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Who wrote an Evening With Gary Lineker | ARTS / Show People: It takes one of the lads to find the sit in the com: Arthur Smith | The Independent
ARTS / Show People: It takes one of the lads to find the sit in the com: Arthur Smith
Saturday 26 June 1993 23:02 BST
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The Independent Culture
WHERE WERE you on the night England lost to West Germany in the semi-finals of the last World Cup? Like the day of JFK's assassination, it's an event seared into the consciousness of a nation. It also forms the skeleton of An Evening with Gary Lineker, Arthur Smith and Chris England's broad comedy about male bonding and San Miguel lager, which received an Olivier Award nomination for Best Comedy last year, and recently returned to the West End.
For all his success as a playwright, Smith is best known as a stand-up comic. His quick wit and likeable brand of laddish humour make him the perfect chat-show guest; acting as a late replacement on a recent Clive Anderson Talks Back, he scored immediately with his analysis of the England cricket team: 'brilliant on paper, crap on grass'. It's this ability to be amusing to order that is the secret of his success. He has turned laconicism into an art form, listing his recreations in Debrett's People of Today as 'smoking' and 'sleeping'. No graduate of the Politically Correct School of Comedy, he is facetious, fatuous and, most important of all, funny.
A regular guest on Radio 4's Loose Ends, he has also hosted Paramount City, BBC1's comedy showcase, and is much in demand as a compere - a job he likes because 'you can get away with a bit of charm and not much material'. He claims to write one joke a year, but makes sure it's one 'I know is going to get a laugh, like 'whatever happened to white dogshit?'.'
Smith is more than a mere Rent-a-Wit, however. As with many of the best comics, he offers substance behind the silliness. 'It can't just be funny; it has to resonate in other areas,' he asserts. Sure, his humour includes enough jokes about farting and vomiting to fill several issues of Viz. And the similarities with the Carry On films extend beyond his looking like a tall, unwrinkled version of Sid James. But, at the same time, he casually drops into the conversation his fluency in French (he fancies doing some stand-up in Paris), his love of cricket (he brought a pocket television along to our interview so he could keep abreast of the Test score) and his familiarity with Arthur Cravan, the Dadaist poet-cum-boxer who was Oscar Wilde's nephew. The comedian reckons that Sod, the play he is taking to Edinburgh this year about a man who buries himself in his back garden, 'smacks of Beckett'. Not bad for one who started his professional life as a dustman and roadsweeper for Greenwich Council.
Now 38, Smith first realised he had a talent for 'showing off' when, as an eight-year-old, he re-wrote Peter Pan - with himself as Captain Hook. After writing his first play as a student at the University of East Anglia, his tutor, one Malcolm Bradbury, advised him to 'stick to comedy'. So he did, appearing in the National Revue Company at Edinburgh and, in 1983, forming the double act Fiasco Job Job with Phil Nice.
After his spell of municipal employment, Smith led a double life worthy of Superman. By day, he was a mild-mannered teacher of foreign language students; by night, a fearless comedy gladiator in the unforgiving 'open mike' arenas. When he started using his increasingly frequent TV appearances as set texts for his pupils, he knew it was time to give up the day-job.
Over the years, Smith has built up a reputation as 'Mr Edinburgh'. His successes at the Festival have included The Live Bed Show, Trench Kiss (both starring Caroline Quentin) and Arthur Smith Sings Andy Williams - 'What would be the title of the show that you'd least like to see? It was either that or Arthur Smith Sings Kenneth McKellar.' And his 4am comic tours of the city - fuelled by booze and banter - have become a cult phenomenon, attracting hundreds of post-pub revellers.
As well as Sod, Smith is this year producing The Edinburgh Rock Show - a free-form 'event' on a mountain 10 miles outside the city. What will the subject be? 'No idea. Perhaps I can use this article to put in an appeal for any youth theatre groups that are going to be up in Edinburgh. I want a cast of thousands - including a man in an ostrich costume. I'd like some people coming past on horseback, Roman games, a chariot race and I've got to have a big set- piece battle, I feel. It's going to be the Edinburgh version of Ben-Hur. Quite what the Lothian National Park'll say, I don't know.'
His breakthrough came with a more conventional Edinburgh offering of two years ago, An Evening with Gary Lineker. The man himself - 'the Queen Mother of football' as the play describes him - graciously went along with the joke. Indeed Gary Lineker has seen Gary Lineker three times and pronounces it 'hilarious all the way through'. Stuart Pearce - a man known as 'Psycho' to the fans of Nottingham Forest and perhaps not an obvious theatre-goer - was also reported to be delighted by his portrayal in the drama.
First performed in June 1991, Gary Lineker is now enjoying the sort of successful West End revival usually reserved for Lloyd Webber musicals. So why is it still a draw? Relaxing with a pot of tea outside a fashionable bar in his beloved Sarf London, Smith surmises: 'Perhaps it's in reaction to the dismal, current England team. That match has almost become part of a mythical past.' Certainly the piece has the appeal of all period drama - meticulous re-creation of time and place: the beers lined up on the sideboard before the match; the curtains drawn in the middle of the afternoon; the men's refusal to let anything as trivial as a marital breakdown distract them from the game; the agony and the ecstasy of the penalties.
The play takes football fans seriously, but also presents a wholly identifiable 'sit' in which the 'com' can flourish. 'The best ideas are the ones where everyone goes 'why didn't I think of that?',' he explains. 'The idea came to me while I was watching the match. The emotion it generated seemed out of all proportion to what it really was. So if you allied that with real emotional problems, I could see there was going to be an interesting comic conflict.'
Like the match, the play is entering extra-time, and a TV adaptation is to be shot soon: 'We opened it out, so we can go on location somewhere hot and swan around the place in a hat.' We await with interest the spin-off, already previewed in Australia: An Evening with Merv Hughes.
'An Evening with Gary Lineker' continues at the Vaudeville Theatre, WC2 (071-836 9987) until 24 July.
(Photograph omitted)
| Arthur Smith |
What is London's Theatre Royal more commonly called | About Us - Maverick Theatre Company
Maverick Theatre Company
Writers Retreats
About Us
Maverick came to be after former BRMB and BBC presenter Nick Hennegan wrote and directed Henry V - Lion of England at the mac in Birmingham in 1992. Local Musician Robb Williams wrote an original music score. Management company Starward (then managers of Jasper Carrott and Phil Cool) were impressed enough to take the production to the Edinburgh Festival in 1992. After critical success at Edinburgh, Maverick Theatre was created as a not-for-profit company with a mission to increase access to the performing arts through the presentation of contemporary classics and new works with a local voice. Maverick was officially launched by the Lord Mayor of Birmingham in 1994.
Flushed with the democracy of the Edinburgh Fringe, Nick Hennegan created Maverick's original proposition. "Forget the TV for a night. Don't rent a DVD. Come down the pub and see where it all started. No retakes, no cameras, no going back, just live action with real people right in front of you. Have a pint, a pie and a fag and if you don't like it you can have your money back."
Twinned with the mission to create a new theatre-going habit with socially excluded communities in Birmingham was a desire to include and encourage new artists and technicians. Many successful theatre professionals have started their careers with the Maverick Theatre Company. We are now working in London and Birmingham and have created the London Literary Pub Crawl - a promenade tour of Soho in central London.
John Slater's History of the first years of the Maverick Theatre Company.
The Lord Mayor of Birmingham and Mavericks first Chair, Nigel Williams.
1994 The Maverick Theatre Company was officially launched at The Billesley Pub in Kings Heath in January by the Lord Mayor of Birmingham.
Ian Brooker and Denise Gilfoyle in Maverick's first production, Educating Rita.
The first productions were Educating Rita and Trench Kiss, a little-known play by Arthur Smith. Educating Rita then toured the West Midlands, as did Henry V - Lion of England, the first play written by Nick Hennegan, Maverick’s Artistic Director. Then, in May, Sir Derek Jacobi played the voice of the ghost in Hennegan’s Hamlet - Horatio’s Tale at the MAC.
L to R: Robb Williams, Nick Hennegan and Sir Derek Jacobi, outside the Royal Shakespeare Theatre.
During the summer, Ansells Brewery loaned Maverick a disused store room at the rear of the Billesley as a performance space (now the site of a Wacky Warehouse). It was christened by a three-week run of An Evening With Gary Lineker which went on to a week at The Elms in Aldridge, then a week at Manchester’s Thameside Hippodrome, where it made £18,000, and a week in Swindon where it lost £19,000!
An Evening With Gary Lineker.
Later in the year, local actor Glenn Bayes directed his first play, Frankie and Johnny. He was to direct many more for Maverick and others before moving to London.
1995 1995 started with rave reviews and good audiences for a new comedy/whodunit Death At The Done Inn by local writer Tom Nolan. Road by Jim Cartwright followed. It was Glenn Bayes’ second production and hailed as a radical interpretation as the audience were moved around the whole pub, including the car park!
Death at the Done Inn, by Tom Nolan.
For seven weeks through the summer, Maverick, together with Almost Perfect Productions, put on Henry V - Lion of England at the Waterside Studio in Stratford-upon-Avon. Senior RSC actor Julian Glover became a fan!
Back at the Billesley, the first Maverick Youth Workshop was run for a week by the leader of the Alexandra Theatre Youth Company.
In December, Jeffrey Bernard Is Unwell was produced in the Billesley Public Bar (now part of the dining area). Former BRMB presenter and rock tour manager, John Slater, was asked to help out for a day and has been managing Maverick productions ever since.
1996 Shows at the Billesley were: Strippers, which sold out for a week; Sexual Perversity In Chicago, sponsored by The Royal Al-Faisel restaurant and CBC; Play It Again Sam, which was part of the Jazz Festival, and Teechers.
Sexual Perversity in Chicago
In March Henry V - Lion of England opened at the Old Rep Theatre, Birmingham, for three weeks, starring Michael Shaw who had performed it in Stratford-upon-Avon.
Michael Shaw in Henry V - Lion of England
The second Maverick Youth Workshop was the last activity in the theatre space at the Billesley before it became the Wacky Warehouse. Instead of bowing to adversity, Nick Hennegan and John Slater meet and perversely decide to produce more than ever at The Billesley, with a show every two months. It worked! Within the next year, audiences had more than doubled.
1997 Superbly acted, Two by Jim Cartwright left audiences emotionally drained with its mix of humour and pathos. Shirley Valentine starred Manchester’s Sue Warhurst who has since appeared in a string of major TV series. Same Time Next Year was directed by Larry Rew, squeezing the production in between directing in Germany and New Zealand.
Same Time Next Year.
Up’N’Under and Up’N’Under 2 saw largely the same cast for both, brilliantly directed by Julia Smith. Most nights sold out. John James Associates sponsored Up’N’Under 2.
Up 'n' Under
In between the Up’N’Unders was A Ghost Of A chance, a new play by Maverick’s Nick Hennegan which won a prestigious Guinness Pub Theatre award, judged by the National Theatre. It starred Paul Henry, forever to be known for his iconic role as Benny, in the original Crossroads, and 13 year old Justyn Luke Towler, fresh from Tommy in the West End. John Slater was the voice of the ghost and the show was directed by former Birmingham Rep Artistic Director, John Adams. It sold out all five nights in the 200-capacity main Function Room.
A Ghost of A Chance
1998 The first show of 1998 was Educating Rita, back at The Billesley to celebrate Maverick’s fourth birthday. Half way through its two-week run it had completely sold out. For the last five shows it transferred to the main Function Room (twice the size!) and still sold out!
In February, Maverick hosted workshops with RADA, the Royal Academy of Dramatic Art. Several local people who attended have since been offered places at RADA.
In March, Glenn Bayes came back from London to direct The Killing Of Sister George.
PALS by Nick Hennegan, directed by Julia Smith, was an enormous hit for three weeks in May. It was greeted by laughter, tears and standing ovations. Amazingly, for a new play, the last two weeks completely sold out, as word spread!
PALS
Throughout August, the Maverick team were in Edinburgh at the Festival’s most prestigious venue, The Assembly Rooms, with the original cast and director of A Ghost of A Chance. To raise money for the Edinburgh visit, Maverick had taken to the main stage of Birmingham Rep for one night in June with Henry V - Lion of England performed by its author and its composer. It nearly filled the cavernous Rep on a Monday night!
Henry was also invited to the Danville College for Performing Arts in Kentucky, USA and rehearsed readings of an expanded production were run for producers in New York.
The year ended with Maverick’s first youth production Our Day Out directed by Dani Parr.
Our Day Out - Maverick Youth Academy
1999 . We saw in the new year with the Dani Parr directed Elsie & Norm’s Macbeth and Dani returned in March to direct Beautiful Thing, the first of Maverick’s first back-to-back run of plays for a season entilted Love Hurts. The plays ran for six weeks continuing with a co-production, with The Mousepeople, of The Wild Party which saw the Birmingham Post arts editor using the word ‘genius’ for the first time in 25 years. The run concluded with a return of PALS which had been so successful last year.
In May Nick Hennegan returned to directing with Bouncers which was immediately snapped up for the Ross-on -Wye International festival and given Critics Choice status in The Guardian.
In August, Jon Morris, who acted in PALS, Bouncers and Up’n’Under, returned as the director of Shakers. It was announced that as most of the original artistic aims and objectives had been met, this was to be the last show at The Billesley - Maverick’s home for over five years.
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What Xmas novelty was invented by Tom Smith in the 1840's | History of the Christmas Cracker
In 1847, almost by accident, Tom Smith invented the cracker. It was a simple idea which became an integral part of British celebration and tradition which still continues today, 150 years on. In it's simple form a cracker is a small cardboard tube covered in a brightly coloured twist of paper.
When the cracker is 'pulled' by two people, each holding one end of the twisted paper, the friction creates a small explosive 'pop' produced by a narrow strip of chemically impregnated paper. The cardboard tube tumbles a bright paper hat, a small gift, a balloon and a motto or joke.
At the turn of the century, Tom Smith produced crackers not only for the Christmas season but also to celebrate every major occasion from The Paris Exhibition in 1900 to War Heroes in 1918 and The World Tour in 1926 of Prince Edward, The Prince of Wales. Contents were tailored to each box; grotesque or artistic masks, puzzles, conundrums, tiny treasures, jewels, games and mottoes, and most of the beautifully illustrated boxes, crackers and hats, from fezzes to sheiks'' head dresses, were made by hand. The fully illustrated catalogues which date back to 1877 provide an exceptional visual history of British social and political evolvement over an entire century.
In early 1830, Tom Smith started work as a small boy in a bakers and ornamental confectioners shop in London, selling sweets such as fondants, pralines and gum pastilles. He worked hard and took particular interest in the wedding cake ornaments and decorations, experimenting and creating new, more exciting and less crude designs in his spare time.
Before long he was successful enough to leave and start up his own business in Goswell Road, Clerkenwell, East London. He was adventurous and forward thinking, often travelling abroad to search for new ideas, it was on a trip to Paris in 1840 that he first discovered the 'bon bon', a sugared almond wrapped in a twist of tissue paper. It was a simple idea which, over the next 7 years, would eventually evolved into the Cracker. He decided to bring the 'bon bon' to London and during Christmas that year they sold extremely well, but in January demand virtually ceased and once again he was reliant on sales of cake and table decorations and ornaments.
Anxious to develop the 'bon bon' idea further and stimulate sales, Tom decided to place a small love motto in the tissue paper and he encouraged his regular customers to takes supplies, many did, and within a short while, orders were sufficiently high and sales profitable enough for him to increase his staff. By now, Tom knew that he had an unique and potentially very commercial idea. He decided to take a risk and concentrate on developing it further, while still running the wedding cake ornament and confectionery business which was by now very well established.
At this time, the majority of 'bon bons' were still sold at Christmas and he began to think up ways to capitalise on this short but very profitable season and make his 'bon bons' even more appealing. It was the crackle of a log as he threw it on his fire that gave him the flash of inspiration which eventually led to the crackers we know today.
A ' crackle' would add the necessary excitement and spark to his novelty 'bon bon' and it was now simply a matter of experimentation to find a compound which gave a satisfactory bang without going to far. The size of the 'bon bon' would also need to increase significally to accommodate the 'cracking mechanism' but the shape remained the same and the motto was still included.
Eventually Tom perfected his chemical explosion to create a 'pop' caused by friction when the wrapping was broken This eventually became the snap and the cracker was born. The trade jumped at Tom Smith's latest novelty, and he was snowed under with orders. Very quickly he began to refine his product - he dropped the sweet and the 'bon bon' name, calling his new crackers Cosaques, but he kept the motto and added a surprise gift. Delighted at his overnight success Tom decided to explore the export market and took his cracker abroad. At this time, only one design of cracker was being made and to his horror, an Eastern manufacturer seized his idea, copied it and delivered a consignment of crackers to Britain just before Christmas.
Not surprisingly, in true fashion, Tom immediately rose to the challenge; he designed 8 different kinds of cracker, worked his staff day and night and distributed stocks throughout the country also in time for Christmas. After this he never looked back. Tom Smith lived to see the new branch of his firm grow to swamp the original premises in Goswell Road. The company moved to Finsbury Square in the City of London where it remained until 1953.
When he died he left the business to his three sons, Tom Henry and Walter. A few years later, a drinking fountain was erected in Finsbury Square by Walter Smith in memory of his mother, Mary, and to commemorate the life of the man who invented the great British Cracker.
At the turn of the Century the demand for crackers, and especially those which celebrated current trends and events, was high. After Tom Smith's death, his three sons set about developing the cracker designs, contents and mottoes. Walter Smith, the youngest son, introduced a topical note to the mottoes which had previously been love verses.
Special writers were commissioned to compose snappy and relevant maxims with references to every important event or craze at the time from greyhounds to Jazz, Frothblowers to Tutankhamen, Persian Art to The Riviera. The original early Victorian mottoes were mainly love verses...Eventually these were replaced by more complicated puzzles and cartoons, and finally by the corny jokes and riddles which characterise our crackers today. Walter also introduced the paper hats, many of which were elaborate and made of best tissue and decorative paper on proper hatmakers stands.
He also toured the world to find new, relevant and unusual ideas for the surprise gifts such as bracelets from Bohemia, tiny wooden barrels from America and scarf pins from Saxony. Some contents were also assembled in the factory like the thousands of tiny pill boxes filled with rouge complete with powder puff.
Tom Smith were now able to fulfil special orders for both companies and individuals. Records show an order for a six foot cracker to decorate Euston Station in London, and in 1927 a gentleman wrote to the Company enclosing a diamond engagement ring and 10 shilling note as payment for the ring to be put in a special cracker for his fiancee. Unfortunately he did not enclose an address and never contacted the Company again; the ring, letter and 10 shilling note are still in the safe today.
Tom Smith made wonderful crackers. In the early days there was an extremely large variety of specialist boxes including Wedgwood Art Crackers from original designs by permission of Josiah Wedgwood and Sons, and designs such as Japanese Menagerie crackers containing the latest novelties from Japan specially manufactured and imported.
These include animals, birds and and reptiles and even mottoes in Japanese. The company was, importantly, very aware of current affairs and the political and leisure activities of each period. Crackers were created for the War Heroes, Charlie Chaplin, The Wireless, Motoring, The Coronation and even the Channel Tunnel in 1914. Exclusive crackers were also made for members of the Royal Family and still are to this day. During the Second World War restrictions were placed on the production of cracker snaps.
The Ministry of Defence commissioned Tom Smith to fold and tie bundles of three to six snaps together with special string and regulation knots. These bundles were then used by soldiers in training as, when the string was pulled, they mimicked the noise of machine gun fire. After the war, vast quantities of these surplus cracker snaps were released back into the cracker trade. As the demand for crackers increased, Tom Smith merged with Caley Crackers in 1953 taking over their headquarters and factory in Norwich, East Anglia.
Further merges took place over the following years with Mead and Field, Neilson Festive Crackers and Manson and Church, each specialists in their own particular field. Today Tom Smith Group is a subsidiary of Napier Industries, the largest manufacturer of crackers in the world.
Tom Smith Group Limited currently hold a royal warrant from: HM QUEEN ELIZABETH II � 1906: Tom Smith were granted their first Royal Warrant by the then Prince of Wales which entitled them in 1909 to become members of the Royal Warrant Holders Association. 1910: In December, the reigning monarch, King George V granted Tom Smith his warrant as suppliers of Christmas Crackers.
1911: On March 23rd, Tom Smith was granted Queen Mary's Royal Warrant as manufacturers of Christmas Crackers. This warrant was renewed in 1938 and held by Tom Smith until her death in 1953.
1964: On January 1st, the Queen Elizabeth II was granted and this is still held today.
1975: On March 10th, the Queen Elizabeth the Queen Mother warrant was granted and was held until the Queen Mother passed away in 2002.
1987: On January 1st . The Prince of Wales Warrant was granted. � Tom Smith still proudly hold the honour of producing special crackers each year for the Royal Household although designs and contents are a closely guarded secret.
| Christmas cracker |
Who invented the jet engine in 1930 | The History of Christmas Crackers -- Christmas Customs and Traditions -- whychristmas?com
The History of Christmas Crackers
#500515807 / gettyimages.com
Christmas crackers are a traditional Christmas favorite in the UK . They were first made in about 1845-1850 by a London sweet maker called Tom Smith. He had seen the French 'bon bon' sweets (almonds wrapped in pretty paper). He came back to London and tried selling sweets like that in England and also included a small motto or riddle in with the sweet. But they didn't sell very well.
However, one night, while he was sitting in front of his log fire, he became very interested by the sparks and cracks coming from the fire. Suddenly, he thought what a fun idea it would be, if his sweets and toys could be opened with a crack when their fancy wrappers were pulled in half.
Crackers were originally called 'cosaques' and were thought to be named after the 'Cossack' soldiers who had a reputation for riding on their horses and firing guns into the air!
When Tom died, his expanding cracker business was taken over by his three sons, Tom, Walter and Henry. Walter introduced the hats into crackers and he also traveled around the world looking for new ideas for gifts to put in the crackers.
The company built up a big range of 'themed' crackers. There were ones for bachelors and spinsters (single men and women), where the gifts were things like false teeth and wedding rings! There were also crackers for Suffragettes (women who campaigned to get women the vote), war heroes and even Charlie Chaplain! Crackers were also made for special occasions like Coronations. The British Royal Family still has special crackers made for them today!
Very expensive crackers were made such as the 'Millionaire's Crackers' which contained a solid silver box with a piece of gold and silver jewerly inside it!
Cracker manufacturers also made large displays, such as horse drawn carriages and sleighs, for the big shops in London.
#112781189 / gettyimages.com
The Christmas Crackers that are used today are short cardboard tubes wrapped in colorful paper. There is normally a Cracker next to each plate on the Christmas dinner table. When the crackers are pulled - with a bang! - a colorful party hat, a toy or gift and a festive joke falls out! The party hats look like crowns and it is thought that they symbolise the crowns that might have been worn by the Wise Men.
Crackers are famous for their very bad jokes! Here are some bad Christmas themed Cracker jokes!
The world's longest Christmas cracker measured 63.1m (207ft) long and 4m (13ft) in diameter and was made by the parents of children at Ley Hill School and Pre-School, Chesham, Buckinghamshire, UK on 20 December 2001. Now that would be one big bang!
The biggest Christmas cracker pull was done by 1,478 people at an event organised by Honda Japan at Tochigi Proving Ground, Tochigi, Japan, on 18 October 2009. Now that would be a lot of bangs!
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Who invented the pneumatic tyre | John Dunlop, Charles Goodyear and the History of Tires
John Dunlop, Charles Goodyear and the History of Tires
John Boyd Dunlop with the first bicycle to have pneumatic tires. Hulton Archive/Getty Images
By Mary Bellis
Updated August 10, 2016.
The rubber pneumatic tires seen on millions of cars across the world are the result of multiple inventors working across several decades. And those inventors have names that should be recognizable to anyone who's ever bought tires for their car: Michelin, Goodyear, Dunlop.
