimed a gold medal in the men’s 100 metres and 100 metre relay. He returned to the world stage in Athens (1997) to help his team retain the men’s 100 metre relay gold medal.
Before becoming an athlete, Donovan was a stockbroker. He now lives in Toronto, Canada and regularly co-commentates for Canadian television.
Donovan is new to the BBC Radio 5 live commentary team for 2013.
BBC Television
Gabby Logan
A key member of the BBC’s presentation team for the London 2012 Olympics, Gabby presents Final Score, Inside Sport, the Six Nations and the Autumn Rugby Internationals for BBC One. Gabby has hosted a live daily show on Channel 5, LIVE with Gabby Logan, the FIFA 2011 Women’s World Cup for BBC Three, Match of the Day, the One Show and was in South Africa in 2010 reporting on the England team for the FIFA 2010 World Cup and Beijing in 2008 for the Olympics.
A former international gymnast, Gabby began her broadcasting career in radio in 1992 and joined Sky Sports in 1996, where she quickly established herself as a football presenter. First joining ITV in 1998 to front On The Ball, during her nine years at the channel Gabby’s repertoire expanded and her presenting credits include the World Cup, Champions League and the Premiership, as well as the Boat Race and sports news reporting. In 2004 she co-hosted Sport Relief with Gary Lineker for the BBC, before joining the corporation in 2007. Following various stints on the station, Gabby began presenting a regular weekly Sunday morning show on BBC Radio 5 Live in February 2008.
From January 2010 to April 2011 she presented The Gabby Logan Show weekdays from 12pm – 2pm, which covered news and sport from across the UK as well as comprehensive analysis of Prime Minister's Questions every Wednesday. She is a columnist for The Times and has previously written for the Sunday Mirror, Independent and Yorkshire Post.
Jonathan Edwards CBE
Jonathan Edwards' achievements on the track have earned him a place in history as one of the World's greatest and most admired athletes. Almost 17 years after his incredible efforts in Gothenburg, Jonathan Edwards still holds the world record for the triple jump at 18.29m.
In 2000 Jonathan won a gold medal during the Sydney 2000 Olympics and returned home to a hero's welcome. After a career that spanned 15 years, Jonathan made his last competitive triple jump at the World Athletics Championships in Paris in 2003; he retired soon after as one of Great Britain's most successful athletes.
Jonathan has received several awards in recognition of his sporting achievements including BBC Sports Personality of the Year in 1995; an MBE in 1996 and then a CBE in 2001.
Since retiring Jonathan became one of BBC Sport’s key pundits and commentators covering all the major athletics events, including the Olympics in London 2012, Beijing in 2008 and Athens in 2004. Jonathan has been part of the presentation team throughout 2013, covering the Diamond League meetings and the London Anniversary Games for the BBC.
Colin Jackson
Colin Jackson is without a doubt one of the greatest athletes that Great Britain has ever produced, with almost over a decade spent at the very pinnacle of his sport.
As a 110m hurdler, Colin was ranked in the world top ten for 16 years and he was World No.1 from 1992-1994. For the last seven years of his career Colin was never out of the world’s top 3 and went on to set seven European, eight Commonwealth and nine UK records at 110m hurdles. Colin still holds the World Record over 60m hurdles indoors (7.30, Sindelfingen 1994).
On retirement, Colin was a natural choice to become one of the key members of the BBC’s sports production team and he continues to cover all of their Athletics output as a BBC pundit. His broadcasting career began by covering the Athens Olympics and since then he has been an integral part of the BBC output for all major athletic events since including the London Olympics last year and Beijing Olympics in 2008.
Colin traced his roots in a moving episode of BBC One's highly acclaimed, ‘Who Do You Think You Are’ and appeared on ‘Strictly Come Dancing’.
Colin worked extensively with the BBC Wales award nominated sport website ‘Raise your Game’ from 2004 until early 2012, which, with the help of celebrity interviews and invaluable advice, encouraged children to be ambitious in sport and life in general.