Of these, none had so great an impact on the invention of the tire than John Dunlop and Charles Goodyear.
Charles Goodyear and the Invention of Vulcanized Rubber
None of it would have been possible without Charles Goodyear , who in 1844 -- more than 50 years before the first rubber tires would appear on cars -- patented a process known as vulcanization. This process involved heating and removing the sulphur from rubber, thus making the rubber water-proof and winter-proof and allowing it to retain its elasticity. While Goodyear's claim to have invented vulcanization was challenged, he prevailed in court and is today remembered as the sole inventor of vulcanized rubber.
And that became hugely important once people realized it would be perfect for making tires.
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John Dunlop and the Pneumatic Tire
Robert William Thomson (1822 - 1873) invented the actual first vulcanized rubber pneumatic tire. Thomson patented his pneumatic tire in 1845, and his invention worked well, but it was too costly to catch on.
That changed with John Boyd Dunlop (1840-1921), a Scottish veterinarian and the recognized inventor of the first practical pneumatic (inflatable) tire. His patent, granted in 1888, wasn't for automobile tires, however: it was intended for use on bicycles (see picture).
Later Developments
In 1895, André Michelin and his brother Edouard, who had previously patented a removable bike tire, were the first to use pneumatic tires on an automobile .
In 1911, Philip Strauss invented the first successful tire, which was a combination tire and air filled inner tube. Strauss' company the Hardman Tire & Rubber Company marketed the tires.
In 1903, P.W. Litchfield of the Goodyear Tire Company patented the first tubeless tire, however, it was never commercially exploited until the 1954 Packard.
In 1904, mountable rims were introduced that allowed drivers to fix their own flats. In 1908, Frank Seiberling invented grooved tires with improved road traction.
In 1910, B.F. Goodrich Company invented longer life tires by adding carbon to the rubber.
Goodrich also invented the first synthetic rubber tires in 1937 made of a patented substance called Chemigum.
| John Dunlop |
Which bone is the most often broken in humans | Who Invented The Pneumatic Tyre? - Automotive More
Motorcycles >
Who Invented The Pneumatic Tyre?
John Boyd Dunlop invented the first functional pneumatic tyre in 1888 and very soon after he began the world's very first tyre business beginning an entirely new industry
John Dunlop was born on the 5th of February 1840 in Dreghorm, North Ayrshire, at the farm where his parents lived. He studied at the University of Edinburgh to become a vet, which had been a career he pursued in his home town for almost a decade prior to relocating to Downpatrick, Northern Ireland. In 1867 He founded The Downe Veterinary Clinic together with James Dunlop - his brother - prior to relocating to a practice in Belfast.
Influenced by revolutionary technological innovation, he developed the earliest original-equipment radial road tyre; The Dunlop Company introduced the very first usage of Kevlar belts in motorcycle tyres; as well as continuing to steer the industry towards ground breaking firsts, including the 20 inch front tyre for using off-road, as well as top quality tyres for mini-moto motorcycle riders.
In 1920, Dunlop opened the first motorcycle tyre manufacturing factory in America. Situated in Buffalo, New York State, The Dunlop Company remains to be the only company producing motorbike tyres within the United States. The Dunlop Company has been making high quality, ground breaking and inventive products for longer than a century.
Dunlop's advancement of the pneumatic tyre came at a significant time in along with the creation of the road transport network and in subsequent months in 1890 industrial manufacturing commenced in Belfast.
Much like a lot of other good innovations, the thinking behind a pneumatic tyre had not been exclusive to John Dunlop. During 1845 a fellow inventor, Robert William Thompson had patented another similar concept however it was never fully developed. The Dunlop organisation had an advantage over all of the opposition due to having a head start in production of the tyres and Thompson brought up an opposition, however his version of the tyre had been somewhat different and much more expensive to manufacture and consequently, Dunlop could carry on manufacturing tyres.
Within ten years of opening up the manufacturing plant practically all wheels made use of pneumatic tyres enabling the Dunlop company to carry on to expanding, to eventually grow to be the Dunlop Rubber Co. Ltd along with the international Dunlop and & Rubber Corporation.
Dunlop allocated his rights to his patent to William Harvey Du Cros, to acquire 1,500 shares in a resulting business and in the end failed to earn very much money form his innovation. Dunlop passed away in Dublin, and is laid to rest in Deans Grange Cemetery in Ireland.
Currently Dunlop Tyres produce a wide range of tyres including car and motorcycle tyres. Their range of motorcycle tyres is one of the widest of any motorcycle tyre manufacturer with tyres to suite every type of motorbike for all uses including use on road and racetrack.
Hope this information is useful for you. Everything you need to know about Motorcycles or Search this site at the top.
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What are the fibrous bands called that connects muscles to bones | Ligaments - National Library of Medicine - PubMed Health
Parts of a joint and ligaments National Institutes of Health
About Joints
The point at which two or more bones are connected is called a joint . In all joints , the bones are kept from grinding against each other by a lining called cartilage . Bones are joined to bones by strong, elastic bands of tissue called ligaments. Muscles are connected to bones by tough cords of tissue called tendons . Muscles pull on tendons to move joints. Although muscles are not technically part of a joint, they're important because strong muscles help support and protect joints. NIH - National Institute of Arthritis and Musculoskeletal and Skin Diseases
Terms to know
Tough, fibrous, cord-like tissue that connects muscle to bone or another structure, such as an eyeball. Tendons help the bone or structure to move.
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| Tendon |
Which bone connects the elbow to the shoulder | ��ࡱ� > �� Y [ ���� X �������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������� q` �� bjbjqPqP . : : �� �� �� � . . . . . . . h t d d d d p � � � � ( � � � � � � � $ & & & & & & $ [ h � � J . � � � � � J . . � � _ � � � � . � . � $ � � $ � � . . � � | 0_[���� d � � $ u 0 � � � � � � � � . � � � � � � � � J J � � � � � � � � � � � � � � � � � � � B V d . . . . . . ���� INCLUDEPICTURE "http://z.about.com/d/p/440/e/f/19089.jpg" \* MERGEFORMATINET A tendon is a fibrous connective tissue which attaches muscle to bone. Tendons may also attach muscles to structures such as the eyeball. A tendon serves to move the bone or structure. A ligament is a fibrous connective tissue which attaches bone to bone, and usually serves to hold structures together and keep them stable. HYPERLINK "http://adam.about.com/encyclopedia/19089.htm" http://adam.about.com/encyclopedia/19089.htm A ligament is a tough band of white, fibrous, slightly elastic tissue. This is an essential part of the skeletal joints; binding the bone ends together to prevent dislocation and excessive movement that might cause breakage. Ligaments also support many internal organs; including the uterus, the bladder, the liver, and the diaphragm and helps in shaping and supporting the breasts. Ligaments, especially those in the ankle joint and knee, are sometimes damaged by injury. A "torn" ligament usually results from twisting stress when the knee is turned while weight is on that particular leg. Minor sprains are treated with ice, bandages and sometimes physical therapy, but if the ligament is torn, the joint may be placed in a plaster cast to allow time to heal or it may require surgical repairs. If a ligament is made up of several thick bands of fibrous branches, it is called a "collateral ligament." The word "ligament" comes from the Latin word, "ligamentum," meaning a band or tie. http://www.innerbody.com/text/ligmov.html O R � � � � � � ������������ h�* h�* h�{� h�* 0J �j2f h�* Uh�* j h�* U � � � � � � � � � � gd�* � , 1�h ��/ ��=!�"�#��$��%� ���� �� 2f D d ��mW �v � � S �R A � � ��( 1 9 0 8 9 T e n d o n v s . l i g a m e n t � �R �he >��J>Ji4 I���Rd� De D �F �
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What is the USA gambling game keno similar to in England | keno | gambling game | Britannica.com
gambling game
gambling
Keno, gambling game played with cards (tickets) bearing numbers in squares, usually from 1 to 80. A player marks or circles as many of these numbers as he wishes up to the permitted maximum, after which he hands in, or registers, his ticket and pays according to how many numbers he selected. At regular daily intervals a total of 20 numbered balls or pellets are randomly drawn from a container, and prizes are paid out by the house according to how many of each player’s selected numbers are drawn.
Keno is of Chinese origin and of great antiquity, dating back at least 2,000 years. The original Chinese name for the game is baige piao or pai-ko p’iao, meaning “white pigeon ticket,” a reference to the tickets used in a betting game involving homing pigeons. From about the 3rd century bce, baige piao games existed in most of the provinces of China, usually arranged by one or more gambling houses with the permission of the province governor, who in turn received a share of the profits.
The original ticket used in baige piao, and still in widespread use in Chinese communities where the game continues to be popular, featured the first 80 characters in Qianziwen (“Book of a Thousand Characters”) instead of numbers. This classic in Chinese literature, by an unknown author, contains exactly 1,000 Chinese ideograms (or characters), all different, and is so well known among educated Chinese that these characters are sometimes used in place of the corresponding numbers from 1 to 1,000.
Baige piao (or pak-a-pu, as it became known in the West) is the ancestor not only of keno but also of lotto and bingo . Keno arrived in the western United States in the 1840s with Chinese immigrants. About the beginning of the 20th century, the game gained popularity among non-Chinese groups in the United States under the name Chinese lottery , in which the characters were converted to numbers. At that time it also acquired the name keno, a corruption of the French word quine (“group of five”). In 1933 keno was introduced in gambling houses in Reno, Nevada, under the name Race-Horse Keno, with names of horses instead of numbers on the tickets so as not to conflict with state laws concerning lotteries. Those Nevada laws were changed in 1951, after which keno became a game with numbers. Today keno is played (with many daily drawings) in nearly all American casinos as well as in many casinos in Australia, South Africa , South America , and East Asia. The house advantage in casino keno is considerable—about 25 percent. Keno is also offered as a game (usually with weekly drawings) by many lottery companies around the world.
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Which Scottish city is known as The Granite City | 1000+ images about Keno on Pinterest | Casino games, Poker and Video poker
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Bingo has always been a popular Las Vegas tradition, though it has not always has that name. In the 1930s, it was often called tango. The game of "keno" as played then was more akin to bingo than today's keno. The modern keno was called "race horse keno" and was based on the Chinese pakapu or white pigeon ticket lottery.
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What is the more common name of the garden flower Kniphophia | Kniphofia uvaria - Plant Finder
Plant Finder
Tried and Trouble-free Recommended by 1 Professionals
Common Name: red-hot poker
Height: 3.00 to 4.00 feet
Spread: 2.00 to 3.00 feet
Bloom Time: May to June
Bloom Description: Top flowers red; lower flowers yellow
Sun: Full sun
Garden locations
Culture
Grow in average, medium moisture, well-drained soils in full sun. Prefers rich, humusy soils. Intolerant of wet, heavy soils. Locate in areas protected from wind. Promptly remove spent flower spikes. Crowns benefit from winter protection in USDA Zones 5 and 6 (mulch or tie leaves together forming a canopy over the crown so as to prevent water from settling on the crown and freezing). Established clumps are best left undisturbed.
Noteworthy Characteristics
Kniphofia uvaria, commonly known as red-hot poker or torch lily, is an upright, clump-forming, rhizomatous perennial that is native to South Africa. From an 18-24" tall basal tuft of coarse, linear, sword-shaped, semi-evergreen, bluish-green leaves (to 3' long and 1" wide) arises a succession of thick, naked flower scapes (typically to 3-4' tall) with dense terminal racemes (6-10" long) of drooping, tubular flowers. Buds and emerging flowers are red but mature to yellow, giving each spike a two-toned appearance. Flowers bloom from late spring to early summer.
Common names refer to the purported resemblance of each flower spike to a red hot poker or torch.
Genus name honors Johann Hieronymus Kniphof (1704-1763) German physician and botanist.
Specific epithet means like a bunch of grapes.
Problems
No significant insect or disease problems. Watch for root rot in poorly-drained soils. Thrips may appear in some areas.
Garden Uses
| Kniphofia |
What was the name of Julius Caesar's only known daughter | Kniphofia
Family: Asphodelaceae
Common names: Red-hot poker or Torch lily (English), Vuurpyl (Afrikaans)
Red-hot pokers are grown in temperate gardens around the world. Ranging in colour from reds, oranges through yellow to lime green and cream, numerous cultivars and hybrids have been developed from species originating in South Africa.
The genus Kniphofia was named in honour of Johannes Hieronymus Kniphof, 1704-1763, who was a professor of medicine at Erfurt University in Germany. Kniphofia belongs to the family Asphodelaceae which comprises 17 genera (10 of which occur in South Africa) and about 750 species. About 70 species of Kniphofia occur in Africa and 47 of these are found in the eastern areas of South Africa.The genus Kniphofia is very closely related to the genus Aloe. As a result, the first Kniphofia to be described, namely K. uvaria, was mistakenly thought to be an Aloe and was thus initially named Aloe uvaria.
Most species of Kniphofia are evergreen while a few are deciduous and sprout again in the early summer. They bear dense, erect spikes (elongated inflorescence with stalkless flowers) above the level of the leaves in either winter or summer depending on the species.The small, tubular flowers are produced in shades of red, orange, yellow and cream.
Kniphofia form large clumps of arching leaves which are long, narrow and tapering. The leaves are non-succulent, unlike the leaves of aloes. This distinguishes them from a plant such as Aloe cooperi. The leaf surface is glabrous (smooth) in all but one species, namely, K. hirsuta.
The underground part of the plant consists of a thick rhizome and fibrous, fleshy roots. In some Kniphofia species the rhizome divides forming groups of stems, while in others the stems are more or less solitary. The vast majority of Kniphofia species do not produce an aerial stem, but exceptions do occur as is the case with old specimens of K. caulescens and K. northiae which can reach a height of 30 cm.
Kniphofia are frequented by nectar-feeding birds such as sunbirds and sugarbirds. They are also visited by certain insects. The flowers of some species of Kniphofia are reportedly used as a minor food and apparently taste like honey. K. parviflora is reported to have been made into a traditional snake repellent. K. rooperii and K. laxiflora are used traditionally as a medicine. An infusion of the roots is used to relieve or treat the symptoms of certain chest disorders.
Kniphofia spp. occur naturally in all the nine provinces of South Africa. Kwazulu-Natal possesses the highest number of Kniphofia species, compared to the other provinces with ± 40 to 50 species. Kniphofia also occurs in Lesotho, Swaziland and northward towards Sudan. The species diversity, however, decreases as one moves north. Three species occur naturally outside continental Africa. Two of these species occur in Madagascar and one in Yemen. Most Kniphofia species are found growing near rivers or in places where conditions will become damp or marshy for part of the year. A small number of species prefer dry conditions with good drainage.
Growing Kniphofia species
Red-hot pokers make a brilliant display in a garden and the flowers last for a long time. The showy, bright-coloured flowers are ideal for adding a splash of colour to an area or making a bold statement. These plants can be used at the back of a mixed flower border, in groups in the front of a shrub border, or lining a long driveway. Kniphofia tolerate wind well and are often seen growing close to the coast. They also make excellent cut flowers. The winter-flowering varieties are particularly useful in providing displays of colour during the dry winter months in the summer rainfall regions.
Kniphofia grow well in rich soil located in an open sunny position or partial shade. Most species require plenty of water during the growing season if they are to thrive and flower well. They should also be fertilised monthly during their active growing period. Kniphofia species are generally hardy to semi-hardy. Most species tolerate frost but the winter-flowering species should be protected. Some summer-flowering species die down in winter and grow again in the early summer. In cultivation Kniphofia resent disturbance. They will take a year to settle down after being divided and will not flower well. They should therefore be left undisturbed for many years until their flowers show signs of deterioration through overcrowding. Some commonly cultivated Kniphofia species include K. praecox, K. linearifolia, K. uvaria, K. multiflora, K. caulescens and a variety of attractive cultivars.
These plants can be propagated by seed or by division. Division will produce the quickest results since seed takes a long time to produce flowering plants. Large clumps can be lifted and divided, using a spade and then replanted.
Acknowledgements: Mr Syd Ramdhani is thanked for providing information on the distribution of the genus.
References
ELIOVSON, S. 1984. Wild flowers of southern Africa, edn 7. Pretoria.
JOFFE, P. 1993. The gardener's guide to South African plants. Tafelberg Publishers, Cape Town.
POOLEY, E. 1998. A field guide to wild flowers of Kwazulu-Natal and the eastern region. Natal Flora Publications Trust, Durban.
TRENDLER, R. & HES, L. 1994. Attracting birds to your garden in southern Africa. Struik Publishers, Cape Town
VAN DER SPUY, U. 1971. Wild flowers of South Africa for the garden. Hugh Keartland Publishers, Johannesburg.
Marc Stern
Walter Sisulu National Botanical Garden
July 2002
To find out if SANBI has seed of this or other SA species, please email our seedroom .
This page forms part of the South African National Biodiversity Institute's plant information website www.plantzafrica.com
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What was the name of the 1988 film starring Meryl Streep about the Australian Dingo baby murder case | A Cry in the Dark (1988) - IMDb
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A Cry in the Dark ( 1988 )
Evil Angels (original title)
A mother whose child was killed in a Dingo attack in the Australian outback fights to prove her innocence when she is accused of murder.
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Title: A Cry in the Dark (1988)
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Nominated for 1 Oscar. Another 8 wins & 11 nominations. See more awards »
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Based on the true story of Lindy Chamberlain. During a camping trip to Ayers Rock in outback Australia, she claimed that she witnessed a dingo stealing her baby daughter, Azaria, from the family tent. Azaria's body was never found. Police noted some apparent inconsistencies in her story, and she was charged with murder. The case attracted a lot of attention, turning an investigation into a media circus, with the public divided in their opinions. Written by Murray Chapman <[email protected]>
A family torn apart. A public filled with outrage. A woman accused of murder.
Genres:
11 November 1988 (USA) See more »
Also Known As:
A Cry in the Dark See more »
Filming Locations:
Did You Know?
Trivia
Lindy Chamberlain refers to a case in which expert testimony wrongly sent three boys to prison. She's referring to the 1972 murder of 26-year-old Maxwell Confait in southeast London. Confait was strangled, and the building he lived in was burned down. Eighteen-year-old Colin Lattimore, 15-year-old Ronnie Leighton, and 14-year-old Ahmet Salih were arrested and charged with murder and arson. All three had alibis, but three prominent forensic pathologists testified to the time of death. One, Dr. Cameron, changed his mind on the stand and said Confait could have died at a time when the boys were not covered by their alibi. The boys were convicted and sentenced to prison. Two years later, the convictions were overturned. It turned out that Confait had been dead more than 48 hours before the fire, and the forensic pathologists were wrong about the fire speeding up the onset of rigor mortis. In 1980, Douglas Franklin was found to be the true murderer. See more »
Goofs
In the end credits, the movie's copyright year is 1988. In Roman numerals, it would be MCMLXXXVIII. Instead, the year is MCMLXXXIII, 1983. See more »
Quotes
Michael Chamberlain : No, you're right, it's exactly the same model as mine.
Les Smith : Have a look at what Webber found under the dash!
(Hamilton, Australia) – See all my reviews
If there is any Australian that I feel sorrier for, it would have to be Lindy Chamberlain. Her compelling story is one of the more famous court cases in Australian history. Also known as A cry in the dark', Evil Angel' shows how divided the Australian public really were towards this case and how the media can manipulate a story, by favouring just one side of a story that they believe is the whole truth. When I hear the cry The dingo's got my baby', it brings back memories from along time ago.
During a camping trip, an infant disappears from her family's tent. When the child's mother spies a dingo nearby, authorities launch a frantic search, but all they find is a torn, bloodied garment. The press, distressed by the mother's seeming "lack of emotion", and suspicious of her religious beliefs, begin to accuse her of murdering the baby. The sentiment against her begins to grow, and soon the whole continent is talking about the case. Despite the lack of evidence, the woman is imprisoned; although investigators eventually re-examine her story, the damage is done: the innocent mother's relationship with her husband has been irreparably destroyed. This is the documentary style film adaptation of the true story of Lindy and Michael Chamberlain.
This film has some truly amazing performance in it. Meryl Streep is a wonderful actress, but in this film she does so much that you just have to like. She really becomes Lindy' and embodies what she actually went through. I remember reading that Streep had to have speaking classes, so she could sound Australian', which she does very well. But it is her persona I like the most. Streep performance as Chamberlain is so flawless, as she shows no emotion when she is going in and out of court, which is what the real Lindy Chamberlain did. It is understandable that the general public would think that Lindy is guilty of murder, which is again testament to Streep's masterful performance. However in court Lindy is visibly upset, when she has to recall the night a dingo took her baby.
The other performance which is most noteworthy is that of Sam Neill. While Neill has gone on to do many big performances in Hollywood blockbusters such as Jurassic Park' and the Aussie favourite The Dish', this is one film I continue to remember him from. I like how we see that Michael is visibly distressed by the whole court case scenario, with him stumbling through the interrogation when he is on the stand. It is also most taxing on the couple's personal life, with Michael the first one to crack.
Yet there are some famous Australian cameos from many actors in Evil Angel'. Look at these for names; Maurie Fields, Charles Bud' Tingwell, John Howard, Frankie J. Holden, Mark Little, Mark Mitchell, Glenn Robbins and Kym Gyngell. All of them are well known personalities in Australian TV, and it is of great significance to this story to have such great fame among the cast of this film.
Director/Screenwriter of Evil Angel' Fred Schepisi does justice to this story in many ways. Firstly, Schepisi and co screenwriter Robert Caswell stuck very close to the story written by John Bryson. Then Schepisi directs this film in quite a unique way. He points the story in many ways, showing the Chamberlain's in one shot, then to the media, then to the general public. This amount of change gives the film great variety, which is good. If it was fixated with just the Chamberlains, this movie could have had major problems.
I also like the many shots of Australia that this film shows off. Having this tragedy take place in the Northern territory, certainly gave that state and its famous attraction Ayers Rock (Uluru) some sort reputation, as this film does too. Yet there are some excellent shots in Alice Springs, Darwin and in the Chamberlain's home-town (for some time) of Mt. Isa in Queensland. This is good work of cinematographer Ian Baker.
So with all those factors taken into consideration, this film looks deep into what it must be like to go through the loss of a baby child, taken by a wild animal. It also a fascinating insight into what the media can do to turn a story and how merciless people can be towards someone that in all possibility could be innocent'. Although it is 22 years since this horrible event has happened, I realise that Chamberlain's lives were, and probably never will be the same again. Michael and Lindy had to go through the most painful of divorces, and their children had to go grow up with a large amount of innuendo attached to their lives. I am thankful that Lindy Chamberlain was released from prison, after serving three and a half years of a life imprisonment sentence for a crime which she did not commit.
CMRS gives Evil Angel': 4 (Very Good Film)
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In the film Psycho where does the first murder occur | 'Dingo baby' jury notes shed light on Australia's most famous trial | The Independent
'Dingo baby' jury notes shed light on Australia's most famous trial
Lost Lindy Chamberlain papers prove the 1980 verdict was anything but unanimous
Monday 9 August 2010 23:00 BST
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The Independent Online
It was the case that gripped Australia, triggering a 15-year legal saga, spawning a Hollywood film, a television docu-drama, a mini-series and an opera.
Now fresh light has been cast on the Lindy Chamberlain affair, with the release of secret notes made by the jury that convicted her of killing her baby daughter in 1980.
The handwritten notes, unearthed from a decades-old police file, reveal jury members were as divided as other Australians, who fiercely debated Mrs Chamberlain's innocence or guilt. And, just as in wider society, the women were more convinced than the men that she murdered her nine-week-old baby, Azaria, during a camping trip to Uluru, or Ayers Rock as it was then known.
At least four of the nine male jurors had to be persuaded to return a guilty verdict, according to the notes, made by the foreman during their six-and-a-half hours of deliberations. The three female jurors – a teacher and two "housewives" – had no such doubts.