Steve Cram MBE
Steve Cram is one of the UK's most famous sporting personalities. As an athlete his career was forged alongside Coe and Ovett to form a period of unprecedented success in British athletics and since his retirement he has built a solid broadcasting career as a presenter/commentator for the BBC.
In a career spanning over three decades, since appearing as a 17 year old at the Commonwealth Games in 1978, Steve’s many achievements include six Gold medals at the Commonwealth Games and the European and World Championships.
At the 1984 Olympic Games held in Los Angeles, Steve returned from injury to take a silver medal in the 1500m behind Sebastian Coe. The following year he broke world records in the 1500m, 2000m and Mile, all within 19 days; the latter lasting almost nine years.
In 1983 Steve was voted BBC Sports Personality of the Year, one of the few athletes to have won the award, and in 1986 he was awarded an MBE.
Since retiring from competitive athletics Steve has become a successful television commentator, first with Eurosport, and then with Channel 4 before joining the BBC as the Chief Athletics Commentator.
Steve was part of the BBC’s presentation team during the London 2012 Olympics. He also co-presented the 2000 Sydney Olympics, the 2002 Winter Olympics in Salt Lake City, Athens in 2004, both the Olympic and Paralympic Games in Beijing 2008 and the Vancouver Winter Games in 2010.
Steve has also been a regular contributor to BBC Radio 5 live including hosting the popular 606 and Sunday Sport shows.
Phil Jones
Phil is the BBC’s trackside athletics reporter, having first taken on that role at the 2006 Commonwealth Games in Melbourne. He subsequently covered the London 2012 Olympics, Beijing Olympics in 2008, World Championships in Osaka in 2007 & Berlin 2009 and European Championships in Gothenburg in 2006 & Barcelona in 2010 – along with all the BBC’s domestic athletics output, including the London Marathon and Great North Run.
Phil currently presents sport on the BBC World News channel out of MediaCity in his home city of Salford. He carried out a similar role for almost eight years from September 1994 for CNN International, hosting their flagship World Sport show almost 2,000 times and co-hosting CNN’s coverage of the 1996 Olympics in Atlanta, Olympic Winter Games in Salt Lake City in 2002, World Cup football in France in 1998 and both Euro 96 and Euro 2000 football tournaments. He also presented CNN’s weekly golf show for two years, reported from the Masters and co-hosted the US PGA Championship for CNNSi in 2001.
Denise Lewis OBE
Denise Lewis OBE is a retired British athlete who specialised in the heptathlon, in which and she won the gold medal at the 2000 Sydney Olympics. Alongside Kelly Holmes, Paula Radcliffe and Christine Ohuruogu, Lewis is one of the current "golden girls" of British athletics and has twice (1998 and 2000) been runner up in the BBC Sports Personality of the Year.
In 2004, Lewis took part in the BBC’s “Strictly Come Dancing”. She was partnered alongside professional dancer, Ian Waite and in the first few weeks scored the highest number of points with the judges. She eventually reached the final and was runner-up to actress Jill Halfpenny.
In 2009, Denise was a pundit for BBC Sport's coverage of the 2009 World Athletics Championships from Berlin alongside Michael Johnson and Colin Jackson a role she filled again for the 2010 Commonwealth Games in Delhi.
In 2012, Denise brought her sporting expertise to the BBC’s presentation team for the London Olympic Games. This year, Denise is once again a major part of the BBC’s athletics output as she presents from Diamond League meetings and the London Anniversary Games as well as the World Athletics Championships.
Paula Radcliffe MBE
Paula Radcliffe is one of Britain’s most successful athletes and still holds the world record for the women’s marathon with a time of 2:15:25 hours. A three-time winner of both the London and New York marathons, she is the former world champion of the marathon, half marathon and cross country.
In 2002, Paula won the BBC’s Sports Personality of the Year Award after winning her first London Marathon, the Chicago Marathon, 10,000 metres in the European Championships and gold in the 5000 metres at the Manchester Commonwealth Games all in the same year.
The long-distance runner represented Great Britain at four consecutive Olympic Games (1996 to 2008) and six World Athletics Championships (1993, 95, 97, 99, 2001 and 2005), winning Britain’s only gold medal in Helsinki in 2005.