Of one, the foreman recorded: "Doesn't believe dingo", a reference to Mrs Chamberlain's claim that a native wild dog took Azaria from the tent.
Expert witnesses had told the trial in Darwin that dingoes did not attack humans. The jury's scepticism was further fanned by the Chamberlains' demeanour: neither Lindy nor her husband, Michael – a Seventh Day Adventist pastor – wept or showed much emotion, in public at least, following their daughter's disappearance. Also, the couple did not join the hunt for Azaria's body, a fact noted by the jury. "Hard to accept such loving parents did not search," the notes state. As far as the foreman was concerned, the defence evidence was "purely smokescreen".
Sentenced to life at the conclusion of the seven-week trial in 1982 – Michael received a suspended sentence for being an accessory to murder – Mrs Chamberlain appealed, without success, the following year.
Then, in 1986, a chance discovery transformed her case. An English tourist, David Brett, had fallen to his death from Uluru and while police were searching for his body – in an area full of dingo lairs – they found Azaria's matinée jacket. Mrs Chamberlain was released from jail and in 1988 the Northern Territory's Appeal Court overturned both her and her husband's convictions. Two years later the couple were awarded $1.3m (£750,000 today) in compensation for unlawful imprisonment and the case was investigated by a Royal Commission.
Finally, in 1995, a third inquest was held, returning an open verdict.
The affair attracted intense media scrutiny and still does. The jury notes came to light after Rupert Murdoch's News Limited, which owns tabloids around Australia, sought access to the police files.
In recent years, a series of dingo attacks on children has reinforced the account given by Mrs Chamberlain, whose story was reproduced in the 1988 film A Cry in the Dark, starring Meryl Streep. A nine-year-old boy, Clinton Gage, was mauled to death by two of the animals on Fraser Island, off Queensland, in 2001. The front-page headline in The Australian newspaper the following day stated: "These dogs do kill children."
Back then, though, such attacks were almost unheard of. And what clinched it for the jury, according to their notes, was a reconstruction of the Chamberlains' tent in the courthouse basement.
Azaria's mother had said that when she returned to the campsite at night, she could see the baby's bassinet was empty. She then saw a dingo emerging from the tent and screamed out: "A dingo's got my baby!" However, when the scene was reproduced in dim lighting, jurors could not discern, from the same distance, whether there was a doll in the bassinet.
Even so, some had doubts. One man, a civil servant, urged his fellow jurors, at the start of their deliberations, to acquit Mrs Chamberlain, saying he "could not believe Mrs C did it". Another male juror agreed, because of the "probability [a] dingo could do it".
The Chamberlains divorced in 1991; he works as a teacher, she as a motivational speaker, represented by one of Australia's leading celebrity agencies.
Mrs Chamberlain also counts among her friends Yvonne Cain, a juror who contacted her because she felt so tortured about sending an innocent woman to jail.
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Which actress co-starred with Mel Gibson in the 1997 film Conspiracy Theory | Conspiracy Theory (1997) - IMDb
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A man obsessed with conspiracy theories becomes a target after one of his theories turns out to be true. Unfortunately, in order to save himself, he has to figure out which theory it is.
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From Christopher Nolan to Quentin Tarantino and every Coen brother in between, many of today's most popular directors got their start at the Sundance Film Festival . Here's a list of some of the biggest names to go from Sundance to Hollywood prominence.
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Jerry Fletcher is a man in love with a woman he observes from afar. She works for the government. Fletcher is an outspoken critic of that government. He has conspiracy theories for everything, from aliens to political assassinations. But soon, one of his theories finds itself to be accurate. But which one? Some dangerous people want him dead and the only person he trusts is that woman he loves but does not know. Written by Steve Richer <[email protected]>
What you know could kill you. See more »
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Rated R for some violence | See all certifications »
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8 August 1997 (USA) See more »
Also Known As:
$19,313,566 (USA) (8 August 1997)
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Did You Know?
Trivia
As an introductory prank on his leading lady, Mel Gibson famously dispatched a gift-wrapped, freeze-dried rat to Julia Roberts prior to commencement of this shoot. See more »
Goofs
When Jerry leaves Alice on the train and Alice gets a phone call on her mobile phone, she is still in the subway. Mobile phone technology of the day dictates that calls can not be completed when underground in the subway. She would not have a signal to receive or make a call. See more »
Quotes
[first lines]
Jerry Fletcher : July eighth, 1979, all the fathers of Nobel Prize winners were rounded up by United Nations military units, all right, and actually forced at gunpoint to give semen samples in little plastic jars, which are now stored below Rockefeller Center underneath the ice skating rink...
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Crazy Credits
The initial Warner Bros. logo with the clouds behind is shown - the camera then pulls back to show the logo as a billboard on the side of a bus. See more »
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(US) – See all my reviews
This movie could be classified into different genres - suspense, romance & thriller. Not many films can say that, or if they can, many do not succeed. Conspiracy Theory, however, did.
The first time I saw this, I was on the edge of my seat. It was very suspensful. I won't go into details if you haven't seen it, but it's really one of the best suspense films I've seen.
This wasn't a completely romantic film, no. In fact, I wish it would've touched on the romance more than it did. Mel Gibson and Julia Roberts had great chemistry. Although nothing really happened between them, the audience could clearly see Jerry's (Mel Gibson)love for Alice (Julia Roberts.)
Now, the plot. Jerry Fletcher has many wild conspiracy theories - including one that NASA is trying to kill the President with earthquakes. He's a cabbie & tells lots of people his ideas. But the one person he seems to tell the most to and thinks can help him is Alice Sutton, an attorney. He saved her months before the movie takes place when she was mugged. He seems to get on her nerves, but she puts up with him. He goes to her office all the time. He's obviously in love with her, but she doesn't feel the same way. Well, somehow "they" (CIA, FBI, you know "they") find out about Jerry's crazy conspiracies & they go after him. He and Alice are in danger.
The acting in this movie was terrific. This may be Mel's best. His portrayal of a crazy cabbie was so good and believable. It's not really like any other role he has played. He did it so well & the audience sympathized with him completely. Julia was good too. Her role wasn't really difficult to play, but she made it believably nevertheless. Patrick Stewart also stars in this. He made a great bad guy.
Overall, this movie was great. It was very suspensful & the acting was outstanding.
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What was the name of the knife thrower played by James Coburn in The Magnificent Seven (one word) | CINEMATIC REVELATIONS: FILM REVIEW OF ''CONSPIRACY THEORY" (1997)
Tuesday, September 15, 2009
FILM REVIEW OF ''CONSPIRACY THEORY" (1997)
Veteran Hollywood film producer Dore Schary once said actors prefer to play crippled characters because such unsavory roles afford them the opportunity to explore their thoughts about their own identity. Movie superstars love to indulge themselves in vanity projects that reflect this eccentric facet of their personalities. In the cinematically polished, but complicated amnesiac mystery-thriller “Conspiracy Theory” (*** OUT OF ****), Mel Gibson impersonates a flaky New York cabbie named Jerry Fletcher. Although he imitates the formula action hero he limned in the “Lethal Weapon” movies, “Conspiracy Theory” qualifies as a vanity project because Gibson plays an everyday citizen instead of a crusading cop. Moreover, Jerry is not tightly wrapped. Forrest Gump and he might have hit it off okay. Jerry’s prone to fits of anxiety and paranoia. Sometimes the least little thing will touch him off. As Jerry, Gibson acts perfectly rational one minute but totally loony tunes the next instant. If incarnating such a Bohemian character were not enough, Gibson models his hare-brained hack on the sarcastic Warner Brothers character Bugs Bunny. At one point, Jerry compares his antics to those of the Road Runner, but at heart he’s clearly a Bugs kind of guy. “Conspiracy Theory,” on closer inspection, emerges as a rather lengthy Merry Melody cartoon, with villainous Patrick Stewart sharing some characteristics of Elmer Fudd, Bug’s perennial adversary, while Julia Roberts appears as a Tweety Bird of sorts.
The cartoon comparison seems valid when you consider the outrageous elements in Brian (“Assassins”) Helgeland murky script, along with Mel Gibson’s self-depreciating humor. Jerry’s cluttered apartment resembles Bug’s hutch, and this cabbie has an escape hatch that Bugs would truly envy. Jerry loves to play pranks and he pulls one in the tradition of “American Graffiti on the spies who are supposed to track him. At other times, Jerry outsmarts himself like Bug’s often does and gets caught. Patrick Stewart’s first encounter with Jerry is straight out of “A Clockwork Orange.” Before the interrogation ends, Jerry has bitten Dr. Jonas’s nose and is careening about in a wheelchair screaming hilariously at the top of his voice. Gibson’s Jerry proves as much a Houdini as Bugs is in his escapades with Elmer.
As written by Helgeland, “Conspiracy Theory” is hard to follow because he throws out enough red herrings to pickle the plot. Is Jerry sane or looney? Is Dr. Jonas a good guy? Who are Jerry’s real enemies, and who are his friends? What really happened to Jerry? There is enough plot in “Conspiracy Theory” to keep you guessing hopelessly if you don’t pay close attention to the story. Jerry thinks that the conspirators are after him for something that he stumbled onto, but is that why they want him dead?
During the opening credits, we get to watch Jerry blitz his passengers with his crack pot conjectures. For example, he believes the metal pins in new hundred dollar bills are really tracking devices. He complains, too, that Benjamin Franklin on the new bills resembles the love child of Rosie O’Donnell and Fred Mertz, (“I Love Lucy’s” next door neighbor). Or that the fluoride in the water does not promote our dental health but is rather to break down our mental health. Jerry publishes a conspiracy theory newsletter, but only five people subscribe to it. “The good conspiracy is an unprovable one,” he tells Julia Roberts. Jerry scans the daily newspapers for any trace of a cover-up. Early in the film, Jerry is convinced that NASA is going to kill the president, so he visits Federal attorney Alice Sutton (Roberts) to warn her about the plot. At first, Sutton thinks Jerry is a polite wacko, until she starts to see some of his warning signs.
Enter Dr. Jonas (Patrick Stewart), an urbane, bespectacled Harvard shrink who desperately wants to lay his hands on Jerry. Patrick Stewart plays Dr. Jonas with a Borg in his eye. Stewart’s commanding presence lends credence to his villainy. Jerry, it seems, participated as a Jonas experiment in mind control program along the lines of the 1960’s paranoid thriller “The Manchurian Candidate” where the Chinese brainwashed U.S. troops and turned them into assassins. Jonas tried to make Jerry into a killer, but his efforts proved futile. Somehow, somebody else grabbed Stewart’s subjects, and he has been trying to catch Jerry since to learn who stole his technology. Meanwhile, another super secret agency represented by Hatcher (Cylk Cozart) has been keeping tabs on Jerry to capture Dr. Jonas. In the middle stands federal prosecutor Alice Sutton who has just been told to stop investigating the murder of his father a federal judge. Although she reluctantly believes Jerry initially, later she comes to hate and fear him.
Director Richard Donner and Helgeland are careful to present Jerry as a mad as a March hare hero. Meanwhile, they construct Alice Sutton as the paragon of intelligence and sanity. The character that Julia Roberts plays is indispensable. She proves that Jerry is paranoid, but she realizes eventually that his paranoia is justified. “Conspiracy Theory” is really two stories woven into one. Jerry Fletcher searches as much for his own sanity as Alice Sutton does the murderers of his father. That’s the other plot. Alice Sutton’s father, a federal judge, has been murdered and she refuses to give up the investigation. Integrating these two apparently unrelated plots together into a smooth, unobtrusive way forces scenarist Helgeland and director Donner to add about a half-hour’s worth of story to the film.
Since the filmmakers dump all this convoluted narrative onto you with as little exposition as possible, you may find “Conspiracy Theory” more than a little overwhelming. “Conspiracy Theory” struggles to be “North by Northwest” with a sprinkling of “One Flew Over The Cuckoo’s Nest.” Although the writing falters toward the end, the uniformly excellent cast gives first-rate performances, and director Richard Donner conjures up every neat trick to promote the suspense and the excitement. Perhaps the worst thing about the story is the profusion of hush-hush secret agencies that participate in this derring do. When Donner and Helgeland run out of initials, they compare spy networks to relatives.
Since actor Mel Gibson teamed up with his favorite movie director Richard Donner, who called the shots in the exhilarating “Lethal Weapon” trilogy, he has gravitated more and more to the kind of screwball hysterics emblematic of the Warner Brothers cartoons of Bugs Bunny. Mel Gibson has probably been dying to play someone like Jerry Fletcher ever since he did his “Lethal Weapon” movies. Riggs and Fletcher share similarities. Both characters were assassins before they became either cop or cabbie. Although Fletcher qualifies as a quasi-action hero, he is also somebody prone to bouts of uncertainty. Although Gibson’s Riggs character in his “Lethal Weapon” actioneers hovered near schizophrenia, Mel’s cabbie Jerry Fletcher in “Conspiracy Theory” emerges as a full-blown schizophrenic. Jerry Fletcher experiences episodes of wise-cracking sanity and insightful clarity before the schizophrenia buried deep inside his disturbed psyche shatters his self-control and leaves him helpless and vulnerable.
Actress Julia Roberts has more to do than just stand around and look like a pretty woman in “Conspiracy Theory.” As a hard nosed Federal prosecutor, she gets to shoot guns, ride horses, and talk her way out of tight-spots with the FBI. Gibson and she develop real chemistry when they go on the run. While Jerry gets to play hero in the first part of the film, Alice Sutton gets to dominate the heroics in the second half.
John Schwartzman’s cinematography deserves special praise. The opening credit sequence with its array of neat, weird, and cool camera angles is memorable. The various Dutch-tilted camera shots in the action scenes help generate excitement. If you want to see an example of textbook perfect cinematography and matchless editing, “Conspiracy Theory” boasts both, with an upbeat, atmospheric music score by Carter Burwell.
Richard Donner has been directing television shows and motion pictures since the late 1950s. “Conspiracy Theory” is so competently made that it glides along despite its inordinate length. Donner confines the action to warm offices, dark alleys, rain swept streets, dim apartments, and musty hospital rooms. Stealth helicopters in the whisper mode cruise the skies above Gibson’s Jerry Fletcher. To emphasize the theme of reality versus illusion, Donner aims Schwartzman’s cameras on reflective surfaces. One of the best is a chopper deploying four men reflected in the window where Jerry huddles to hide his face. Helgeland and Donner keep our hero and heroine hopping from one skillet to an even larger skillet. The explosive attack on Jerry’s apartment and their escape is a cinematic tour-de-force.
Ultimately, all it boils down to is Mel Gibson. He gets to play a resourceful hero and a sympathetic victim. We are rooting for him the entire time, because there is no way Mel Gibson can be a crook. As charismatic as Gibson is as Jerry Fletcher, you cannot mistake his insouciant wit as anything other than a Bugs Bunny gesture. Now, if Mel had only uttered: “What’s Up, Doc?”
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Who is the actress who plays the lead in the film based on the computer game Tomb Raider | 10 Actresses Who Could Play Lara Croft in ‘Tomb Raider’
10 Actresses Who Could Play Lara Croft in ‘Tomb Raider’
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The genre of films based on video game franchises has had a hard ride to this point – no matter how acclaimed, how beloved, or how profitable the source material may be. But of the few that have managed to gain a strong foothold in the mainstream, even fewer predicted the success of Tomb Raider – which is why it’s unsurprising that a film reboot of the former Angelina Jolie-led series has been in the works for years.
But it was only recently that the project gained speed; landing both a production commitment from Warner Bros. and a new writer . With the video game version of Lara Croft being successfully rebooted via a grittier, more emotionally-driven origin story for the famous crypt-crawler, it seems a similar direction is in store for the new movie .
That helps narrow down the field for possible leading ladies, while potentially ruling out actresses previously rumored for the part (from Hayley Atwell to Olivia Wilde ). So we’ve done our best to assemble a list of actresses we think could tackle the part of Lady Croft in her early days – and a few alternatives, should the studio follow the previous plan and seek out an established star.
Without further ado, read on for our list of 10 Actresses Who Could Play Lara Croft in the new Tomb Raider movie.
Lily James
She may be best known for roles as refined, bright-eyed young women , but there’s more to actress Lily James than appears at first glance. Having become best known internationally for her turns in Downton Abbey and the upcoming Cinderella , few would need convincing that James is capable of portraying the naive and pampered (even if well-meaning) Lara, which the first chapter of a Tomb Raider origin story would require.
Yet James’ role in Pride and Prejudice and Zombies shows she’s willing to take on more… ambitious parts, while giving her valuable experience as a polite-yet-deadly heroine. And her work as a competitive runner in Fast Girls (2012) proves she can pull of the physical aspects of Lara Croft’s character. A bigger-budget, action-oriented film may not be her top priority, but stranger things have happened.
Camilla Luddington
Actress Camilla Luddington may be the only one on our list who has actually played Lara Croft already, having supplied the vocal and motion performances for the famous heroine in the most recent Tomb Raider video game. But her credits aren’t limited to the digital space – nor the character of the English cave-diver.
With roles in everything from Grey’s Anatomy and Californication to True Blood , Luddington has an impressive resume – even without the experience of playing Lady Croft. But if the plan is to tell an origin story like that of the game – and to do it with some speed – then Luddington could be the wisest choice. Having already captured the emotional and physical rise of Lara from an amateur archaeologist, much of the work would be done already.
Gemma Arterton
While certainly too seasoned to play the ‘immature’ Lara that might be pursued, there’s no question that Gemma Arterton is capable of picking up the banner dropped by Angelina Jolie. After her turn in Hansel & Gretel: Witch Hunters managed to both charm and thrill in a somewhat disappointing adventure, we were convinced there were few roles Arterton wouldn’t be able to play – Wonder Woman included.
True, a role like British socialite Lara Croft may not be too much of a stretch for Arterton. But with a film series carrying this much baggage, casting an actress who makes perfect sense on paper is obviously appealing. That’s assuming the filmmakers are comfortable with introducing an adult Lara, which isn’t necessarily a deal breaker.
Tuppence Middleton
Though not yet a household name (hard to believe), Tuppence Middleton has had an impressive year. After a variety of small TV and film roles in the UK, Middleton has delivered some notable performances in the past year – notable for very different reasons. First, there was the critically-acclaimed WWII-era The Imitation Game , followed by the significantly less-acclaimed Jupiter Ascending .
Middleton fits the bill in plenty of ways, and having recently played a member of galactic royalty who managed to seem likable in a deeply flawed adventure, there are few noblewomen that Middleton would struggle to play. The more physical aspects of a Lara Croft origin story might be a challenge, but having made a name for herself in just a few short years, a starring role would be a logical next step.
Daisy Ridley
Daisy Ridley may be an unknown, but so were Harrison Ford and Mark Hamill when they were entrusted with the Star Wars name. Though her acting resume is limited to guest spots on UK shows like Casualty, Silent Witness and Mr. Selfridge, she seemed to contain enough potential for director J.J. Abrams to cast her as ‘Rey,’ one of the young stars launching a new trilogy with Star Wars: The Force Awakens .
Few film franchises are guaranteed to make celebrities of young actors like the one set in “a galaxy far, far away,” which means the world will be watching to see if Ridley has the makings of a real blockbuster star. If she delivers, then audiences will watch her skyrocket to the top of the list of young English actresses – and a role as the new Tomb Raider could use that kind of marketing.
Tatiana Maslany
Sure, Canadian actress Tatiana Maslany may not fulfill the ‘English’ requirement of the role, but she has already proven capable of playing vastly different types of character – at the same time, no less. As the star of Orphan Black , Maslany has played a hothead and an intellectual; women who are shaken to their core by the slightest bit of disaster or violence, and those who use trauma to forge them into even more durable heroines.
That proves she’s got the skills to do justice to most of the aspects of Lara’s character, especially if the film is intended to take her from one extreme to another. Since Maslany is still short of ‘star’ status for the masses (read: criminally underrated), her open schedule may also be that of an actress lacking the star power sought by the studio. But if an actress of her quality landed the part, it would prove the filmmakers were looking to tell a true origin story, and avoid the pattern set with the previous two films.
Margot Robbie
It’s hard to believe that despite the instant fame brought with roles in The Wolf of Wall Street , Focus , Z For Zachariah and the upcoming Suicide Squad, Margot Robbie has yet to reach the age of 25. Clearly not shying away from the spotlight, the Australian actress is soon to lead one planned blockbuster franchise – but in this day and age, a rising young star tied to just one is increasingly uncommon.
Mastering the art of seduction and falsehoods in Focus – after playing a sweet, lighthearted flight attendant in Pan Am – proved that Robbie has range as well as staying power opposite Hollywood heavy-hitters. We know that she’ll be getting into ‘superhero shape’ for her role as Harley Quinn, and with roles in Tarzan and Fun House already in the works, Robbie is looking to get her hands dirty. Pair that drive with a heroine like Lara Croft, and how many fans would raise an eyebrow?
Alexandra Dowling
Alexandra Dowling may have only a handful of credits to her name – perhaps best known to our readers for her brief (and we mean brief) role as Roslin Frey in Game of Thrones – but all it takes is a single performance to turns heads. It’s for that reason that Dowling’s turn as Queen Anne in BBC’s The Musketeers seems to have sent her star on the rise with alarming speed, landing her on the shortlist for the new female lead in Pirates of the Caribbean: Dead Men Tell No Tales (a part that ultimately went to another actress on our list).
Portraying the Queen of Great Britain leaves little doubt that Dowling can carry Lara’s entitled upbringing convincingly – the fact that she managed to do it while still showing a softer side has us (and Disney, apparently) thinking she’s capable of a bigger spotlight. Add the fact that Dowling has the look fans are likely to get behind, and she makes our shortlist with ease.
Felicity Jones
The Star Wars camp hasn’t let many young, relatively unknown actresses slip past them, with Daisy Ridley and Tatiana Maslany apparently being eyed for mainline or spinoff films. But it was Felicity Jones who landed the starring role in the 2016 Star Wars spinoff ; an unsurprising choice, given the recent buzz surrounding the English actress. Not only due to an impressive turn as Jane Hawking in The Theory of Everything , but as a potential comic book superhero in The Amazing Spider-Man 2 .
In hindsight, it may have been for the best that Jones’ role as Felicia Hardy (a.k.a. Black Cat) was kept to a minimum; on the other hand, there’s no reason to doubt that Jones would have been a strong addition to Sony’s Spider-Man universe . But all must move on, and although a starring role in a Star Wars spinoff film may make another adventure franchise seem like overkill, a dramatic approach to Tomb Raider is something we would love to see Jones tackle.
Kaya Scodelario
Kaya Scodelario may be the youngest actress on our list, but she’s also one of the most seasoned. Starting her acting career on the UK series Skins at the age of 14, Scodelario’s talents soon led to more TV and small film roles, but her career has hit top speed in the past year. Hitting American audiences as the sole actress in the YA novel adaptation The Maze Runner , the planned franchise is just the first of many that she may find herself signed for.
Disney gave Scodelario the nod for the upcoming sequel/soft reboot of Pirates of the Caribbean , confirming that a blockbuster career in North America is most definitely a possibility. At just 22 and already a veteran portraying relatable young women enduring the hardships that adolescence brings, Tomb Raider doesn’t just seem like an achievable challenge, but a strong fit, first and foremost. Whether the filmmakers agree (or her schedule will allow such a role) remains to be seen.
Conclusion
That concludes our list of actresses that we feel could play the young, vulnerable, untested Lara – as well as the battle-hardened, fearless tomb raider she will one day become. Whether the filmmakers decide to cast an actress who will need to toughen up before the eyes of the audience, or a proven badass who will have to show a softer side, we think any of the names on our list would be compelling choices.
What are your hopes for the next Tomb Raider? Do the actresses on our list fit your idea of the ideal Lara, or do you have a different actress/version in mind? Leave your thoughts in the comments.
| Angelina Jolie |
In which city is the Pakistan national cricket stadium | Star Wars actress Daisy Ridley in discussion for role of Lara Croft in new Tomb Raider movie
Star Wars actress Daisy Ridley in discussion for role of Lara Croft in new Tomb Raider movie
By Jigmey Bhutia
March 13, 2016 10:48 GMT
Warner Bros and MGM are looking to relaunch the Tomb Raider franchise, which is based on the popular video games series launched in 1996 (In Photo: Daisy Ridley)Adrees Latif/Reuters
Star Wars: The Force Awakens actress Daisy Ridley, 23, is reportedly being considered for the iconic role of Lara Croft in the new Tomb Raider movie. Ridley played the role of Rey in the last Star Wars movie and is currently filming for Star Wars: Episode VIII, which is scheduled to be released in December 2017.
Warner Bros and MGM are looking to relaunch the Tomb Raider franchise, which is based on the popular video games series launched in 1996. Jolie, 40, played the lead character of Lara Croft in Tomb Raider and Tomb Raider: The Cradle of Life.
"While conversations have taken place, this is still very early and there have been no official negotiations or offer yet, with the producers keeping their options wide open at this stage. This is one of THE plum gigs out there for a young actress," Deadline reported .
"The latest adaptation, which has been in development for several years, received a jolt of adrenaline when the video game series was rebooted by game developer Square Enix with 2013's Tomb Raider, which depicted Croft's first adventure as an archaeology student, and follow-up Rise Of The Tomb Raider. That younger take on the character's origin and path to derring-do are believed to have given the film's producers some creative guidance," it reported.
The Tomb Raider game launched in November 2015 saw Croft make her way into Siberia in search of the promised city of immortality, Kitezh. Players had to fight off a paramilitary organization intent on stopping her from achieving her goal.
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How many penalty points are incurred for knocking down a fence in a three day event | Rules and scoring of a British Eventing Horse Trial
Phase 1 - Dressage
The dressage phase, which is held first is made up of an exact sequence of movements, each movement marked out of a maximum score of 10. It is ridden in a semi-enclosed grass arena, which is 20 x 40 for a national ODE, larger (20 x 60m) for an international event.
In an ODE, the test is marked by a judge situated at the top, in the middle of the ‘short side' (20m), at marker ‘C'. More than one judge marks an international test, and they are situated at varying points of the arena.
The judges are looking for balance, rhythm and suppleness and most importantly, obedience of the horse and like to see it working as one with its rider. The reason for the Dressage test is to demonstrate that the horse and rider have the correct training to perform individual movements in a graceful, controlled, relaxed and precise manner and are prepared for the of the exactness of the Show Jumping and rigours of the Cross Country test to follow.
Once the rider and horse have completed their Dressage test, the marks are totted up and any errors of course deducted, which is then converted to penalty points. The marks are converted to a percentage of the maximum possible score, multiplied by the coefficient for that test, then subtracted from 100.
Summary of British Eventing Dressage Rules:
Following the bell the rider is allowed 45 seconds to enter the ring. Failure to do so ends in elimination.
If all four feet of the horse exit the arena during the test, this results in elimination.
Errors on course:
Phase 2* – Show Jumping
Show Jumping tests the technical jumping skills of the horse and rider, including suppleness, obedience, fitness and athleticism. In this phase, 8-20 fences (depending on level of event) are set up in an arena, (usually on grass in Britain). Show jumps can be knocked down, unlike cross country fences and penalties are given for any poles that fall. This phase is also timed, with penalties being given for every second over the time set by the course designer. In an international or 3DE, Eventing Show Jumping tests the fitness and stamina of the horse and rider following the previous day's cross-country test.
How do you score a Show Jump round?
If a horse knocks down or refuses a fence, it is called a ‘fault'. These faults are added up at the end of the round, and any time penalties added to give the pairing a score for that round.
Knocking down an obstacle: 4 penalties
First Disobedience (refusal, run-out, circle, stepping backwards): 4 penalties
Second disobedience: 8 penalties
Exceeding the time allowed: 1 penalty per second
Jumping an obstacle in the wrong order: Elimination
Error of course not rectified: Elimination
A show jump is classed as being knocked down if any part of it has had its height lowered. It is possible therefore to knock out a pole below the top rail and receive no penalties.
*ODE only. At an international or 3DE it is reversed and SJ is the final phase
Phase 3* – Cross Country
Both horse and rider must be in excellent physical shape to complete the cross country test. The horse and rider will have practiced or ‘schooled' over several different types of cross country fences before competing to develop braveness, experience and trust.
In Britain there are six levels of affiliated Eventing which cater for all levels of horse and rider, and they range from 80cm Training classes through to 1.20m Advanced classes:
Advanced
Combinations jump 18-22 fences (BE80, BE90, BE100), more at the higher levels, all designed and built along an outdoor circuit. The fences are solidly built natural objects (logs, stone walls) as well as various other obstacles such as ditches, drop fences and banks and combinations, which test the accuracy and training of the horse and rider.
Leading the way on safety in the sport, Britain pioneered the frangible pin system which is fixed to upright rails, allowing part or all of the jump to drop down if hit with enough force.
Horse and rider need to finish the course within a certain time limit, or ‘optimum time' which is announced on the day of the competition for that particular course. For example at a BE80(T) competition, horse and rider need to be travelling at 435 metres per minute, to come within the optimum time. Speed is a factor, with the rider required to cross the finish line within a certain time frame (optimum time). Crossing the finish line after the optimum time clocks up time penalties for each second over.
How do you score a Cross Country round?
If the rider falls off (national competitions only), they can remount and carry on. If they fall a second time, the rider is eliminated.
Refusal, run-out, or circle at an obstacle: 20 penalties
Second refusal, run-out, circle at the same obstacle: 40 penalties
Third refusal, run-out, circle on XC Course: Elimination
Fall of horse (shoulder touches the ground): Mandatory Retirement
Exceeding Optimum Time: 0.4 penalties per second
Coming in under Optimum Time: 0.4 penalties per second
Exceeding the Time Limit (twice the optimum time): Elimination
**Cross Country ODE only. At an international or 3DE it is reversed and Cross Country is the second phase.
| ten |
What is the nearest large town to Ben Nevis | Discover the Thrilling world of Olympic 3 Day Eventing
Beginner's guide to Olympic three-day eventing
Olympic Equestrian
The three-day event is an individual and a team competition
Riders compete for individual and team three-day event medals at
the Olympics.
To win the three-day event, rider and horse must excel in three
different discliplines - dressage , cross country and showjumping .
The winner is the rider or the team with the least penalty points
at the end of the competition.
Both competitions will be held together in Athens, with an
additional round of showjumping after team medals are decided to
determine individual placings.
A nation may enter five riders in a team but only the best three
scores count.
Should there be a tie at the end of the competition, the rider or
team with the best cross-country score is the winner.
The first day takes the form of a dressage competition, and the
climax is the showjumping.
In between is the most gruelling test, the cross-country.
This consists of a 5.2-kilometre course with a maximum of 45
"jumping efforts", with a double fence counting as two efforts.
Some of the jumps are more than a metre high and include perilous
routes over water, ditches and banks, though there is usually an
easier but longer route round.
Competitors who make it to the final event have to negotiate 10
to 12 obstacles in the showjumping.
It is easier than the showjumping medal event, but tough on a
horse that has completed the arduous cross-country section just
the day before.
Scoring for the three-day event is as follows:
Dressage - Riders must perform a set of 20 moves and are marked
by judges for each move, how they control the horse and the
obedience, pace and control of the animal.
They are penalized for each error. Points are converted into a
penalty point score ready to add the penalties incurred in the
next phases.
Cross-country - Penalty points are awarded for every second over
the time limit.
Twenty points are awarded if the horse refuses to jump an
obstacle, a second refusal at the same fence costs 40 points and
a third means elimination.
A fall for the rider costs 65 points, but a fall for the horse
means automatic elimination. The horse is considered to have
fallen if his quarters touch the ground.
Showjumping - Knocking down a fence, or a refusal, costs four
penalty points; a second refusal eight points. A third refusal
means elimination.
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Which group accompanied Skinner and Baddeil on the Euro 96 hit Three Lions | Gazza & Three Lions: Shearer’s Euro ’96 | Odd Onion
Gazza & Three Lions: Shearer’s Euro ’96
Posted on May 31, 2016 at 7:18 pm
by admin in Sports
Shearer met Paul Gascoigne at Newcastle’s Tyne Theatre before one of Gazza’s solo talkshows
I listened to the ‘Three Lions’ song quite a few times while I was making my documentary about Euro ’96, but not as often as I did during the tournament itself.
Paul Gascoigne used to wake us all up every morning at England’s team hotel by opening his bedroom window and playing it on his CD player at full blast.
I am not sure the other guests appreciated it as much as we did, but we could always rely on Gazza to keep us entertained.
He is not just my old team-mate, he is my friend and he was the first player I went to meet when I began putting the programme together at the end of November last year.
It was great to see him in such good form, looking well and laughing and joking.
As I expected, he had some classic stories about Euro ’96, including some other tales of what he got up to at the hotel and also how he did not let some of the Scotland players forget the spectacular goal he scored against them at Wembley.
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Paul Gascoigne’s sublime Euro ’96 goal against Scotland
That moment – and our famous ‘dentist’s chair’ celebration when I squirted water down his throat – was one of the three things that came up with everyone I met up with to talk about the tournament’s 20th anniversary.
The others were our 4-1 win over Holland and the ‘Three Lions’ song, which seemed to have been the soundtrack to everyone’s summer, not just us England players.
‘We were under pressure at the start’
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The England team that faced Switzerland in their opening match of Euro ’96 – back row: Paul Ince, Darren Anderton, Gareth Southgate, Steve McManaman, Teddy Sheringham, David Seaman, Alan Shearer. Front row: Paul Gascoigne, Gary Neville, Tony Adams, Stuart Pearce
Euro ’96 does not feel like 20 years ago, but it has been great to look back at it all and remember how the momentum built and built until it felt like the whole country was behind us.
Things were very different when the tournament started. There had been some incidents during our Far East tour a couple of weeks earlier that saw us heavily criticised by the media – including the original ‘dentist’s chair’ escapade in a Hong Kong nightclub.
So we were under pressure because of that, and also because of the expectation on us to perform well on our own patch.
Personally, I had something to prove. I ended up as top scorer at Euro ’96 and it was the defining moment in my England career but I had not scored an international goal in 12 matches over 21 months before the tournament started.
However, the manager, Terry Venables, did not stop believing in me, and he was the same with every player in his squad.
People remember the great team spirit that England team had, and Terry’s man-management skills were a big reason for that.
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From manager to hotelier – Venables was England boss from 1994 to 1996 but now owns a hotel on the edge of the Font Roja National Park in Spain
I went over to Spain to speak to him for the documentary – he and his wife run a little boutique hotel near Alicante so he spends half the year over there.
It was great to catch up. He looks back at Euro ’96 as the best time of his managerial career – which says a lot when you consider his time at Barcelona and everything he achieved.
‘Beating the Dutch was when the euphoria kicked in’
We did not actually begin the tournament very well, drawing 1-1 with Switzerland, although I did ease some of the pressure that was on me by scoring.
Things started to go our way when we beat Scotland 2-0 but it was only after our final group game, against the Netherlands, that the euphoria really kicked in.
That night we beat the Dutch 4-1 at Wembley is probably my favourite memory of Euro ’96.
It was the biggest and best atmosphere I experienced in an England shirt and it was also the most complete team performance I was part of for my country – everyone was a 10/10 that night.
I had not watched that game for a long time until I started putting the documentary together and what I did not remember was that myself and my strike partner Teddy Sheringham were both substituted with about 15 minutes to go.
We had both already scored two apiece so I reckon we could have had a hat-trick if we had been left on.
Along with Paul Ince, David Seaman and Gazza, Teddy was one of the players I met up with to reminisce – in his case over a round of golf.
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Euro 96: Alan Shearer and Teddy Sheringham hit the golf course
But I also spoke to people who I did not encounter at the time – for example David Baddiel and Frank Skinner, who were behind the ‘Three Lions’ song, and the BBC commentators John Motson and Barry Davies.
Motson and Davies are another reason why those England games are so fondly remembered by millions of people, not just the ones who were lucky enough to be at Wembley to see them.
But while their commentaries are part of the memory of that summer for everyone who was watching on TV, they were all new to me.
Even the videos we were shown after the matches to go through things did not have a commentary on them so I had never heard them until earlier this year. Listening to them, you realise these guys are fantastic at their job.
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Comedians Frank Skinner and David Baddiel co-wrote ‘Three Lions’ with Ian Broudie of the Lightning Seeds. It topped the charts for two weeks in May and June 1996
‘No regrets – just great memories’
It was after the Netherlands match that things really went crazy, and not just because we thought we could go on and win the tournament.
I remember popping out of the team hotel the next day, and going into Burnham town centre to get my hair cut – yes, believe it or not I did have hair back then.
When I got out of the taxi, there was a kind of street party going on. I had been reading about it in the newspapers but it was different to see it for myself – that was one of the times I realised what the atmosphere was like around the entire country.
We got past Spain in the quarter-finals on penalties but, of course, our shootout defeat to Germany in the semi-finals meant the tournament did not end the way we all wanted it to.
Yes, we could have won it, and obviously I wish we had won it, but there are no regrets – there can’t be – just great memories.
Everyone I spoke to said ‘look, we gave it everything’. When that happens, you cannot ask for any more. It was just not meant to be.
We had a lot of fun along the way, and the whole country did too, which I think is important.
Lots of things made Euro ’96 special but the overriding reason it is remembered so fondly by so many people in England is that it kind of brought football and the nation together again.
Alan Shearer was speaking to BBC Sport’s Chris Bevan.
Related Stories:
| The Lightning Seeds |
A serenade is played in the evening what is it's morning equivalent | Football’s Coming Home: Remembering Euro ‘96 Twenty Years On | VICE Sports
June 9, 2016 Will Magee
Football’s Coming Home: Remembering Euro ‘96 Twenty Years On
When England kicked off Euro '96 at Wembley, I was a small child. Regarding the football itself, it's impossible to tell which of my memories, if any, are contemporary, and which of them have been formulated since. I admit that my recollection of that summer is an incomplete jigsaw of received sights and sounds – a mish-mash of television documentaries, VHS tapes and grainy online clips, watched in the years following the tournament – but I can at least be certain that I remember one thing with total clarity.
That summer, Baddiel and Skinner collaborated with The Lightning Seeds to produce Three Lions. I remember that with absolute accuracy, because – whether or not my adult self likes to admit it – I loved that song with all my tiny heart.
So great was my childhood love of Three Lions that – a year or so after its release, doubtlessly after much harassment – my mum bought me whatever "Football Anthems" album was going at the time and allowed me to play it in the car over, and over, and over again. It included legitimate classics like World in Motion and We Are The Champions. It featured the highly irresponsible whisky-drink-vodka-drink-lager-drink-cider-drink rap of Chumbawamba's Tubthumping, which made a great impression on me and may well be at the root of my current drinking habits. Most importantly, the album boasted the anthemic euphoria of the proper, authentic, Euro '96 version of Three Lions.
I must have played that album several hundred times. My mum must have been on the border of certifiable insanity. I was far too young to watch Fantasy Football League and had no clue who Baddiel and Skinner actually were but, nonetheless, their nostalgia for the Jules Rimet and their nasal crooning over 30 years of hurt moved my childish soul. In the end, we probably had to throw the disc away, so hopelessly scratched was its shiny, diffracted surface.
That, for me, was the immediate legacy of Euro '96. With the benefit of hindsight, however, its significance seems rather more profound.
Euro '96 represents the last major tournament hosted on English soil. It was the first (and so far only) time that the competition had been held on these shores. England hadn't been granted a showpiece sporting event since the triumph of the 1966 World Cup, an omen that seemed to bode well for the home side. Optimism and hope abounded in the months leading up to the tournament. Under the scorching sun of that inordinately hot summer, people really believed that football was about to come home.
Back then, that belief was far from unfounded. Over the course of the '90s, the England team developed into a serious force. The indomitable David Seaman stood strong between the sticks, with a back four marshalled by the towering Tony Adams in front of him. Gary Neville and Stuart Pearce were the fiery full-backs, while the capable Gareth Southgate understudied Adams in the centre of the defence. While the midfield was a tad mercurial – the manic talents of Paul Gascoigne and Paul Ince alongside the youthful promise of Darren Anderton and Steve McManaman – the strike force were simply superb. In their pomp, Alan Shearer and Teddy Sheringham were two of the most lethal forwards in Europe. They were tasked with hauling England to victory, and coming up with the goals.
READ MORE: England Since Euro '96 – A Nation's Fortunes Played Out on the Pitch
With a rock-solid defensive core, several creative outlets in the midfield and two natural-born finishers up front, it was a team to be proud of. On paper, few previous England sides could have matched them, and we certainly haven't seen a better team since. Not only was Euro '96 a home tournament, it was a tournament that England had the flair and quality to dominate. Excepting Italia '90, it was their best chance of international glory for three decades.
There was genuine expectation. Accordingly, the players were desperate to win.
The pressure seemed to get to them at the start of the competition. England began their campaign against Switzerland on June 8, and could only muster a 1-1 draw. Shearer appeared to have settled home nerves with an early goal, but England failed to capitalise. Gascoigne had a torrid time of it in the midfield, nothing really clicked, and the Swiss eventually equalised through a late penalty. In the stands, pubs and newsrooms, there were grumbles galore.
England's second group game was far more successful. They faced a Scotland side that included the likes of Stuart McCall, Gordon Durie and Gary McAllister, and swatted them aside with relative ease. The first half was a tense affair, but Shearer broke the deadlock with a pinpoint header early on in the second. Then came the defining moment of the tournament, straight from the boot of a man who had spent the previous week being widely maligned.
Gascoigne might not have performed against Switzerland, but he produced an iconic goal to finish off the Scots. After Seaman had pulled off a magnificent penalty save from McAllister, a quick counter-attack saw Gazza latch onto the ball just outside the Scottish box. Deftly flicking the ball over Colin Hendry, he then smashed a low finish past Andy Goram and into the back of the net. Wembley went wild, while Gascoigne's "dentist's chair" celebration was soon plastered over every back page in the country.
Next up, England squared up to a Holland side which, on paper, looked a formidable prospect. Danny Blind, Clarence Seedorf and Dennis Bergkamp all featured for the Dutch but, nonetheless, they were blown away by a brace apiece for Shearer and Sheringham. The game ended 4-1, with many hailing it as England's most complete performance since '66. The flickering flames of pre-tournament optimism had become a roaring conflagration, and it looked like it would be impossible to extinguish.
Baddiel and Skinner were at the top of the charts, their singalong chorus blaring out of every pub and stadium tannoy in the land. Having gone through a fairly bleak period over the past decade, football united the nation once more. England had qualified for the knockout stages, and were set to take on Spain in the quarter-finals. If expectations had been high before, they were now practically stratospheric.
The Spain match was a painfully tense affair. Julio Salinas had the ball in the back of the net in the first half, but was denied by the offside flag. Spain forged out chance after chance, with England looking anxious throughout the game. However, the home side did manage to take the game to extra time, and then penalties, with their clean sheet intact.
In the dreaded shootout, England did the unthinkable. Somehow, they actually succeeded in winning on penalties. Shearer, Platt, Pearce and Gascoigne all scored – Pearce celebrating like a man possessed – while Fernando Hiero hit the crossbar and Seaman saved from Miguel Ángel Nadal. Just before Nadal stepped up to take his spot kick, the ever-prescient Ron Atkinson remarked: "David Seaman is surely going to stop one, isn't he. He always stops one."
Seaman's save was the cue for all hell to break loose. There was pandemonium at Wembley, with the stadium shaken to its foundations by the celebratory roar. England were through to the semi-finals, and within touching distance of greatness. Then came some sobering news. They would have to play Germany.
For those members of the squad who had been at Italia '90, the prospect of a rematch against the Germans must have been daunting. England had come so close to World Cup triumph at the turn of the decade, only to be thwarted on penalties at the same stage in Turin. Gascoigne's tears that night had become iconic, but there would be no more tears this time around. That's what the players told themselves, anyway.
On the night of 26 June, with England all in grey, the game began. Three minutes later, Alan Shearer had headed the home side into the lead. With Wembley rocking, it looked as if Terry Venables' men might produce another performance like they did against the Dutch. Though they were pegged back by a goal from Stefan Kuntz just over 10 minutes later, hope still remained.
While they had been under the cosh in the Spain game, England had by far the better of the chances against the Germans. Sheringham saw a far-post header cleared off the line, before Shearer headed a Darren Anderton cross narrowly wide. Anderton hit the post late on in the match, before the best chance of all came in extra time. Gascoigne was an inch away from poking home a low cross from Shearer. The ball eluded him, and so it went to penalties once more.
Southgate walks way from his meeting with destiny // PA Images
What happened next felt amazingly familiar. Both sides tucked away five penalties, before Gareth Southgate stepped up to the mark. Nervous and flustered, his skittish run gave away his intentions. Andreas Köpke dived low and saved his effort, leaving Southgate to trudge miserably back to the halfway line. Andreas Möller thumped home a sixth penalty for Germany. Seaman couldn't always stop one, as it turned out.
It was Italia '90 all over again, but the nation was doubly heartbroken. In the tournament where England were finally ready to go all the way, they had been cruelly denied in timeworn fashion. The firestorm of expectation had blown out with barely a whisper, one spot kick the difference between glory and failure.