Paula will join Gabby Logan and the team in Moscow, bringing all her expertise to the Championships for BBC television.
Andrew Cotter
Andrew Cotter is one of the most recognised voices across BBC Television and Radio’s coverage of golf, rugby and tennis and has recently joined the BBC’s athletics team.
Originally a presenter of sports bulletins on BBC Radio 5 live, as well as Radio 1, 2 and 4, Andrew went on to become a sports presenter on the BBC News Channel, while at the same time building a career commentating on golf and rugby for BBC Radio and Television, working on major events including the Six Nations, Ryder Cup, The US Masters, US Open and USPGA.
Andrew began his broadcasting career in commercial radio in his native Scotland, going on to work for Sky News before joining the BBC in 2000.
Andrew will join Gabby Logan and the team as part of BBC televisions coverage of the 2013 World Athletics Championships in Moscow.
Paul Dickenson
As an athlete, Paul Dickenson competed in two consecutive Summer Olympics; Montreal in 1976 and Moscow in 1980. He held the British and Commonwealth records for throwing the hammer.
Paul joined the BBC Sports team in 1987 as a trackside reporter and since 1990 he has commentated on every major athletics meeting for the BBC, as well as the Winter Olympics and Paralympics. Paul is a voice that is known to millions. Amongst many major outside broadcasts, Paul has also commentated on the London 2012 Olympic Games as well as programmes such as the Lord Mayors Show, Superstars, World’s Strongest Man, Comic Relief and Sports Relief.
Brendan Foster MBE
Brendan Foster's athletics career saw him compete in in three Olympic Games; the 1970 Commonwealth Championships in Edinburgh (15,000m), the 1974 European Championships (5,000m) and the 1978 Commonwealth Championship in Edmonton (10,000m).
He also set two world records for the 3,000m (1972 and 1974), competed in three Olympic Games and claimed Britain's only track and field medal at the 1976 Montreal Olympics.
In 1980, Brendan retired from active athletics. His career as a commentator began shortly afterwards and he has worked for the BBC commentating and reporting on Athletics at every major event since 1983, including last year’s Olympic Games in London.
Brendan was also the brains behind Britain's biggest annual road race, The Great North Run.
Brendan Foster was awarded the MBE in 1976 and a CBE in 2008.
Michael Johnson
Michael Johnson is one of the most successful runners in the world and is generally considered one of the greatest sprinters in the history of track and field.
He made history at the 1996 Olympics where he became the first man to ever win a gold medal for both the 200 metres and 400 metres at the same Olympics.
During his career he has won 19 international gold medals. He held the world record for the 200 metres between 1996 -2008, his world record for the 400 metres set in 1999 is yet to be broken.
Michael’s many accolades include being inducted into the USA Track and Field Hall Of Fame, being named U.S Male Olympian of the Decade (1990-1999), winning an ESPN Award and being awarded International Sportsman of the Year in 2000.
After winning the 400 metres and 4x400m relay at the 2000 Olympics in Sydney, Michael retired. He is now an integral part to the BBC’s commentary team providing expert analysis on a range of athletics sporting events, including last year’s Olympic Games in London.
He has also appeared on Radio 4’s iconic programme Desert Island Discs.
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Who did actress Marilyn Monroe marry in January 1954? | Marilyn Monroe marries Joe DiMaggio - Jan 14, 1954 - HISTORY.com
Marilyn Monroe marries Joe DiMaggio
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Marilyn Monroe marries Joe DiMaggio
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It was the ultimate All-American romance: the tall, handsome hero of the country’s national pastime captures the heart of the beautiful, glamorous Hollywood star. But the brief, volatile marriage of Marilyn Monroe and Joe DiMaggio–the couple wed on this day in 1954–barely got past the honeymoon before cracks began to show in its brilliant veneer.