Though Three Lions still blared from the pubs, the singalong was over. England have never experienced such a tournament since, and may never see its like again.
| i don't know |
What was the first symphony to include trombones | About Beethoven: Trombone in a symphony orchestra by Avashai Kallai... Ludwig van Beethoven's website -
A. Adagio maestoso-Allegro spiritoso (E-flat 4/4 sonata form).
B. Marche: Grave (E-flat 4/4).
C. Fugue: Adagio maestoso-Allegro (E-flat 4/4). [29]
The second movement, a "Trauermarsch," and the third movement, a "Double Fugue," are taken from Eggert's Funeral Cantata for Duke Fredrik Adolf. [30]
Interesting here is the use of three trombones.� In French music at that time, a single trombone often doubled a bass line, totally denuded of any rhythmic or melodic significance, and only during loud tutti passages.� If the bass line displayed any thematic importance or technical difficulties, the trombone doubled another simpler line.� In contemporary Austrian music, on the other hand, three trombones frequently doubled the strings or the woodwinds, in unison or an octave below, often playing intricate rhythms and ornate passages. [31]
Eggert's trombone writing is unusual in that he shunned the French and the Austrian practices.� Unlike French composers, Eggert wrote rhythmic and articulate trombone parts, and he took advantage of the instrument's wide dynamic span, from ppp to ff.� Unlike Austrian composers, he abstained from continuous doubling and florid writing.� This E-flat Major Symphony was avant-garde.� Many of its tonalities and symphonic effects came to be commonplace by the end of the nineteenth century.� Eggert's orchestration was as masterful and imaginative as Beethoven's. [32]
An LP recording of Eggert's E-flat Major Symphony made by the Sandviken Orchestra, under the direction of Per Engstrom, was issued by the Swedish Discophile Society (SLT 33272) in 1985. [33]
The Swedish Royal Court Orchestra
Except in Austria and southern Germany, [34] competent trombonists were rare commodities in continental Europe and England during the eighteenth century and the first decade of the nineteenth century. [35] � By 1685, the trombone virtually disappeared in England and France.� In London of 1738, Georg Frederic Handel scored three trombones in two oratorios, Saul and Israel in Egypt. �Since there were no trombones in England at that time, it is presumed that Handel exploited visiting trombonists, possibly from Germany.� Shortly afterward, he discarded a trombone movement-a "Dead March"-from yet another oratorio; evidently, the foreign trombonists had left the British capital in the meantime.� Even as late as 1784, the organizers of the Handel Commemorations were faced with a dilemma: no trombones and no trombonists. [36] � Eventually, they did find six German musicians in the king's military band who could play tenor, bass, and contrabass trombones.� In 1774, it was Christoph Willibald Gluck, in Parisian productions of his operas Iphigenia in Aulis and Orpheus and Eurydice, who reintroduced trombones to France. He utilized German trumpeters and hornists, already living and working in Paris, who were able to double on the trombone. [37] �����
Around 1810, a handful of European orchestras started to hire trombonists.� The Royal Orchestra of Berlin, the Frankfurt Opera Orchestra, and the Grand Opera of Paris listed three trombonists each at that time.� Other orchestras slowly followed suit, but most had no need for trombones on a regular basis until around 1840. [38] ���
There was one amazing exception: The Swedish Royal Court Orchestra.� As early as 1790, this outlying orchestra had three trombonists on its payroll.� In essence, the Stockholm Hovkapellet anteceded all of the late Classical and early Romantic orchestras of Europe in having a full-balanced wind and brass section. [39] � The full 1790 personnel roster was as follows:
20 violins, 6 violas, 8 violoncello, 4 contrabasses, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, and 1 timpani. [40]
The Nordic Musicologists' Discussion Forum
Did the first presentation of Eggert's E-flat Major Symphony predate the premiere on 22 December 1808 of Beethoven's Fifth Symphony?� The matter was debated on the Nordic Musicologists' Discussion Forum in June 2000.� Unfortunately, the discussion was far too brief and inconclusive.� Two views emerged:
1.�The premiere performance of the E-flat Major Symphony can not be established due to the absence of precise documentation (programs, letters, or reviews). [41]
2.�The premiere performance of the E-flat Major Symphony took place during the course of 1807, perhaps as early as May 1807, together with that of Eggert's C Minor Symphony. [42]
The Norlind-Broman Article
In an article in the Svensk Tidskrift for Musikforskning (Swedish Journal of Music Research), [43] Tobias Norlind and Sten Broman actually did provide evidence of the first performances of the four completed symphonies.� The premiere of the C Major Symphony took place on 29 April 1805 at a reception for the King and Queen of Sweden in the Rikssalen (State Hall).� The performance was repeated for the public on 14 May 1805, this being the first time a composition by Eggert appeared on a concert program in Stockholm.�� The G Minor Symphony, entitled "Skjoldebrand," was scheduled for a concert program on 10 December 1806, but Eggert withdrew it because the necessary trumpets were not available.� On 20 February 1807, "Skjoldebrand" was finally performed to great acclaim. [44] ����
A concert on 14 May 1807 marked Eggert's debut as a conductor, and he used this occasion to introduce several of his own compositions.� According to Norlind and� Broman, the program included:
{Part 1}
1.�A symphony by Eggert, including an Adagio with four obbligato French horns, originally from the Funeral Cantata for Duke Fredrik Adolf.
2.�An aria by Joseph Martin Kraus, sung by Mrs. Waesselius.
3.�A string quartet by Eggert, performed by Messrs. Westerdahl, Chiewitz, Reddewigh, and Megelin.
{Part 2}
4.�A symphony by Eggert, dedicated to the Royal Academy of Music, including the March and the Double Fugue from the previously mentioned Funeral Cantata.
5.�"God save the King" with variations for three bassoons, performed by Messrs. Preumayr.
6.�A sextet by Eggert for violin, clarinet, French horn, viola, cello, and bass, performed by Messrs. Mueller, Crusell, Hirschfeld, Askergren, Salge, and Wirthe.
7.�A symphony finale by Eggert with a Fantasy on a Swedish folksong.
It was an ambitious program, but at that time concerts usually comprised many heavy compositions. [45]
Which symphonies did Eggert conduct that evening?� Clearly, two different symphonies were performed, and both of them used material from the 1804 Funeral Cantata. The C Minor Symphony could be one of the two symphonies that Eggert presented. [46] � The other symphony was dedicated to the Royal Academy of Music and contained a March and Fugue.� Only the E-flat Major Symphony fits this description. [47] � The concert concluded with the finale of yet another orchestral work, that of Eggert's C Major Symphony.� Its finale-fantasy utilized a Swedish folk tune by Carl Bellman, "Gustafs skal!" ("Gustaf's Toast"), as one of its themes. [48]
The Verification
Did the premiere of Eggert's E-flat Major Symphony take place on 14 May 1807, as asserted by Norlind and Broman?� The main problem with their dating of the performance has been the lack of corroborating evidence.
Here we receive help from the Dagligt Allehanda (Daily Potpourri), the first Swedish daily newspaper, which appeared in Stockholm from 1769 until 1944. [49] � At the time of the concert in question, it was an established gazette of 40 years.
On 11 May 1807, the Dagligt Allehanda announced that the most honored Royal Court Orchestra Musical Director Eggert was planning to leave Sweden.� Before his departure, he scheduled a concert featuring the Royal Court Orchestra, under the first Royal Concertmaster Mueller, and soloists for the coming Thursday, 14 May at 6:00 PM at the Riddarhussalen (Great Knights' Hall).� The concert program as given in the Dagligt Allehanda is identical to that provided by Norlind and Broman (see above).� The announcement ended with a listing of where tickets could be purchased, including Eggert's residence at 131 Oesterlang Street.� Admission was 32 skillings. [50]
Three days later, on 14 May 1807, the Dagligt Allehanda again printed the concert announcement of 11 May 1807, but with several minor changes.� The phrase "the coming Thursday 14 May" was changed to read "today Thursday 14 May" for obvious reasons.� In addition, two changes were made in the concert program itself: the aria by Joseph Martin Kraus in item 2 had been replaced by an aria by Giovanni Simone Mayr, and the instrumentalist Hirschfeld in item 6 had been replaced by Preumayr.� Apart from these three details, the announcements of 11 May 1807 and 14 May 1807 were identical. [51]
On 20 May 1807, the Dagligt Allehanda published the following notice:
"The Sextet and the English folk tune that I promised to perform in my most recent concert at the Riddarhussalen were withdrawn owing to the illness of Messrs. Crusell, Hirschfeld, and Preumayr."
[Signed]� J. Eggert [52]
Conclusions
The Dagligt Allehanda program notices of 11 May 1807 and 14 May 1807 are not identical.� This significant point attests to Eggert's penchant for accuracy and to his desire to keep the readers of the Dagligt Allehanda informed of exactly what was to be performed.� His published apology of 20 May 1807 confirms this.� The cumulative weight of the three newspaper announcements is most compelling, and certainty proves that the E-flat Major Symphony was performed on Thursday 14 May 1807. [53] ��
The notice of 20 May 1807, as short as it may be, is of utmost importance.� Considering the fact that the text was written six days after the concert, it proves that the concert had taken place as announced, with the exception of the Sextet and the English folk tune.� The E-flat Major Symphony must have been performed on Thursday 14 May 1807.�� Otherwise, Eggert would have mentioned its absence from the concert program as well.
Until another Eggert symphony is discovered-a symphony with a Funeral March and a Fugue as two of its movements-it seems certain that the E-flat Major Symphony was performed on Thursday 14 May 1807.
The notice published in the Dagligt Allehanda on 11 May 1807 is not simply corroborating evidence for the Norlind and Broman article; it is their original source.� They quoted from this newspaper elsewhere in their article and copied the concert program verbatim from the 11 May 1807 issue.� Because they obviously had overlooked the announcement with the program changes published by the Swedish daily on 14 May 1807, Norlind and Broman erred in their account of the concert program.�
In light of this, we do not return to that bitterly cold evening of 22 December 1808 at the unheated Theater an der Wien where Ludwig van Beethoven mounted his marathon Akademie in order to hear the first use of a trombone section in symphonic music.� We must revert to the earlier and unusually snowy evening of 14 May 1807 at the Riddarhussalen in Stockholm, Sweden.� It was here that Joachim Nikolas Eggert conducted his E-flat Major Symphony, the musical piece that most likely marked the symphonic birth of the trombone section.
Avishai Kallai
[1] ���� Lennart Hedwall, Svensk Musikhistoria [Swedish History of Music], Edition Reimers (1996), 61-63.
[2] ���� Irmgard Leux-Henschen, "Joachim (Georg) Nikolas Eggert," Svensk Tidskrift for Musikforskning (henceforth STMf) [Swedish Journal of Music Research], XXXIV (1942), 86-87.
[3] ���� Birgit Guston, "Joachim Nikolas Eggert: Biografi," STMf, VII (1925), 18-19.
| Symphony No. 5 (Beethoven) |
Which rowing club stages the Henley Regatta | San Francisco Symphony - BEETHOVEN: Three Equali for Four Trombones, WoO 30 │ An die ferne Geliebte, Opus 98 │ Symphony
San Francisco Symphony
Music Then and Now: Twentieth Century and Contemporary
Beethoven: Three Equali for Four Trombones, WoO 30 │ An die ferne Geliebte, Opus 98 │ Symphony No. 4 in B-flat Major, Opus 60
Ludwig van Beethoven was born in Bonn, Germany, probably on December 16, 1770 (he was baptized on the 17th), and died in Vienna, Austria, on March 26, 1827.
He composed his Three Equali for Four Trombones (WoO 30) by November 2, 1812, at latest, in Linz, Austria. They were doubtless first played on that date, for the celebration of All Souls’ Day in Linz. The Three Equali were first performed by members of the San Francisco Symphony, led by Pierre Monteux, in January 1938 in a performance dedicated to Maurice Ravel, who had died the previous December. The last performance of the complete set was in a June 1979 chamber concert. Performance time: about five minutes.
Beethoven composed his song cycle An die ferne Geliebte, for voice and piano, in April 1816, to poems by Alois Jeitteles, and dedicated the cycle to Prince Joseph Franz Maximilian von Lobkowitz. We lack information about the early performance history. The first and only other performance of An die ferne Geliebte at San Francisco Symphony concerts was in June 1981 with tenor Paul Sperry and pianist Irma Vallecillo. Performance time: about fifteen minutes.
The Symphony No. 4 was composed in the summer and early autumn of 1806, and it was premiered the following March when the composer led it in a private performance in the Vienna home of Prince Franz Joseph von Lobkowitz, in a concert that also included the premieres of Beethoven’s Coriolan Overture and Piano Concerto No. 4. The work is dedicated to Count Franz von Oppersdorff, who purchased certain rights to the early performance of this symphony if he did not literally commission it. The first North American performance was given on November 24, 1849, by the New York Philharmonic Society, Theodor Eisfeld conducting. Alfred Hertz led the first San Francisco Symphony performances in March 1916, and the most recent performances here were given in January 2011 under the direction of Marek Janowski. The work is scored for flute, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings. Performance time: about thirty minutes.
In the annals of Beethoven, 1812 was most significantly the year in which he completed his Symphony No. 7 (on April 13) and Symphony No. 8 (the fair copy of which he dated that October). Another important masterwork also emerged that year, his Violin Sonata in G major, Opus 96; the publication Musikalische Zeitung für die österreichischen Staaten (Musical Newspaper for the Austrian States), issued by Franz Xaver Glöggl in the Austrian city of Linz, reported that the sonata was unveiled on December 29 at the Vienna home of Beethoven’s patron Prince Lobkowitz. Apart from those, Beethoven’s compositions of 1812 are considerably less imposing: a half-dozen arrangements of Irish airs, a standalone Allegretto for piano trio (WoO 39), a humorous canon (“Ta ta ta”) evoking the measured clicks of a forebear to the metronome, and one of the most curious items in his entire catalogue, the Three Equali for Four Trombones (WoO 30).
The Equali also relate to Mr. Glöggl (1764-1839), who was music director at Linz Cathedral when Beethoven visited that town in October and early November of 1812. Beethoven was paying a visit to his brother Johann, six years his junior, and he was playing the role of a busybody. Johann, who was a pharmacist, had moved to Linz in 1808 to open his own apothecary shop overlooking the Danube. He lived in the same building, unmarried but in cohabitation with the object of his affection, who already had an illegitimate daughter from an earlier liaison. As Alexander Wheelock Thayer explained in his indispensable Life of Ludwig van Beethoven: “She, Therese Obermeyer, was described as possessing a very graceful and finely proportioned figure, and a pleasing, though not beautiful, face. Johann van Beethoven . . . became acquainted with her, liked her, and made her his housekeeper and—something more.” Ludwig was shocked, and hurried off to Linz. Wrote Thayer, “The principal object of the journey thither was to interfere in Johann’s domestic affairs.” A good deal of fraternal friction predictably ensued. Ludwig appealed to civil and ecclesiastical authorities to expunge this immoral blot from the city, and, Thayer reported, “He pushed the affair so earnestly, as at last to obtain an order to the police to remove the girl to Vienna if, on a certain day, she should still be found in Linz.” Johann, however, played a trump card: on November 8, he married Therese and formally adopted the daughter. “He lost the game,” said Thayer of Ludwig, “and immediately hastened away to Vienna, angry and mortified that the measures he had taken had led to the very result which he wished to prevent; had given the unchaste girl the legal right to call him ‘brother,’ and had put it in Johann’s power—should he in the future have cause to rue his wedding-day—to reproach him as the author of his misfortune.” That is indeed what happened when the marriage went sour a few years later, although the Beethoven brothers did somewhat reconcile beginning in about 1822.
There was at least musical compensation for this reproachful episode. While Ludwig was in Linz he struck up a friendship with Glöggl, who was a central figure in the city’s musical life. Named Capellmeister (music director) at the Linz Cathedral in 1797, he was also active in town as a conductor, theater manager, and proprietor of a music store. Young Tobias Haslinger, who hailed from nearby, studied with Glöggl at the cathedral and worked in his shop before moving to Vienna, where he became a close friend of Beethoven’s and published many of his scores. On top of everything else, Glöggl found time to publish the Musikalische Zeitung,which on October 5, 1812, ran this notice: Now we have had the long wished-for pleasure of having within our metropolis for several days the Orpheus and greatest composer of our time, Herr L. van Beethoven; and if Apollo is favorably disposed toward us we shall also have the opportunity to admire his art and report upon it to the readers of this journal.”
Many years later, F.X. Glöggl’s son, Franz, set down his reminiscence of that time:
Beethoven was on intimate terms of friendship with my father, capellmeister of the cathedral of Linz, and when he was there in 1812, he was at our house every day and several times took meals with us. My father asked him for an Aequale for six trombones as in his collection of old instruments he had a soprano and a quart trombone, whereas only alto, tenor and bass trombones were commonly used. Beethoven wanted to hear an Aequale such as was played at funerals in Linz, and one afternoon when Beethoven was expected to dine with us, my father appointed three trombone players and had them play an Aequale as desired, after which Beethoven sat down and composed one for six trombones, which my father had his trombonists play.
Franz Glöggl’s memory must have been close but not spot-on, as Beethoven’s Equali employ four trombones rather than six, in the disposition of two alto trombones, tenor trombone, and bass trombone—not using either the soprano or quart trombones in his father’s collection (the quart being pitched a fourth below the standard tenor trombone). The circumstances were further described by Glöggl’s pupil and Beethoven’s friend Tobias Haslinger, who stated that “Mr. Glöggl [asked Beethoven] to compose for him so-called Equale for four trombones for All-Souls’ Day (November 2nd), which he would then have his musicians play, as was usual, on this feast—Beethoven declared himself willing; he actually wrote three movements for this purpose, which are indeed short, but which, through the excellence of their design, attest to the master’s hand.”
Glöggl Senior may have originated the term in the sense it is used here, to describe a mourning piece played by an ensemble of similar instruments. In 1828, he published a volume titled Kirchenmusik-Ordnung (Church Music Regulations) in which he has this to say about Austrian funerals: “At [funerals] of the first category, upon the arrival of the clergy a short funeral music (Equale) with trombones or other wind instruments is played to announce the beginning of the funeral service to those in attendance; following its completion the funeral procession commences, this also being accompanied by wind funeral music.” One does not need to stretch far to reach from a funeral service to an All Souls’ Day service, which commemorates all the deceased at once. Such pieces were apparently specific to Austria, and especially to Linz. Apart from Beethoven’s, the only other equale we are likely to encounter today are those composed (again for trombone ensembles) by two composers from Linz: Wenzel Lambel (who wrote ten, for three or four trombones) and Anton Bruckner (who produced two, for three trombones).
It is a commonplace that composers have often used trombones to underpin musical depictions of death and the underworld. There are many famous examples of this, including the scene in Hades in Monteverdi’s Orfeo (1607), Schütz’s brooding motet “Fili mi Absalon” (1629), Bach’s Cantata No. 118 (a funeral cantata), Gluck’s opera Orfeo ed Euridice (1762), and Mozart’s Requiem (1791). And yet, it is curious that early music dictionaries, encyclopedias, and instrument treatises almost universally fail to mention such a connection. The instrument seems to have been viewed as a purveyor of a more general solemnity, not just of the funereal sort. In 1811, Joseph Fröhlich published (in Beethoven’s natal city of Bonn) an encyclopedic treatise on playing all manner of musical instruments (Vollständige theoretisch-praktische Musikschule) in which he says this about the trombone: “Its full, solemn tone . . . exalts it to an especially useful musical tool. Its full, sonorous tone enables the player to express all noble and effective sentiments for the exhibition and maintenance of the most solemn states of mind.”
Beethoven’s Equali seem custom-made to illustrate Fröhlich’s description. They are short pieces; the first comprises fifty measures, the second only thirty-eight, the third a mere sixteen. All are solemn and hymn-like, but the first, an Andante in D minor, is the most doleful. It is the only one that incorporates much in the way of independently flowing lines, and it is the most carefully crafted of the group, its score making expressive use of carefully shaded dynamics and articulation. The second (Poco Adagio, in B-flat major, marked dolce in the score) and third (Poco sostenuto, in D major) are almost entirely homophonic
Beethoven holds a place of honor in the history of the trombone, as he was the first major composer to employ it in the orchestration of symphonies, beginning with his Symphonies No. 5 and 6, written mostly in 1807-08. There is accordingly some poetic justice in the fact that these works were put to use for Beethoven’s own obsequies. Haslinger continued his account, in the third person:
As now, on the morning of 26th March 1827, not a doubt remained that the impending loss was all too near, indeed inevitable, Mr. Haslinger went with this manuscript to Capellmeister Mr. von Seyfried in order to discuss the possibility of forming a choral anthem out of these Equali to the words of the Miserere, and thus to escort the mortal remains of our prince of composers to eternal peace to the mournful sounds of his own creations. After close examination of the relic, Mr. von Seyfried agreed to this idea, and immediately set to work, which then, since at six o’clock nature had already reclaimed its property, was finished yet that same night. This composition was now employed here in double fashion: first, the original melody (transposed a tone lower, however, to make it easier for the vocalists) played by the four trombonists, then the chorale, set to the words of the penitential psalm Miserere mei, Deus, intoned by the aforesaid sixteen singers, and continued thus in alternation by stanza until the arrival at the church.
Indeed, a watercolor of Beethoven’s funeral, painted by Franz Stöber, shows four trombonists leading the funeral procession. In 1832, the music historian William Gardner wrote in the chapter on trombones in his book The Music of Nature: “At the funeral of Beethoven by torch light, when composers, musicians, poets, actors, singers, and choristers, assisted in carrying him to the grave, in the presence of twenty thousand spectators, the invocation of these terrific instruments was heard responding to the voices in the following dark train of harmony, from a composition of that sublime genius”—after which he quotes the third of the Equali in its entirety. Ignaz von Seyfried’s settings—using the Miserere for the first of the Equali, the text Amplius lava me for the third—were soon published in their vocal versions. The second also had a text fitted to it shortly thereafter, reportedly by the poet Franz Grillparzer, and that was performed on March 29, 1828, at the dedication of Beethoven’s gravestone in the Währinger Cemetery in what was then a suburb of Vienna.
Beethoven’s exalted niche in posterity derives in great degree from his large-scale compositions—symphonies, string quartets, piano trios, sonatas—and even to what we might call “super-sized” pieces like his Ninth Symphony and his Missa solemnis. A particular casualty of this viewpoint is that many of his less imposing works suffer from underexposure, and in this category probably no genre is so overlooked as his songs. In fact, he was an avid song composer throughout his career, producing his earliest two in 1783 and 1784 (they were published those same years), just as he entered his teenage years, and writing his last in January 1823, four years before he died. About eighty songs for solo voice and piano pepper his catalogue, making solo songs his second-largest body of work (in terms of individual number of pieces), trailing his 179 folk song arrangements for voice and piano trio. Only a handful of his songs are performed with any regularity today. Many went unpublished during his lifetime, and accordingly carry the posthumous catalogue designation WoO (Werke ohne Opuszahl, or “Work without Opus Number)—sometimes, but not invariably, the domain of unremarkable works. In the case of Beethoven’s output of songs, precious nuggets lurk therein.
Another issue that has doubtless worked against Beethoven’s songs is that they are not by Schubert. Franz Schubert (1797-1828) appeared in the generation following Beethoven, though he died so young that he survived the older master by less than two years. His songs, which number beyond 600, defined the expectations and set the standards for the extraordinary art-song tradition that enrolled through the nineteenth and twentieth centuries. For the most part, Beethoven’s songs seem to be leading to Schubert but not yet arrived. They are a bridge connecting the song practices of the Classical era with those of the Romantics. Still, if one item in Beethoven’s corpus of lieder does seem to break through practically to Schubertian ideals, it is the cycle An die ferne Geliebte, composed in April 1816 and published six months later. Certainly the poetic imagery of mist-shrouded hills, pensive forests, glowing twilight, and silent lakes summons up a sort of proto-Romanticism, as do the overarching themes of longing, melancholy, and unobtainable love, even though they are viewed through the lens of Beethoven’s inherent hopefulness.
It was not a novel idea to group songs into sets unified through some means. A number of song collections based on lyrics of a single author appeared during the 18th century, for example, and in 1803, Beethoven himself composed a set of six songs to poems by Christian Fürchtegott Gellert, religious poems that were a bit old hat by that time but may have consoled him as he confronted the erosion of his hearing just then (as documented in his desperate Heiligenstadt Testament of October 1802). An die ferne Geliebte, however, represents a breakthrough in idea and realization at an entirely different level. It is the first-ever song cycle, in the sense we have come to understand that term, a set of songs that maintain their individuality even as they are molded into an indissoluble sequence that is greater than the sum of the parts.
It, too, may have had an autobiographical genesis. Its very name, which means “To the Distant Beloved,” has invited speculation that it involves some failed love affair of Beethoven’s, and particularly that it connects to the passionate letter he penned (and perhaps never sent) while at a spa in Teplitz, Bohemia, on July 6-7, 1812, to an unidentified woman he addressed as the “Immortal Beloved.” The list of Beethoven’s romantic infatuations is long—his friend and early biographer Franz Gerhard Wegeler observed that “Beethoven was never out of love”—but current speculation favors the idea that the “Immortal Beloved” was Antonie Brentano, wife of a prosperous businessman. The Brentanos crossed paths with Beethoven during that summer of 1812, and the composer kept in touch with them for years. On February 6, 1816, for example, two months before composing An die ferne Geliebte, Beethoven wrote to Antonie: “I recall to my mind with pleasure the hours I spent in the company of both of you, which are the most unforgettable of my life.” It is perhaps not irrelevant that Beethoven presented her with the autograph of his similarly named standalone song “An die Geliebte” (To the Beloved), WoO 140, in late 1811 or early 1812, though he also gave her other manuscripts at about the same time. (Actually, An die ferne Geliebte is the name of the cycle as published; the title Beethoven actually wrote on the manuscript was An die entfernte Geliebte, with entfernte suggesting that the Beloved has moved to a distant place, but was not formerly far away. And the image of a “distant beloved” makes quite a few appearances within Beethoven’s oeuvre apart from this cycle.) Still the conceptual distance from “An die Geliebte” to An die ferne (or entfernte) Geliebte is slight indeed, and there is no question that unrequited love was on Beethoven’s mind around the time he composed the cycle. On May 8, 1816, just after completing the score, he concluded a letter to his friend Ferdinand Ries with this sentiment: “My best greetings to your wife. Unfortunately I have no wife. I have found only one whom no doubt I shall never possess. Yet I am not on that account a woman-hater.”
An die ferne Geliebte is an assemblage of six songs that set poems by Alois Isidor Jeitteles (1794-1858). By the time he wrote them, Jeitteles had studied medicine in Prague and his native Brno, and in 1816 he was taking medical classes in Vienna. He would go on to a career that embraced both medicine and the literary arts (as a poet, translator, and editor). These were the only texts by Jeitteles that Beethoven would ever set, although shortly after the composer died, Jeitteles penned a poem titled “Beethovens Begräbnis” (Beethoven’s Burial), which Ignaz von Seyfried (who we met in connection with the Three Equale) turned into a musical setting, lifting music for the purpose from Beethoven’s Piano Sonata in A-flat major, Opus 26—specifically, from its third movement, which Beethoven designated Marcia funebre sulla morte d’un eroe (Funeral March on the Death of Hero). But of course Beethoven had nothing to do with Seyfried’s setting.
The individual songs of An die ferne Geliebte cannot be extracted for individual performance as they are linked by interludes for the solo piano, which massage the passage from one to the next. The cycle unrolls in a near symmetry of harmonic balance: the first and sixth songs are in E-flat major, the starting point and the destination; the third and fourth songs are in A-flat (perhaps Beethoven viewed these as a single bipartite song, since their accompaniments are closely related); and the intervening second and fifth are, respectively, in contrasting G major and C major. But the most striking element to impose unity on this work is that the opening music returns near the end of the sixth song, at first solemnly but then energized to a point of ecstasy. Beethoven’s work on this cycle is documented through extensive sketches, which share a sketchbook with another piece that marks the transition from his middle to late style, the A major Piano Sonata, Opus 101. From these we learn that the sighing or weeping interval of a descending sixth, which we find in the opening line on the word spähend (“peering” or “gazing”), was a late inspiration, as was the memorable text-setting of the third song in short notes breathlessly separated by rests.
This first true song cycle opened the door to analogous explorations among Beethoven’s followers. Schubert did not follow this model, casting his cycles Die schöne Müllerin and Winterreise as narrative sequences that do not employ specific musical recall. Beethoven’s prototype was, however, taken up by Robert Schumann, who put musical reminiscence to potent use in his Frauenliebe und -leben and Dichterliebe, as well as in such cyclic works as his piano suite Carnaval. What’s more, Schumann acknowledged his debt to An die ferne Geliebte directly in his C major Fantasie for Piano, Opus 17, in which he quotes a phrase that Beethoven had attached to the opening of the final song, for the words “Nimm sie hin denn, diese Lieder” (Accept these songs, then). Schumann’s tribute was doubly appropriate in that he planned to donate part of his profits from the piece to a committee raising funds to build a Beethoven monument in Bonn. He originally titled his work Obolen auf Beethovens Monument: Ruinen, Trophäen, Palmen (Small Contribution to Beethoven’s Monument: Ruins, Trophies, Palms), changed the name to just Fantasie by the time it was published, in 1839. Schumann’s Fantasie carried a dedication to Franz Liszt, who would go on to become the single largest donor to the monument campaign and to create further tribute (in 1849) in the form of a transcription for piano solo of Beethoven’s masterly cycle.
Beethoven’s Fourth Symphony is probably the least frequently performed of his nine symphonies, which reflects less on the work itself than on the other eight. If Beethoven’s Fourth had been written by one of the composer’s turn-of-the-century contemporaries—say, by Clementi or Dušek—it would be exalted as a supreme achievement of orchestral writing, towering above anything else in their catalogues. Viewed in the context of Beethoven’s corpus, listeners may be tempted to focus on what the Fourth Symphony is not, rather than on what it is.
What it is not, most immediately, is Beethoven’s Third Symphony, the Eroica, or Beethoven’s Fifth Symphony, those two punch-packing, jaw-dropping exercises in superhuman grandeur and titanic power. Robert Schumann poetically captured the Fourth’s relationship to its neighbors when he called it “a slender Grecian maiden between two Nordic giants.” Berlioz viewed it as a return to an earlier sound-world. “Here,” he wrote, “Beethoven entirely abandons ode and elegy, in order to return to the less elevated and less somber, but not less difficult, style of the Second Symphony. The general character of this score is either lively, alert, and gay or of a celestial sweetness.” This symphony, then, reflects the Apollonian side of a composer whose Dionysian aspect generally finds broader popularity.
Beethoven was pressed for cash when he wrote his Fourth Symphony, trying to cover his own expenses as well as debts piled up by his relatives. Although he was accustomed to renting modest residences outside Vienna for his summers, he decided to forego that pleasure in 1806, though at the end of summer he headed with his patron Prince Lichnowsky to Silesia. During that journey, he and the prince paid a visit to Count Franz von Oppersdorff, who maintained a small private orchestra. Oppersdorff was so enthusiastic about music that he required everyone on his staff to play an instrument, and he was delighted to entertain Lichnowsky and Beethoven by having his musicians perform the composer’s Second Symphony. Musicological opinion used to hold that the count offered to commission a symphony, and Beethoven leapt at the chance. It seems more likely, however, that Beethoven had already completed the Fourth and that Oppersdorff offered to purchase rights to it. But if the Count’s orchestra played this music before its Vienna premiere, we have no record of such a performance. In any case, when Beethoven offered this piece to his publishers on September 3, he claimed it was essentially finished, and it seems that he wrote it not as work for hire, but simply because he wanted to.
Whatever its genesis, the Fourth Symphony seems to have given its composer little trouble. Few preliminary sketches exist, and those that do give no evidence of the agonizing experimentation and reworking often apparent in Beethoven’s drafts. Despite the progression of his debilitating deafness, Beethoven was on a compositional roll in 1806. His catalogue for the year is packed with masterpieces, including the three Razumovsky string quartets (Opus 59), the revised version of the opera that would evolve into Fidelio, the Violin Concerto, the Fourth Piano Concerto, and the Fourth and Fifth symphonies.
Following in the steps of Haydn (who in 1806 was still active but emphatically retired), Beethoven opens his Fourth Symphony with a hushed, introspective introduction, harmonically evasive but emphasizing the minor mode. Not everybody took delight in this opening when it was young. As distinguished a listener as the composer Carl Maria von Weber reviled it for not possessing enough notes to fill up the space it occupied. “Every quarter of an hour,” he complained sarcastically, “we hear three or four notes. It is exciting!” A listener encountering the piece for the first time would have every reason to expect that a work of tension, suspense, and mystery lay in store. But in an eight-measure passage—fortissimo and with the texture expanded to include the brilliance of trumpets and timpani—that embraces the end of the Adagio and the beginning of the Allegro vivace, a rapidly ascending scale figure cuts through the darkness and breaks apart, not unlike fireworks that fragment into sparkling shards. And suddenly we realize that the orchestra has embarked on what will be a thoroughly playful fast movement. It unrolls according to a succinct Classical method, with a “proper” second subject being introduced through a perky conversation among the bassoon, oboe, and flute. But we can rely on Beethoven to inject some unusual characterization. The movement’s development section boasts an irresistible overlay of a new song-likemelody in counterpoint above (or below, or around) the entries of the movement’s main theme. What’s more, the whole section spends a fair amount of time pretending that it is going to resolve to B-natural—so near to, but yet so far from, the true destination of B-flat, which is reached via a crescendo that grows out of a sudden hush.
The second movement also recalls Haydn through a recurrent rhythmic pattern, rather along the lines of the accompanying figures that pop up in that composer’s Symphonies No. 22 (The Philosopher) and 101 (The Clock). This pattern acts as both support of and foil to the tender melody that unrolls above it. At the middle of the movement stands an episode that the distinguished musical analyst Donald Francis Tovey called “one of the most imaginative passages anywhere in Beethoven.” Its unanticipated movement from an angry minor-key transformation of the principal theme to a delicate duet for violins alone is indeed extraordinary. The slow movement concludes with a coda in which the main theme is fragmented and distributed throughout the orchestra; and at the very end, the timpani intone the rhythmic underpinning of the opening, which, in retrospect, sounds as if it could have been a drum-beat all along.
In his third movement, Beethoven has already left the spirit of the Classical minuet in the dust, replacing it definitively with the high-energy scherzo. Dramatic cross-rhythms abound. An unaccustomed return to the trio for a second go-round expands the minuet’s standard three-part structure into a five-part ABABA form, although the final repetition of the A section is somewhat foreshortened. Beethoven apparently liked the balance achieved through this pattern, as he turned to it again in his Sixth and Seventh symphonies.
The scurrying opening theme of the last movement announces the perpetual-motion character that will pervade the finale. Before he reaches the end, the composer works in a last laugh or two. The development section keeps the audience wondering where everything is heading. Where it’s heading is where the movement’s main theme is expected to return for its concluding argument; but when we arrive there, the theme is stated not by the full orchestra but rather by a single bassoon, chortling a bit bumptiously through the flurry of rapid-fire sixteenth notes. The orchestra swoops in to pick up the tune and nearly makes it to the end before threatening to break down in exhaustion. A few instruments manage to whisper the theme at half its tempo—and then, with a final surge of energy and a few boisterous chords, Beethoven’s Fourth crosses the finish line buoyantly.
—James M. Keller
The note on the Symphony No. 4 originally appeared in different form in the program book of the New York Philharmonic and is reprinted with permission. Copyright © New York Philharmonic.
More About the Music
Recordings: For the Three Equali—Triton Trombone Quartet (BIS) | Philip Jones Brass Ensemble (Deutsche Grammophon) | On the album Four of a Kind, with Joseph Alessi, Scott A. Hartman, Mark H. Lawrence, and Blair Bollinger (Summit).
For An die ferne Geliebte—Tenor Fritz Wunderlich with pianist Heinrich Schmidt (Philips) | Baritone Dietrich Fischer-Dieskau in a live recital with Gerald Moore (Orfeo d’Or); also in a studio recording with Jörg Demus (Deutsche Grammophon) | Baritone Stephan Genz, with Roger Vignoles (Hyperion) | Baritone Christian Gerhaher with Gerold Huber (Sony Classical) | Baritone Wolfgang Holzmair with Imogen Cooper (Decca or Philips
For the Symphony—Karl Böhm conducting the Vienna Philharmonic (Deutsche Grammophon Eloquence) | Bruno Walter conducting the Columbia Symphony Orchestra (Sony) | Bernard Haitink conducting the London Symphony Orchestra (LSO Live) | Osmo Vänskä conducting the Minnesota Orchestra (BIS) | Nikolaus Harnoncourt conducting the Chamber Orchestra of Europe (Teldec)
Reading: Beethoven, by Maynard Solomon (Schirmer Books) | Beethoven, by William Kinderman (University of California Press) | Beethoven: The Music and the Life, by Lewis Lockwood (W.W. Norton) | Beethoven, by Barry Cooper (Oxford, Master Musicians Series) | The Beethoven Compendium, edited by Barry Cooper (Thames and Hudson) | Thayer’s Life of Beethoven, in its most recent revision by Elliott Forbes (Princeton University Press) | Beethoven and his World: A Biographical Dictionary, by Peter Clive (Oxford)
DVD: Michael Tilson Thomas and the San Francisco Symphony explore the composer and his world in Beethoven and the Eroica, part of our Keeping Score series (SFS Media). Also available at keepingscore.org.
San Francisco Symphony
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Which insects live in formicaries | Ants Are The World's True Conquerors. Here's Why.
Image Source: Flickr
Sorry, insect haters: the ankle-biting ants you’ve likely grown to loathe over the years are not only a necessary component of the global ecosystem, but are as old as dinosaurs, more numerous than you ever thought, and even “slave” masters.
Over 12,000 known species of ants can be found around the world, with many others presumed to exist, but not yet discovered. Thanks to human migration, home for an ant is just about anywhere, save for Antarctica and a few small islands. Most of them, like the Argentinian ant, have spread from their origins in South America to the rest of the world.
These petite world travelers have been populating the Earth since the mid-Cretaceous period, when they crawled alongside dinosaurs. Unlike their giant lizard counterparts, though, ants have not only survived on into the present, but thrived. Currently, the living population of ants at any time across the world is believed to total 10,000,000,000,000,000, or ten thousand trillion ants.
Image Source: Flickr
Given their survival and organizational skills — some of which recall human society — ants offer themselves as subjects of intense and varied research. “Ants live in structured and organized societies, as other animals like termites, bees and wasps do”, says Dr. Luis Herrera, Zoology Professor at the Universidad de Navarra, in Spain.
These insects work and live socially, creating colonies — also called formicaries — that can host millions of individuals. Ants work differently pending their species, but typically each colony will have soldiers, workers, queens (which have the same function of queen wasps: to lay eggs), and drones (male ants that exist for the sole purpose of reproduction).
This labor division has also been observed in the way they feed the larvae: some ants bring food into the colony, others move the food to the feeders, and lastly, the feeders feed the larvae. All of this sounds very sophisticated, and it is. That is, of course, if we forget the fact that ants occasionally steal larvae and young ants from other colonies to make them work at their own colony. That’s modern-day ant slavery.
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What is the collective noun for grasshoppers | Formicarium
Formicarium
This page last updated: 2
December 2007
A formicarium is an ant farm. I played with these as a child and so in May 2004 thought it worth resurrecting to amuse Hazel and Leo. The initial attempt is at the bottom of the page , attempt two is here , attempt three here and the page is otherwise in chronological order with the most recent entry at the top.
Queen Passes Away In The Night
2 December 2007
The queen is dead, long live the Queen. She's not been moving when we've added water to the lower chamber for the last week, though we've not actually opened the nest up yet to do a final check. We suspect that, although she did return to the lower chamber, it was mould that got to the eggs at about the time that she wandered up into the middle chamber. As Thomas McElroy hinted, it is difficult to keep the Plaster Of Paris Formicarium humid without also having the eggs placed on a mouldy substrate. Something to think about for the next attempt,
Queen Movement
31 October 2007
Slightly worryingly, the queen has stopped tending her eggs and decided to move out to the middle chamber (the red oval in the previous entry). We can see that the eggs are still there in the lower chamber, though not in one group anymore. According to Thomas McElroy there should still be a few more weeks to go before hatching; fingers are crossed.
Ant & Queen Insertion
23 September 2007
We carefully moved the eggs into a chamber in the Plaster Of Paris Formicarium. We chose a chamber with tunnels direct to both the reservoirs so as to be as humid as possible (the red circle below). On inserting the queen, she wandered around and became quite excited when she found the eggs. She appeared to pick them up and place them on the wall at the back of the chamber.
However, this obviously wasn't humid enough as by morning she had taken residence in the lower water reservoir (blue circle). We had left the bodies of the previous queens in the water reservoir chamber to provide a source of protein and you can see that she's moved these bodies out to the left and to the right. She's moved the eggs in with her and is busy tending to them.
On the food front, we're going to use a mixture of 1 part honey to 2 parts oil to 4 parts egg white, all diluted with as much again of water. We will put 50 ml of this per day into the central reservoir, along with 25 ml of [RO filtered] water into the lower water reservoir.
Eggs!
22 September 2007
Fourteen days after finding our queen, we have eggs! Here are the best pictures we could get of them. Now to prepare the formicarium and effect a transfer.
Queen Found
8 September 2007
Walking back home from the shops today we happened to spot a queen ant wandering along the pavement. It's not been incredibly hot and we haven't been aware of any ant mating flights, but we suppose one must have occurred. We have caught the queen and put her in a test tube as described below. We will see if she lays.
Good Advice
21 August 2007
We received an e-mail a few days ago from Thomas McElroy who offered some excellent tips on how to make a success of keeping an ant colony. Here are his suggestions:
Putting queen ants together is a bad idea: the main reason is because they will fight to the death. Sometimes queens tend to group together at first and lay and care for each others eggs however as soon as the first workers are born they will kill the other queens.
Queen ants generally don't lay eggs if the environment is wrong, they need a medium humidity environment with temperatures ranging between 20 and 25 C; too dry and they die, too wet and they drown.
The Lasius Niger (black garden ants commonly found in the UK) have just completed a mating flight so wingless queens should be abundant. The queen can only survive on her wing muscle until the first batch of workers are born. In my experience it takes around 56 days for the first eggs to hatch. After this the colony needs to be fed on a diet of water, sugar/honey/water solution and some source of protein (dead flies and other insects). The "Sugar Water" solution is mainly for the workers and the dead insects are needed by the queen as she requires protein to be able to produce eggs.
Plaster of Paris is notorious for effectively killing ants. I would recommend Gypsum which can be found here . If you choose to use gypsum it also needs to be kept wet; this means you need to carve a leg in the base that can stand in a tub of water, allowing the water to soak into the gypsum.
I recommend www.antstore.net for buying accessories and colonies or just reading up on some of the information on their forums.
I use a basin rather than a "Ytong" (your nest) layout, I prefer it as humidity control is a lot easier, it can be expanded easily and it's a more natural environment for the ants.
He also advises that queens don't over-winter before laying and can be made to lay as follows:
If they are fertile and in the correct conditions most begin to lay in the first two days; some take up to two weeks. The best place to keep them is in a test tube specially made:
Take a test tube, medium size so queen has a bit of space.
Fill it 1/3 of the way up with water.
Push a big wad of cotton wool into the tube to absorb the water and stop it leaking.
Put the queen in the tube.
Block the top end of the tube so she is enclosed between the water and the end.
Cover the test tube or leave in a dark place and wait.
Thanks for the advice Tom, we'll use all that when we try again, probably next year now.
Nothing Doing?
18 September 2006
We've been worried that nothing much is happening in the Formicarium. One, possibly two, of the queens have died but the other two queens, which have congregated in the lower-right water sponge, are moving about a little but not laying eggs or anything. Then Alice had a brain-wave and read one of our insect books: turns out that the queens over-winter, feeding on the fat in their bodies plus the now useless wing muscles, and then lay their eggs in the spring. We'll have to keep watering them periodically to make sure they don't dry out, but otherwise we have to play the waiting game.
[Post script: the queens didn't last and no eggs were produced].
The IVF Approach
7 August 2006
Well, either our queen was barren or the environment in the Plaster of Paris Formicarium isn't conducive to birth because she'd slowed to a near stop as of a few days ago. Over the weekend we happened to be visiting in South Wales and found that the ants there were flying so we bagged four of them for another attempt. When we returned home the queen was definitely dead so we removed her, put some sand into the larger pockets to act as good hiding/digging spots and then added all four new queens. As Jo, a friend of the family, commented, we're going to take the IVF approach. If more than one turns out to give birth and we get competing nests then so be it.
Completion And Ant Insertion
16 July 2006
The interior filler took about a week to dry out properly. We tested the water/food chambers of the Plaster of Paris Formicarium and found our first mistake - plaster is porous. A spot of sealing inside those chambers with clear glue seemed to do the trick. Then we thought about the front and decided that actually Cling Film would be ideal if it would seal properly. We put some Cling Film across the front of the nest and secured it with an elastic band all-round, then put in a few ants from the garden to see if they could escape. A few days of imprisonment proved it would work. In order that the water/food chambers would be enclosed we glued some pieces of stiff transparent plastic, cut from some old packaging, to the front of them, ensuring that this process didn't cause any bumps to appear on the front surface. We shoved a few pieces of foam into the reservoirs to prevent ants drowning and put the Cling Film over the front, securing it with two elastic bands for a bit of security. Finally, since ants obviously like it dark, we cut some see-through red plastic film and attached it to the the top of the formicarium so that it would normally lie flat over the front but could be hinged up. Oh, and do make sure you have bungs for all the tubes (an old felt-tip pen top and two rawlplugs did it for us). Here's the finished thing.
Separately, we've also made a wooden stand for it to stop us having to prop it up in an adhoc way.
Fortuitously, with the day-time temperature in the high 20's Celsius today, the ants decided to swarm in Cambridge. Having an empty food container with us, we caught one of the females who'd rubbed their wings off after the mating flight and was obviously looking for a place to setup home. So we have ant insertion: here is our queen at home. Let's hope she (a) mated successfully and (b) likes her home. We're feeding her on the same mixture of honey, oil and egg white (for protein) in water as we used for Plan A .
Plaster Of Paris Formicarium
11 June 2006
We began Plaster of Paris Formicarium construction today. Since we didn't have any perspex to hand, we took a stiff cardboard sheet and covered it in foil to act as the surface on which to sculpt the Plasticine . We then found a stiff, shallow cardboard box (the kind that posh chocolates might arrive in) and marked the size of that on the foil. We then made the Plasticine forms on the foil. Our plan is to have a water chamber at the very bottom and a food chamber somewhere in the middle with lengths of flexible plastic tubing going down to each and exiting upwards through the wall of the box. We cut a hole in the back of the cardboard box so that we could pour on the plaster, and then placed it over the patterns, sealing around the outside edges with Plasticine just in case.
Our local DIY shop didn't have plaster but instead had "interior filler" (the stuff that will do for holes up to 50 mm) which we decided to try. Buy the dry form so that you can get the consistency right - it needs to just be falling-off the stirring implement. Pour this in through the hole in the back of the box, making sure to push it into place to avoid air bubbles, and leave overnight. In the morning the whole can be turned over and the foiled board carefully lifted away, then the Plasticine equally carefully removed (the cardboard box remains in place holding the plaster).
An unexpected advantage of using interior filler rather than plaster is that it will not yet have set so that if, like us, you realise that you've forgotten to add a larger "ant entry" tube, you can easily push a hole though the mix and insert it. In fact, you can further sculpt the runs and chambers to give them extra depth and even create new chambers if you wish.
Of course we now need to leave it to dry out completely, which may take a while. Then we need to make a stand for it and hold a perspex front in position somehow. More later...
Plan B
6 June 2006
Yvonne Newman from Australia contacted us at the weekend to ask about our formicarium progress. This has triggered Plan B - a Plaster of Paris-based formicarium. Take a sheet of perspex, make a pattern of tunnels using strips of Plasticine , put a low wall around the edge of this and then pour in Plaster of Paris. When it sets you turn it upside down, lift off the perspex, pull out the pieces of Plasticine , then replace the perspex and hey presto - ready made tunnels right next to a see-through surface. Doesn't matter how few ants you put into this, you can see them running around all the time. Need to figure out how to feed them as well. We'll buy the material this weekend.
Yvonne will let us know how her formicarium progresses and we'll pass on any relevant links here.
Ripped-Off
Mid 2005
We decided to buy a set of ants, including a queen, from www.buyants.co.uk. Unfortunately this has turned out to be the sole occasion when we have been ripped-off over the internet. We paid �35ish via a debit card and they never sent us any ants. Our attempts to contact them via their website, through their ISP and by snail-mail all failed. Since we paid by debit card rather than a credit card, we weren't protected either. Gave up for this year.
A Year On
21 May 2005
One year on and what did we see? We kept the farm going for about 6 months. The ants seemed happy and survived well, though the lid wasn't properly ant-tight so they tended to come out for walks collecting stuff. They weren't as active as we'd liked though, possibly because we didn't put enough in (50ish?). We certainly didn't put a queen in so they couldn't make any more. Now wondering whether to try again this year with a queen as well, cheating this time by going out and buying one. More later.
Plan A
May 2004
A formicarium is made by sandwiching two panes of glass or perspex together leaving a small gap between them (a centimetre or so). I made a wooden frame to do this (see picture below) and glued the perspex into the frame. Use sealant both inside and outside to make sure it's ant-tight . Make sure that the top fits tightly. You should make two holes in the sides through which some large plastic drinking straws can be inserted - one for water, the other for food. Place a sponge inside the frame in the bottom corner against the watering straw to act as a reservoir. Food is a mixture of honey, oil or butter and egg white (for protein) in water. You can use clothes pegs to close off the straws and prevent ants escaping. You'll also need some deep red cellophane underneath black cloth to put over the nest to keep the ants in the dark. You can then lift just the black cloth and watch them through the red cellophane. If you don't do this they won't make their tunnels near the perspex and it will all be very boring.