In 1952, the New York Yankees slugger DiMaggio asked an acquaintance to arrange a dinner date with Monroe, a buxom blonde model-turned-actress whose star was on the rise after supporting roles in films such as Monkey Business (1952) and a leading role in the B-movie thriller Don’t Bother to Knock (1952). The press immediately picked up on the relationship and began to cover it exhaustively, though Monroe and DiMaggio preferred to keep a low profile, spending evenings at home or in a back corner of DiMaggio’s restaurant. On January 14, 1954, they were married at San Francisco City Hall, where they were mobbed by reporters and fans. Monroe had apparently mentioned the wedding plans to someone at her film studio, who leaked it to the press.
While Monroe and DiMaggio were on their honeymoon in Japan, Monroe was asked to travel to Korea and perform for the American soldiers stationed there. She complied, leaving her unhappy new husband in Japan. After they returned to the United States, tension continued to build, particularly around DiMaggio’s discomfort with his wife’s sexy image. One memorable blow-up occurred in September 1954, on the New York City set of the director Billy Wilder’s The Seven Year Itch. As Monroe filmed the now-famous scene in which she stands over a subway grate with the air blowing up her skirt, a crowd of onlookers and press gathered; Wilder himself had reportedly arranged the media attention. As her skirt blew up again and again, the crowd cheered uproariously, and DiMaggio, who was on set, became irate.
DiMaggio and Monroe were divorced in October 1954, just 274 days after they were married. In her filing, Monroe accused her husband of “mental cruelty.” She married the playwright Arthur Miller in 1956, but their marriage also ended in divorce in January 1961, leaving Monroe in a state of emotional fragility. In February 1961, she was admitted to a psychiatric clinic; it was DiMaggio who secured her release, and took her to the Yankees’ Florida spring training camp for rest and relaxation. Though rumors swirled about their remarriage, they maintained their “good friends” status. When the 36-year-old Monroe died of a drug overdose on August 5, 1962, DiMaggio arranged the funeral. For the next two decades, until his own death in 1999, he sent roses several times a week to her grave in Los Angeles.
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Marriages
The story of Joe DiMaggio’s personal life adds to the mystique that makes him the American icon he is today. People relate to this man who was not perfect, but lived life passionately and gracefully.
It was January 1937 when Joe met actress Dorothy Arnold on the set of the film Manhattan Merry Go-Round, confirming his celebrity status outside of the baseball diamond. Joe and Dorothy married at St. Peter and Paul Church in North Beach. More than twenty thousand people crowded inside and outside of the church to see the famous couple. It was reported that people even climbed onto tree branches and rooftops to see Joe and Dorothy leave the church following the ceremony.
While the couple had one son together—Joseph Paul DiMaggio II born on October 23, 1941—they were unable to make their marriage work. Joe and Dorothy divorced in 1944.
A Great American Love Story
The most publicized relationship for Joe began in 1952—a year after he had retired from the Yankees. A friend arranged a dinner date for Joe with up and coming actress Marilyn Monroe. They were at different places in their lives—Joe, retired, ready to settle down, and Marilyn, on her way to stardom, yet they commenced perhaps the greatest American love story with an 18-month courtship and then marriage on January 14, 1954 at San Francisco’s City Hall. The media called the union of Joe and Marilyn “The Marriage of the Century,” and their relationship captivated the nation.
After the wedding, Marilyn joined Joe in his home near San Francisco’s Wharf where they were often seen walking along the pier or fishing off of Joe’s boat, the “Yankee Clipper.” Like many great love stories, the stars’ relationship had many complexities—loving yet tumultuous. Their differences in personalities led to disharmony in the relationship, and Joe and Marilyn divorced less than a year after their wedding day.
The divorce did not mean an end to their story. Biographers have often noted that during difficult times in Marilyn’s life, even after she remarried, she would turn to Joe, because he was devoted, loving and dependable. There was speculation that the couple was reconciling prior to her death on August 5, 1962.
Joe proved his honorable character and his great love for Marilyn when he claimed her body after her death, took over the funeral arrangements, and had a dozen red roses delivered three times a week to her crypt for twenty years.
Joe’s marriage to Marilyn was his last and left an indelible mark on his life and American history.
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