Now fill the gap two-thirds full with sand. Sand is best since it makes it easy to see the ants. Next, you need ants. Actually, you really need a queen ant to begin the nest. We tried digging up a large ants nest and searching for the queen, but to be honest it's very unlikely that you'll find one. You can just collect a lot of workers and eggs, though the nest won't last for more than a few months. Alternatively, there are places that will sell you queen ants and even whole colonies by mail order - this seems too much like cheating.
After spending a few hours sifting through an enormous ants nest from our compost heap, we decided to just put in some workers along with loads of eggs to last us until later in the year when the ants all take their mating flight. We then plan to pluck up a queen off the floor and start the nest properly.
We put the ants in; below is the "before" picture. Now we wait and see...
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What is the more common name for the insect called a devil's coach horse | Devil's coach horse | Buglife
Home > About Bugs > Devil's coach horse
Devil’s coach horse (Ocypus olens) © Ben Hamers
Devil's coach horse
Fast facts
Latin name: Ocypus olens
Notable feature: Long-bodied, uniformly black beetle with an extended exposed powerful abdomen with shortened wing cases
Rarity in UK: Rare / Common
Devil’s coach horse (Ocypus olens) © Ben Hamers
These aggressive, carniverous predators are commonly found across the UK and Europe in a variety of habitats. The Devil’s Coach Horse can sometimes be mistaken for an earwig but when threatened its scorpion-like posture will give the game away! The Devil’s Coach Horse belongs to the Rove Beetle family, called the Staphylinidae which are sometimes referred to as the ‘Staphs’ for short. There are approximately 1000 species of rove beetle (given this name as they are constantly on the move) found in the UK which amounts to roughly a quarter of all British beetles.
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The Devil’s Coach Horse is the largest of the rove beetles and can reach a length of around 28mm. Typical to this family, the Devil’s Coach Horse is a long-bodied, uniformly black beetle with an extended exposed powerful abdomen with shortened wing cases (elytra). Although able to fly its wings are rarely used.
The beetle is common in the UK and is found throughout Europe. It also inhabits parts of Australasia and the Americas but it is not native to these areas having been introduced.
The Devil’s Coach Horse occupies a wide range of habitats requiring damp conditions and is common in woods, hedgerows, meadows, parks and gardens, being seen between April and October. It is also known to make its way indoors now and then, particularly in older properties.
3,2,1....Fight!
If you have crossed paths with the Devil’s Coach Horse you may have seen it adopt its typical defensive pose where it raises the rear end of its body and opens its fierce jaws, similar to that of a scorpion. A tad on the aggressive side perhaps but it is only because its feeling threatened! If it continues to feel threatened though it can emit a foul smell from its abdomen area (‘olens’ meaning smell) via a pair of white glands; can excrete an unpleasant fluid from its mouth and rear; and it’s fair to say that its bite may hurt a little!
Jaws of the invertebrate world
During the day the Devil’s Coach Horse usually rests amongst and under stones and logs but it is at night that this carnivorous, nocturnal predator comes out to feed on slugs, worms, spiders, woodlice, a range of other invertebrates and carrion (dead items).
For its size the Devil’s Coach Horse has very large jaws (mandibles) which it uses to catch and cut its prey. With the help of its front legs the food is then turned into a ball like shape (bolus) which is chewed, passing through the beetles’ digestive system a number of times until it becomes liquefied and finally digested.
Little Devils - carnivorous young that live underground..
Devil’s Coach Horse mate in autumn and a female will lay a single egg two to three weeks later in a damp, dark habitat such as leaf litter or moss. After around 30 days the larva will emerge, living mainly underground. As with their parents, Devil’s Coach Horse larvae are carnivorous feeding on a variety of other invertebrates; possess powerful jaws to catch and consume their prey; and can even adopt the threatened display of a raised tail and open jaws. The larva goes through three successive growth stages (instars). The third and final larval stage is reached after approximately 150 days when it is between 20 – 26mm in length. It is at this stage that pupation begins and an adult beetle emerges about 35 days later. It emerges fully formed but needs to stay inactive for a few hours to allow its wings to dry out before they can be folded beneath the wing case (elytra).
If the weather conditions are mild adults can remain active and survive a second winter. Alternatively they will burrow underground and hibernate until the following March.
What’s in a name?
As far back as the Middle Ages this species has been associated with the Devil and was known in Ireland as Dar Daol which translates as ‘the Devil’s beetle’. Many myths and superstitions have surrounded the Devil’s Coach Horse such as its ability to curse a person by pointing its upraised body in their direction! Some also believed that the beetle had magic powers and it is believed by some that in Ireland reapers used to improve their skills by putting a Devil’s Coach Horse in the handle of their scythes.
The beetle has even achieved celluloid fame by starring in a film based on the aptly named 1979 book ‘The Devil’s Coach Horse’ by Richard Lewis, where the creatures get a taste for human flesh and go on the rampage.
Is the Devil's Coach Horse good?
The Devil’s Coach Horse is a beneficial insect playing an important role in the food chain as a dominant predator, ensuring that nutrients are recycled and returned to the soil.
Devil’s coach horse (Ocypus olens) © Alan Stubbs
See more bugs
worth of pollination is provided by pollinating insects.
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| Black Beetle |
What disease is carried by bark beetles | Devil's coach horse | Buglife
Home > About Bugs > Devil's coach horse
Devil’s coach horse (Ocypus olens) © Ben Hamers
Devil's coach horse
Fast facts
Latin name: Ocypus olens
Notable feature: Long-bodied, uniformly black beetle with an extended exposed powerful abdomen with shortened wing cases
Rarity in UK: Rare / Common
Devil’s coach horse (Ocypus olens) © Ben Hamers
These aggressive, carniverous predators are commonly found across the UK and Europe in a variety of habitats. The Devil’s Coach Horse can sometimes be mistaken for an earwig but when threatened its scorpion-like posture will give the game away! The Devil’s Coach Horse belongs to the Rove Beetle family, called the Staphylinidae which are sometimes referred to as the ‘Staphs’ for short. There are approximately 1000 species of rove beetle (given this name as they are constantly on the move) found in the UK which amounts to roughly a quarter of all British beetles.
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The Devil’s Coach Horse is the largest of the rove beetles and can reach a length of around 28mm. Typical to this family, the Devil’s Coach Horse is a long-bodied, uniformly black beetle with an extended exposed powerful abdomen with shortened wing cases (elytra). Although able to fly its wings are rarely used.
The beetle is common in the UK and is found throughout Europe. It also inhabits parts of Australasia and the Americas but it is not native to these areas having been introduced.
The Devil’s Coach Horse occupies a wide range of habitats requiring damp conditions and is common in woods, hedgerows, meadows, parks and gardens, being seen between April and October. It is also known to make its way indoors now and then, particularly in older properties.
3,2,1....Fight!
If you have crossed paths with the Devil’s Coach Horse you may have seen it adopt its typical defensive pose where it raises the rear end of its body and opens its fierce jaws, similar to that of a scorpion. A tad on the aggressive side perhaps but it is only because its feeling threatened! If it continues to feel threatened though it can emit a foul smell from its abdomen area (‘olens’ meaning smell) via a pair of white glands; can excrete an unpleasant fluid from its mouth and rear; and it’s fair to say that its bite may hurt a little!
Jaws of the invertebrate world
During the day the Devil’s Coach Horse usually rests amongst and under stones and logs but it is at night that this carnivorous, nocturnal predator comes out to feed on slugs, worms, spiders, woodlice, a range of other invertebrates and carrion (dead items).
For its size the Devil’s Coach Horse has very large jaws (mandibles) which it uses to catch and cut its prey. With the help of its front legs the food is then turned into a ball like shape (bolus) which is chewed, passing through the beetles’ digestive system a number of times until it becomes liquefied and finally digested.
Little Devils - carnivorous young that live underground..
Devil’s Coach Horse mate in autumn and a female will lay a single egg two to three weeks later in a damp, dark habitat such as leaf litter or moss. After around 30 days the larva will emerge, living mainly underground. As with their parents, Devil’s Coach Horse larvae are carnivorous feeding on a variety of other invertebrates; possess powerful jaws to catch and consume their prey; and can even adopt the threatened display of a raised tail and open jaws. The larva goes through three successive growth stages (instars). The third and final larval stage is reached after approximately 150 days when it is between 20 – 26mm in length. It is at this stage that pupation begins and an adult beetle emerges about 35 days later. It emerges fully formed but needs to stay inactive for a few hours to allow its wings to dry out before they can be folded beneath the wing case (elytra).
If the weather conditions are mild adults can remain active and survive a second winter. Alternatively they will burrow underground and hibernate until the following March.
What’s in a name?
As far back as the Middle Ages this species has been associated with the Devil and was known in Ireland as Dar Daol which translates as ‘the Devil’s beetle’. Many myths and superstitions have surrounded the Devil’s Coach Horse such as its ability to curse a person by pointing its upraised body in their direction! Some also believed that the beetle had magic powers and it is believed by some that in Ireland reapers used to improve their skills by putting a Devil’s Coach Horse in the handle of their scythes.
The beetle has even achieved celluloid fame by starring in a film based on the aptly named 1979 book ‘The Devil’s Coach Horse’ by Richard Lewis, where the creatures get a taste for human flesh and go on the rampage.
Is the Devil's Coach Horse good?
The Devil’s Coach Horse is a beneficial insect playing an important role in the food chain as a dominant predator, ensuring that nutrients are recycled and returned to the soil.
Devil’s coach horse (Ocypus olens) © Alan Stubbs
See more bugs
worth of pollination is provided by pollinating insects.
8 out of 10
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On a bottle of drink what does A.b.v mean | Decoding Beer Labels: 5 Terms Every Beer Drinker Should Know | Serious Eats
Decoding Beer Labels: 5 Terms Every Beer Drinker Should Know
14
[Photo: Drew Lazor]
Last week, we looked at a collection of confounding brewing terms that were likely to befuddle the thirsty beginner. With a better hold on the language of brewing, it's time to move on to the language of marketing. When you're staring at a sixpack or bomber of beer at your local bottle shop, you might encounter some unfamiliar phrases. Here are five essential terms you should know.
Bottle Conditioned
Bottle conditioned is brewer-speak to describe a beer that is naturally carbonated. Prior to packaging, beer is allowed to ferment until the yeast is totally satiated, having eaten all the sugars it can. To bottle condition the beverage, brewers bottle the beer with a bit more sugar for that yeast to munch on. They use a pre-calculated dose that is just the right amount to produce carbon dioxide to be absorbed as carbonation without overpressurizing or worse, blowing up, the bottle. (Nobody wants your beer to explode.) The alternative to bottle conditioning is called force carbonation, in which carbon dioxide is injected into the finished beer without an additional fermentation.
Some beer purists believe that bottle conditioning is indisputably the best way to carbonate beer—arguments in support of the process tout its ability to produce a more pleasant (fine and soft) carbonation, consume oxygen in the bottle's headspace, and develop character over time.
Dry Hopped
[ Photo: Wes Rowe ]
This is an odd one—aren't all hops dried before they are used in beer? With rare, seasonal exceptions , that is exactly correct. But ignore that for a minute. Dry hopping refers not to the condition of the hops themselves, but how they are used. It means that the brewers are adding hops after fermentation. At this point, the hops are not boiled and thus, the acids held within the flower do not release their potent bitterness. They do, however, release their flavorful and aromatic oils, which will make your beer taste extra juicy, grassy, lush, or floral, depending on the hop variety. IPAs, pale ales, and other hop-driven styles have always used this technique, but brewer experimentation has pushed its presence into the full range of beer styles.
Gypsy Brewer
Dann Paquette of Pretty Things Beer and Ale Project [ Photo: Christopher Lehault ]
This arguably-offensive term refers to an increasingly common symbiotic relationship in the beer world. Most established brewers aren't using their expensive brewing equipment 24/7. Other brewers are just getting into the biz and can't afford or don't want to buy all that pricey stainless steel. See where I'm going with this? The brick and mortar breweries can get a little extra cash flowing in by renting out their brew kettles and fermentation space, and those other brewers can get their beers to market without insane overhead. Without the permanence of a physical address, many of these brewers make beer wherever they can, often embracing a nomadic lifestyle...hence the gypsy nomenclature. Some of these folks, like Massachusetts' Pretty Things, have adopted the alternative name "tenant brewer" to avoid rubbing folks the wrong way.
IBU
I'm often asked what IBU stands for, and feel bad giving the answer. "International Bitterness Units" doesn't really tell you all that much about what that number on your bottle really means, does it? IBUs, when you get down to it, are simply a measure in parts per million of the isomerized alpha acid content in beer. Oh jeez, this isn't getting any easier. To make it short and sweet: IBUs are a measure of how hoppy a beer is.
But that doesn't tell the whole story. Perceived bitterness depends on way more than just how many hops are thrown into the kettle. The sweetness and alcohol level of a beer, for example, plays a huge role in the end bitterness of that beer. Two beers, both with 35 IBUs, can taste bracingly bitter or not at all. So really "International Bitterness Units" is a bit of a misnomer. In fact, as a measure, it is nowhere near as useful as folks to seem to make it out to be, so don't get too caught up on the IBU number.
Imperial
Imperial IPA, imperial stout, imperial red, imperial pilsner—this "imperial" word is all over beer bottles these days. But what does the word—one long associated with royalty—have to do with your plebian drinking pursuits? The terminology harkens back—way back (think 1700s)—to the days in which the Russian imperial court (there's that word again!) consumed a custom-made extra-strong stout that was shipped to them from England. Over the centuries, this exalted naming convention was applied to all variations on styles of beer that were bigger—stronger, hoppier, more intense, more royal—than the beers that inspired them.
Have you encountered any strange terminology on beer bottles lately? Let us clear up your confusion in the comments below.
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| Alcohol by volume |
What flavour is the liqueur Tia Maria | What Does the Term "Proof" Mean in Alcohol Liquors? - CulinaryLore.com
CulinaryLore.com
What Does the Term "Proof" Mean in Alcohol Liquors?
Drinks » What Does the Term "Proof" Mean in Alcohol Liquors?
Posted on 19 Sep 2013 14:18
As Southern as Sweet Tea
A liquor is any alcoholic beverage that is produced by distillation. Many liquors, such as whiskey, vodka, rum, gin, and tequila list the alcohol content of the product in terms of a its proof. The proof is a scale used to measure the amount of alcohol in a liquor. The scale goes from 1 to 200. In the United States, the actual alcohol content, by volume, is half of whatever the proof number reads, so that a 200 proof liquor is 100% alcohol and a 100 proof liquor is 50% alcohol by volume. In other words, the proof is exactly twice the percentage of alcohol that the liquor contains. A liquor that is 200 proof, by this scale, is considered an absolute alcohol and a 100 proof liquor is considered a proof spirit.
Some liquors will list the alcohol "by volume," such as "40% alcohol by volume (ABV)." This would mean that the liquor contains 40% alcohol and 60% water and other components. Many liquors give the alcohol content in both proof and alcohol by volume. A liquor containing 40% ethyl alcohol by volume is 80 proof. ABV listings are required by law in the United States, under the code of Federal Regulations, 27CFR (4-1-03 edition). The proof of the beverage is also allowed to be listed, although not required. This is why you will always see ABV listed on liquors made in the U.S. and often both proof and ABV.
The British system is slightly different than the U.S. The British proof spirit is 100 proof, like the U.S. proof spirit, but an absolute alcohol is 175.25 proof, meaning 57% alcohol instead of 50%. Given as ratios, the U.S. proof system is 1:2 proof to alcohol by volume and the British system is 4:7, which means multiplying the alcohol content by 1.75 will give the proof of the product.
Origin of the term Proof
The term proof has been around for a long time. It began to be used before there was a reliable and accurate way to measure the alcohol content of a beverage. Therefore, gunpowder was used to "prove" the alcohol content. Although it is hard to be certain of the exact origins of this practice, one story traces the term to the practice of paying British soldiers with rum as well as money. The soldiers needed a way to prove that the rum was not watered down, so they would douse gunpowder with it and try to set it on fire. If it failed to ignite, it showed that the rum had too much water and so was under proof. For the rum to have enough alcohol to enable to gunpowder to ignite despite the water content, it needed to be at least 57% alcohol and only 43% water, so that, as above in the British system, a 100 proof rum was 57% alcohol by volume.
How much is a Drink of Alcohol
Obviously, different types of alcoholic beverages contain different amounts of alcohol by volume. Liquors contain the most alcohol and beers (for the most part) contain the least. We often are given estimates by researchers of how many drinks are considered moderate drinking, and therefore not particularly "bad" for you (and in some ways good for you). But, a drink, in these terms is not how many shots, beers, or glasses of wine you have, it is how much alcohol you have. So how much is a drink of alcohol?
Depending on who is talking, a drink is considered to be about 1/2 ounce of alcohol (or a little more) or 12 to 15 grams of alcohol. These are both pretty much the same amounts. Remember, right now, we are talking about the amount of alcohol which is considered a drink. The actual liquor, beer, or wine will contain more liquid than 1/2 ounce, of course. Again, depending on who you ask, moderate drinking is considered one to two drinks per day, depending on whether you're a male of female. In maximum amounts, males should limit their intake to 30 grams or less and females to 15 grams or less. Sorry, ladies, I'm just reporting what the "science" says, don't kill the messenger. Anyway, how do you know how much alcohol, in grams, you are drinking?
I'll skip the explanation, and give you the simple formula. All you have to do to find out how much alcohol, in grams, your drink contains is to multiply the number of ounces by the percentage of alcohol in the drink (ABV), then multiply the answer by 0.23.
A shot of whiskey or other liquor is generally considered to be 1.5 ounces. So, for an 80-proof whiskey (40% ABV) you have: 1.5 x 40 x 0.23 = 14 (grams). So a shot of 80 proof whiskey contains 14 grams of alcohol. If you know the percentage of alcohol in the beverage, which a bartender can tell you or you can read off the bottle at home, you should have no trouble figuring the alcohol, if you're so inclined. Of course, mixed drinks with varying amounts of liquors, liqueurs , etc. could be very difficult to figure out. However, keep in mind that many cocktails actually have more alcohol than a straight drink of liquor, wine, or beer.
More Drinks and Cocktails!
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From which fruit is the French drink Calvados made | Calvados | Spirits
Calvados
Calvados, a French brandy, is typically derived from the most innocent of sources, apples. But beware: overindulge in this fruit-flavored spirit and you may be in for a whopping hangover.
The History of Calvados Apple Brandy
Calvados hails from the French region of Normandy and takes its name from the French area most notable for its production. Calvados, or as the locals would call it, “el calvados,” is a potent form of brandy made through a two-part process called “double distillation.” After distillation, the liquid is then aged in oak barrels for upwards of two years, resulting in a brandy with a nearly 40 percent alcohol content.
Calvados enjoys a long and rich history. Locals have been distilling liquor from cider in Normandy since at least the mid 1500s. Although the drink is most often made from apples, it can also be produced from pears.
Calvados apple brandy is not as popular in the United States as its high brow cousin, cognac. In fact, only about 200,000 bottles of calvados are sold in the U.S., compare each year, as compared to the 40 million bottles of cognac consumed.
How to Drink Calvados Apple Brandy
As with any specialty drink, there are several ways to get the most enjoyment from drinking Calvados. Some tips to keep in mind are:
An old Normandy tradition serves up Calvados between courses midway through a meal, as opposed to what we consider the more common before or after dinner drink.
Calvados can be consumed dry, on ice or as an ingredient in other drinks.
Traditional Normandy recipes add calvados and cream to pork and mussel dishes.
Recipes for Calvados Apple Brandy
There”s no need to take our word for the wonderful flavor of calvados. Taste the French apple brandy yourself with the following three recipes, one creamy and slightly decadent and the other two served up with a bit of zest.
Calvados Cream
| Apple |
What term is used by wine buffs to describe the aroma of wine | Cook's Thesaurus: Brandies
aguardiente See grappa .
apple brandy = eau-de-vie de cidre = eau-de-vie de marc de cidre = cider brandy Notes: This exquisite brandy has a soft apple fragrance. Calvados = calva (cal-VAH-dohs) is the French version, applejack = apple jack is the inferior American version. Calvados is ranked much like cognac. The very best Calvados are labeled Napoleon, Extra Old (XO), Extra, or Hors D'Age. After that comes VSOP, Vieille Reserve, or VO. Next come Vieux or Reserve Calvados, then those with three stars or three apples on their labels. Substitutes: pear brandy OR equal parts apple juice concentrate and cognac
applejack See apple brandy .
apricot brandy = barack Notes: This is distilled from apricot juice. Brands include the French Abricotine, and the Hungarian Barack P�linka. Substitutes: apricot liqueur (sweeter) OR cherry brandy OR apricot schnapps OR orange liqueur OR apricot nectar
aqua vit� = aqua vitae See brandy .
Armagnac Pronunciation: ar-muhn-YAK Notes: This French brandy is similar to cognac, but with a more pronounced flavor. Since their quality varies, Armagnac brandies don't share cognac's exalted reputation, but a good Armagnac compares favorably with any cognac. Substitutes: cognac (lighter, sweeter)
cachaça = cachaca = pinga Pronunciation: kah-SHAH-sah Notes: This sugarcane brandy is made in Brazil, where the name means "burning water." Velho Barreto is a well-regarded brand. Substitutes: white rum OR tequila OR grappa OR marc
Calvados See apple brandy .
cognac Shopping hints: The very best cognacs are labeled VVSOP, Napoleon, Vieille Reserve, Grand Reserve, Royal, or Vieux. Next in the rankings are cognacs labeled Extra Old (XO), Extra, or Hors D'Age. After that comes VSOP (Very Superior Old Pale), Reserve, or VO. Next come cognacs with VS or *** on their labels. Connoisseurs also check for the cru, or place where the cognac was made. The best crus are Grande Champagne and Petite Champagne. Substitutes: armagnac (more flavorful and slightly drier than cognac) OR American brandy
eaux de vie See brandy .
eau-de-vie de poire See pear brandy .
framboise = framboise eau de vie = framboise eau-de-vie Pronunciation: frahm-BWAHZ Notes: This is a clear French fruit brandy that's made with raspberries. Don't confuse this with framboise liqueur, which is sweeter, or with framboise syrup, which is a non-alcoholic raspberry flavoring. Substitutes: kirschwasser OR raspberry liqueur (sweeter) OR framboise syrup (sweeter, non-alcoholic, and cheaper)
fruit brandies = eaux de vie = eaux-de-vie = aqua vit� = aqua vitae = white alcohol = white spirits Notes: While other brandies are distilled from fruit juice, fruit brandies are distilled from the entire fruit--skins, pits, and all. They're usually colorless, and fairly high in alcohol. Varieties include apricot brandy , plum brandy , kirschwasser (cherries), framboise (raspberries), fraise (strawberries), grappa (grapes), pisco (Muscatel grapes), mure (blackberries), and myrtille (bilberries). Don't confuse fruit brandies with the cheaper and cloyingly sweet fruit-flavored brandies. Substitutes: brandy OR fruit-flavored brandy
fruit-flavored brandy Notes: This is brandy that has fruit flavoring and coloring added. Don't confuse these sweet liqueurs with the more elegant and expensive fruit brandy, which is distilled from whole fruit. Substitutes: fruit liqueur OR fruit wine
grapa See grappa .
grappa = grapa = marc = eau-de-vie de marc = eau de vie de marc = aguardiente = testerbranntwein = bagaceira = pomace brandy Pronunciation: GRAH-pah Notes: This potent and somewhat harsh drink is made from the grape residue, called pomace, that's left over from making brandy. It's traditionally been thought of as a second-rate eau de vie, but some producers have developed premium grappas that are quite smooth and very pricey. Grappa is the Italian version, marc the French, aguardiente the Spanish, testerbranntwein the German, and bagaceira the Portuguese. Substitutes: raki OR apple brandy OR pear brandy OR cognac OR armagnac
kirsch = kirschwasser = cherry brandy = Schwarzwalder Pronunciation: KEERSH Notes: This colorless cherry brandy is made primarily in Germany. French kirsch isn't quite as dry. Substitutes: cherry liqueur OR framboise OR plum brandy OR cherry syrup
marc See grappa .
Metaxa Pronunciation: meh-TAHK-suh Notes: This is a sweet Greek brandy with a strong resin flavor. Substitutes: cognac OR armagnac
mirabelle See plum brandy .
pear brandy = eau-de-vie de poire Notes: Brandy made from Williams pears (like Poire Williams and Williamine) are especially good. Some bottles have an entire pear in the bottle. Substitutes: apple brandy OR other brandy See also: brandy
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What was the name of the monk who first produced sparkling wine | Sparkling Wine vs. Champagne | The Wine Company
Sparkling Wine vs. Champagne
Posted by Jason Kallsen on December 6, 2012 in Champagne , Sparkling wine | 17 comments
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As we roll into the holiday season, we are preparing to hear more of the **pop-pop-pop** of sparkling wine bottles being opened. A question that comes up often is this: what is the difference between “Sparkling Wine” and “Champagne”? We have the easy and short answer for you, but also a longer education on the winemaking process and different styles of sparkling wine.
The easy and short answer: A sparkling wine should only be called Champagne if it comes from the region of Champagne, France. Period.
Some California producers still attach the word Champagne to their products, but when you think about this it’s odd: if somebody in France produced a wine called “Napa Valley Merlot” it wouldn’t make any sense, would it? Well, a “Champagne” produced just north of San Francisco is just as guilty.
In other words, all Champagne is sparkling wine, but not all sparkling wine is Champagne. (And not all producers are created equally … we have a love affair with our Grower-Producers in particular.)
A deeper Sparkling Wine education: Sparkling wine is made by taking the simple formula for fermentation (sugar + yeast = alcohol and CO2), and not allowing the resulting gas to escape. When you ferment wine in a closed or sealed environment, the CO2 returns into the wine, only to be released in the form of tiny bubbles after opening.
A fine example of the term “Champagne” NOT being used correctly.
The story of how this all started is attributed to the monk Dom Perignon (1638-1715), but in reality it was probably discovered slowly over time by many monks in the Champagne region. Why Champagne? Because it’s cold there … not Minnesota cold , but definitely chilly. These cold temperatures, coupled with deep cellars and lack of insulation, made for a problem: fermentations would begin but would soon shut down due to the cold. Without knowing exactly what was happening, the wines would be bottled.
The following Spring, as the tulips were blooming and the temperature in the cellar was rising, fermentation would kick back into gear. With nowhere for the CO2 to escape, it returned to the wine, eventually building up and proceeding to blow the corks out from the bottles. It was here, as the legend goes, that brother Perignon caught the wine in his glass and proclaimed “Come quick! I am tasting stars!”
Today’s methods of making Sparkling Wine are more controlled, but the chemistry is the same. Because this winemaking method was developed in Champagne, and the original rules surrounding the making of this wine belong to that region, we should think of Champagne in terms of a geographical place as opposed to a winemaking style.
“Sparkling Wine” is made throughout the world. We’ve had incredible examples recently from Tasmania, Austria, and Oregon. There are also many bubblies produced in France but outside of the Champagne zone, including gems made under the “Cremant” designation. But there is only one true Champagne, from the beautiful region near Paris, France, that brings us producers such as Pierre Gimonnet and Gaston Chiquet .
Soon we will be posting details on other bubbly designations, including Prosecco, Cava, Cremant, and more to help you with your holiday shopping and meal planning. Keep following our blog for updates and more sparkling education.
| Dom Pérignon |
The Holy Loch is an inlet on which Scottish river | What is the difference between "Champagne" and "Sparkling Wine"? - Le Grand Courtâge
Le Grand Courtâge
What is the difference between “Champagne” and “Sparkling Wine”?
Posted by Tawnya Falkner on Jan 20, 2017
As we roll into the holiday season, we will hear many more corks “popping” as bottles of sparkling wine and champagne are opened to celebrate the season.
A question that we are often asked is, “What is the difference between “Sparkling Wine” and “Champagne”? The easy and short answer is that sparkling wine can only be called Champagne if it comes from the region of Champagne, France, which is just outside of Paris. Further, champagne can only be made using Chardonnay, Pinot Noir, and Pinot Meunier.
To clarify, all champagne is sparkling wine, but not all sparkling wine is champagne. We really should think of Champagne in terms of a geographical place as opposed to a winemaking style.
Where do the Bubbles come from?: Sparkling wine is made by taking the simple formula for fermentation (sugar + yeast = alcohol and CO2), and not allowing the resulting gas to escape. When you ferment wine in a closed or sealed environment, the carbon dioxide (CO2) returns into the wine, only to be released in the form of tiny bubbles after opening.
Origins: The story of how this all started is attributed to the monk Dom Perignon (1638-1715), who is noted to have said, “Come quickly, I’m seeing stars.”, but in reality it was probably discovered slowly over time by many monks in the Champagne region.
Types of Sparkling Wine: Producers from every other region of the world have seized this moment to shine given the popularity of the bubbly and the rising cost of champagne. In Spain, cava is made in many different styles, but the best examples have small bubbles and balance freshness with creaminess. The wines that sparkle in Italy—or more specifically the Veneto region of Italy—are called Prosecco and have larger bubbles (better for cocktails) and a focus on the fruit. In Austria and Germany, where they call them Sekt (pronounced zekt). Now you see great sparkling producers in Tazmania, Argentina, Australia, and of course the U.S.
Three Hallmarks of a Good Sparkler:
Fresh: Bright and alive in your mouth, fruity but not necessarily sweet.
Precise: On the tongue, the wine should feel direct and penetrating. Precision is more about the acid, which is mandatory for good sparkling wines.
Sparkling: Small bubbles are a sign of high-quality wine.
Whether sparkling wine or champagne, the truth is that sparkling wine is gaining in popularity as people realize that it is the most versatile wine for pairing (aka the scrubbing bubbles for the palate) and transitions beautifully from breakfast to dessert and light dishes to fried foods, spicy cuisine or rich, sauces. They’re also great as aperitifs and with dishes that have a bit of fruitiness or sweet.
Le Grand Courtage is a gold-medal winning, French sparkling wine produced in Nuits St Georges in Burgundy, France. We offer a Blanc de Blancs Brut and a Brut Rose and use Chardonnay, Ugni Blanc, Colombard, Chenin Blanc and Gamay in our blends in order to offer a dry, crisp, light palate with just a hint of fruit and floral on the finish in order to create a balanced and rounded taste profile. We wanted to create something which is extremely cuisine and cocktail friendly.
Our goal was to offer a French cachet and elegance, combined with an American appeal and price-point. We set out to create an approachable, affordable, versatile French bubbly that is perfect for all of life’s occasions and every day moments. Cheers!!!
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On which river is Maidstone | The River Medway - Visit Maidstone
The River Medway
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The River Medway
TripAdvisor
Natural Feature
The River Medway provides the perfect setting to unwind, relax and enjoy the Kent countryside. The River itself runs from between East Grinstead and Forest Row in East Sussex, through the High Weald, around the Hartfield and Groombridge areas, on to Tunbridge Wells and Tonbridge, then to Yalding and Maidstone and finally joining the Thames Estuary between Sheerness and the Isle of Grain.
Through history this has been a major trading route for Maidstone and until the introduction of the bridges and locks, the horseway was also one of the few crossing points. This can still be found between the College of Priests and All Saints Church. The Millennium Footbridge enables walkers to cross safely without getting their feet wet.
The River Medway is now more recreational rather than a trading route but nevertheless is for its entire length an interesting and magical place to explore. This can be done in a variety of ways:
Exploring by boat
The Kentish Lady runs from Maidstone on either three hour trips taking in Allington and East Farleigh or alternatively, on some days, just the short journey to Allington. If you want to explore with your family and at your own pace then a boat from Allington Belle day hire can take up to eight people and you can go for two hours or all day, depending on what suits you. Driving instruction is given prior to departure and these small boats can go as far as Tonbridge.
If you want to be closer to the water and quieter then maybe taking in a canoe safari is a good choice. Here you intermingle with the wildlife in their habitat and you will find amazing flora and fauna whilst quietly paddling your own canoe. Canoes can go even further up the river than Tonbridge.
Exploring on foot
If you don’t want to get on the water then some excellent footpaths run next to the River Medway and into the surrounding countryside, often making circular walks taking in tea rooms or pubs for that essential refreshment along the way. The valley which the River Medway runs through is scenic and changes the whole way along its route.
Exploring on a bicycle
The footpaths between Maidstone and Yalding are particularly pretty to explore, and towards the source of the river from Groombridge a very good cycle and footpath runs through to Forest Row. Some small sections of the river are less accessible but still run through beautiful countryside and there is plenty to do and see on the whole route.
Fishing
Fishing is permitted on certain stretches of the River Medway. A valid rod licence is needed, visit your local Post Office
Wildlife
An abundance of wildlife can be found along the banks of the river. For more information about nature conservation in the area visit the Medway Valley Countryside Partnership website or telephone 01622 683695.
Opening Times
| Medway |
Spurn Head lies at the estuary of which English river | Maidstone Countryside & Riverside - VisitMaidstone.com
The Colours of Autumn
Maidstone Countryside & Riverside
At the heart of the Garden of England, Kent’s historic County Town of Maidstone is set within a region of wide fertile river valleys and ancient woodlands, dotted with prosperous villages. The area is bounded to the north by the Pilgrims’ Way, an ancient route between London and Canterbury, along the edge of the North Downs , and to the south by the gentle rolling landscape of the Kent Weald.
Here you will find vineyards producing great wines and ciders, such as the Hush Heath Estate near Staplehurst. Visitors are welcome to explore the vineyards, orchards and woodlands through a series of trails and to sample some of the produce from the state-of-the-art winery that has received world class awards and recognition. Biddenden Vineyard is Kent’s oldest family-owned vineyard and produces great wines and ciders. There is also a café and a small shop selling lots of local produce.
Each season brings new delights with woods full of bluebells, plums and cherries in the orchards and golden autumn leaves in the forests and vineyards. Ragstone walls, weatherboarding and Kent peg tiles characterise much of the architecture in Maidstone and its villages, alongside traditional oast houses, once used to dry hops from the surrounding fields, now mostly converted to beautiful homes.
Kent Life is a premier farm attraction in Maidstone and has the last coal-fired oast house in the country, where you can learn all about the traditions of hop-picking. The 28 acre site celebrates age-old farming traditions, with lots of rare breeds and historic buildings to discover.
Farmers’ markets provide good quality, mouth-watering local produce and locally made goods, where shoppers can find genuine Kentish products. They are held around Maidstone in the picturesque villages of Lenham, Headcorn, Sutton Valence, East Farleigh, Aylesford and Yalding. Most run either monthly or fortnightly, so there is usually at least one taking place each weekend.
The River Medway runs through the centre of Maidstone with many villages located along its banks. These serve as ideal stopping points for visitors exploring the river, whether on the water by boat or canoe, or along the edges on foot or by bike.
As you would expect for the County Town and the beautiful surrounding countryside, the area is bursting with quality accommodation. Stately country house hotels, such as Chilston Park and homely inns like the Black Horse in Thurnham offer a great base from which to explore the Kent countryside.
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What was marmalade originally made from | How Does Marmalade Differ From Jelly?
How Does Marmalade Differ From Jelly?
How Does Marmalade Differ From Jelly?
Marmalade. © 2008 Peggy Trowbridge Filippone
Question: What is marmalade?
How does marmalade differ from jelly or jam?
Answer: Orange marmalade has long been a favorite spread for bread and toast. You may be surprised to learn that marmalade was originally made from a completely different fruit, one not even in the citrus family. Marmalades are used not only as a sweet spread, but also as the main ingredient in a variety of bread and desserts as well as in sweet and savory sauces for meat, poultry, and vegetables.
The definition of marmalade has evolved over the centuries. Originally, it was a sweet spread made from the quince fruit . The term marmalade has conflicting origins. One account holds that marmalade was created by a doctor treating Mary, Queen of Scots, for seasickness by mixing crushed sugar with oranges. The story infers the term marmalade is a derivation of "Marie est malade," a French phrase roughly meaning "Mary's illness."
However, most historians scoff at this explanation and believe the term came from the Portuguese marmelo for quince, from which original marmelada was made.
Marmalade first appears in English print in 1524. By the 18th century, the Seville orange (a bitter variety) had replaced the quince in marmalade popularity.
Today, the general definition for marmalade is a sweet jelly in which pieces of fruit and rind are suspended. The key is the rind, which gives lends a bitterness to delightfully balance the sweetness of the jelly.
Most marmalades have a citrus base, either orange (preferably Seville orange), lime , lemon, grapefruit, or kumquat. To this general base, many other fruits can be added to pique the palate.
Some cooks use the terms marmalade and fruit preserves interchangeably. To further confound the issue, many chefs are creating new gourmet recipes with savory vegetables reduced to a spread they term a marmalade, such as Roasted Eggplant Marmalade .
More about Marmalade and Marmalade Recipes:
| Quince |
Which is the only walled city in North America to be declared a World Heritage Treasure by UNESCO | marmalade - definition of marmalade in English | Oxford Dictionaries
Definition of marmalade in English:
marmalade
[mass noun] A preserve made from citrus fruit, especially bitter oranges.
Example sentences
‘It can be eaten as is or made into a jelly, marmalade, nectar, squash, or sherbet.’
‘There will be a selection of homemade jams, marmalade, preserves, cakes and quiches.’
‘The contrast between the bitter rind and sweet flesh makes them perfect for making marmalade.’
‘A marmalade steamed pudding and a lemon crème moulée to finish were both superb.’
‘Britain is a nation of marmalade lovers and no English breakfast is served without the perfect ending - toast and marmalade.’
‘The home-made marmalade was joyful and the coffee, served English-style in the pot, was of very superior quality.’
‘He holds a silver tray with a silver teapot of the finest Darjeeling tea, small glass jars of marmalade and hot muffins.’
‘The earliest known recipe for marmalade has been discovered in an 18th century book being auctioned in Edinburgh.’
‘Mildly spiced with a little kick of bitter marmalade to counteract the modest amount of sugar.’
‘Instead, I found myself lusting after bananas, marmalade, muesli, and the simple pleasure of a glass of cold milk.’
‘For breakfast I eat one slice of dry bread and marmalade, as anything more makes me feel sick.’
‘Grate the apple over the bread, add the dried fruit and peel, stir in the sugar, marmalade, flour, eggs and spices.’
‘There are always four pots of marmalade in the cupboard - I love eating it with bananas.’
‘She took out a can of orange marmalade from fridge, opened it and put it on the kitchen table beside the cheese.’
‘Spoon some of the orange marmalade around the dish and garnish with chocolate peppermint.’
‘Real coffee, proper fruit juice and toast spread with bitter-sweet marmalade.’
‘I'll have two pieces of toast, lightly buttered, with orange marmalade on the side.’
‘An hour later I'll probably have a glass of mango juice and two slices of cinnamon raisin toast with thick, chunky English marmalade.’
‘We managed to pick up some great mixed-citrus marmalade, but missed out on the Dundee cake.’
‘According to an EU ruling, marmalade can contain only citrus fruit, not apricots or other soft fruit.’
Origin
Late 15th century: from Portuguese marmelada quince jam, from marmelo quince, based on Greek melimēlon (from meli honey + mēlon apple).
Pronunciation
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I'm a United fan and a big one too
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Which singer starred with John Wayne in True Grit | True Grit (1969) - IMDb
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A drunken, hard-nosed U.S. Marshal and a Texas Ranger help a stubborn teenager track down her father's murderer in Indian territory.
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Won 1 Oscar. Another 5 wins & 7 nominations. See more awards »
Videos
Marshal Rooster Cogburn unwillingly teams up with Eula Goodnight to track down the killers of her father.
Director: Stuart Millar
A senator, who became famous for killing a notorious outlaw, returns for the funeral of an old friend and tells the truth about his deed.
Director: John Ford
Ranch owner Katie Elder's four sons determine to avenge the murder of their father and the swindling of their mother.
Director: Henry Hathaway
A dying gunfighter spends his last days looking for a way to die with a minimum of pain and a maximum of dignity.
Director: Don Siegel
A Civil War veteran embarks on a journey to rescue his two nieces from an Indian tribe.
Director: John Ford
1 2 3 4 5 6 7 8 9 10 7.7/10 X
Cole Thornton, a gunfighter for hire, joins forces with an old friend, Sheriff J.P. Hara. Together with an old Indian fighter and a gambler, they help a rancher and his family fight a rival rancher that is trying to steal their water.
Director: Howard Hawks
A small-town sheriff in the American West enlists the help of a cripple, a drunk, and a young gunfighter in his efforts to hold in jail the brother of the local bad guy.
Director: Howard Hawks
A tough U.S. Marshal helps a stubborn teenager track down her father's murderer.
Directors: Ethan Coen, Joel Coen
Stars: Jeff Bridges, Matt Damon, Hailee Steinfeld
After the Civil War, Cord McNally searches for the traitor whose perfidy caused the defeat of McNally's unit and the loss of a close friend.
Director: Howard Hawks
In 1909, when John Fain's gang kidnaps Big Jake McCandles' grandson and hold him for ransom, Big Jake sets out to rescue the boy.
Directors: George Sherman, John Wayne
Stars: John Wayne, Richard Boone, Maureen O'Hara
When his cattle drivers abandon him for the gold fields, rancher Wil Andersen is forced to take on a collection of young boys as his drivers in order to get his herd to market in time to ... See full summary »
Director: Mark Rydell
Wealthy rancher G.W. McLintock uses his power and influence in the territory to keep the peace between farmers, ranchers, land-grabbers, Indians and corrupt government officials.
Director: Andrew V. McLaglen
Edit
Storyline
The murder of her father sends a teenage tomboy, Mattie Ross, (Kim Darby), on a mission of "justice", which involves avenging her father's death. She recruits a tough old marshal, "Rooster" Cogburn (John Wayne), because he has "grit", and a reputation of getting the job done. The two are joined by a Texas Ranger, La Boeuf, (Glen Campbell), who is looking for the same man (Jeff Corey) for a separate murder in Texas. Their odyssey takes them from Fort Smith, Arkansas, deep into the Indian Territory (present day Oklahoma) to find their man. Written by John Vogel <[email protected]> [edited]
A Brand New Brand Of American Frontier Story See more »
Genres:
21 June 1969 (Japan) See more »
Also Known As:
Temple de acero See more »
Filming Locations:
Did You Know?
Trivia
Jim Burk doubled for John Wayne in the final jumping fence stunt at the end. See more »
Goofs
Rooster mentions that he lived for some years in Cairo, Illinois, but he mispronounces the name of the town. The local pronunciation is KAY-row. See more »
Quotes
Frank Ross : Little Frank... You take care of your mama.
Little Frank: I will.
(Tunbridge Wells, England) – See all my reviews
"True Grit" deals with one of the classic Western themes, indeed one of the classic themes in all literature- revenge. A teenage girl, Mattie Ross, is looking for someone who will help her track down Tom Chaney, the man who murdered her father. The man Mattie chooses is Rooster Cogburn, a US Marshal. Cogburn is elderly, fat, one-eyed and a heavy drinker, but Mattie chooses him because she has heard that he has "true grit". The two of them set out into the Indian Territory in search of Chaney, accompanied by La Boeuf (shouldn't that be Le Boeuf?), a Texas ranger who wants to arrest him in connection with another murder.
This is perhaps best remembered today as the film for which John Wayne won his only Oscar. Halliwell's Film Guide rather ungraciously refers to it as a "sentimental Oscar, for daring to look old and fat", but there is more to Wayne's performance than that. The Academy, in fact, had tended to overlook Wayne, just as they overlooked the Western genre which provided him with most of his roles; well over a hundred films had only brought him two previous nominations. Cogburn, however, was one of his best roles. On the surface a hard-bitten, irascible old man, he has hidden depths to his character- not only the courage and determination implied by the phrase "true grit", but also a sense of humour and a capacity for tenderness. Cogburn is a lonely man, divorced from his wife and alienated from his only son, and his only friends are a Chinese storekeeper (a rare acknowledgement from Hollywood that not every inhabitant of the West was either white or an Indian) and his cat. A close relationship, however, grows up between him and the orphaned Mattie, for whom he becomes a substitute father. In turn, she becomes the daughter he never had- or perhaps even a substitute son.
Mattie is a complex character. There is much about her that is androgynous- her tomboy looks, her short hair, even her name, which can be short for Matthew as well as Matilda or Martha. She is brave and determined (there is a suggestion that the phrase "true grit" applies to her as well), but can also be a pain in the neck, especially to Cogburn. She is at times wise in the ways of the world and at others strangely innocent. She is part avenging angel, part bookish intellectual (shown by her rather formal language) and part vulnerable child. It is a role that called for an outstanding performance and got one from Kim Darby who was able to bring out all the various facets of Mattie's character. (This is the only film of hers that I have seen, but it seems strange on the strength of this that her subsequent cinema career has been so patchy). Unfortunately, Glenn Campbell, a singer with little previous acting experience, made a weak La Boeuf. It is probably as well that John Wayne did not get his way when he wanted Karen Carpenter, a singer with absolutely no previous acting experience, to play the role of Mattie instead of Darby. Great actors do not always make great casting directors.
"True Grit" does not perhaps have the depth of meaning of some of the truly great Westerns, such as "High Noon", "Unforgiven" or Wayne's last film, "The Shootist", but it is a very good one. It is a fast-moving and exciting adventure, notable for some beautiful photography of mountainous landscapes (although it is ostensibly set in relatively flat Oklahoma, it was actually filmed in Colorado and California), for one of the great iconic moments of the Western (the scene where Cogburn gallops alone into battle, guns blazing, against four opponents) and for two excellent performances in the two main roles. 7/10
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| Glen Campbell |
Who knocked Mike Tyson out in Tokyo in 1990 | Campbell: a singer with true grit
Posted October 1, 2010 07:16 pm - Updated October 2, 2010 12:31 am
By
Campbell: a singer with true grit
TPAC-bound singer talks about remake of Western film classic
Country Music Hall of Famer Glen Campbell, who also scored some pop hits, will perform Thursday night at the Topeka Performing Arts Center, 214 S.E. 8th.
Although Glen Campbell thinks Matt Damon can fill his boots when he takes over the role of Texas Ranger La Boeuf in the remake of "True Grit," due Christmas, the Grammy-winning singer doesn't think Jeff Bridges will ride as high in the saddle as John Wayne did as Rooster Cogburn.
The subject was raised during a phone interview with Campbell, who will perform at 7 p.m. Thursday at the Topeka Performing Arts Center, 214 S.E. 8th.
Wayne played the gruff, one-eyed, prone-to-drunkenness-but-grit-filled U.S. marshal in the 1969 original, a role that earned the aging actor his only Academy Award. The Coen Brothers cast Bridges in their version of "True Grit," a trailer of which was released this week.
Speaking from his Los Angeles home, Campbell said he hadn't seen the trailer, but when asked if he thought Oscar winner Bridges would do as good a job as the Duke did as the iconic Rooster Cogburn, he responded, "I wouldn't think so."
"He'll probably be changing it up a little bit, but I've never seen anybody else like John Wayne," the 74-year-old said.
Campbell, who comes from an industry in which covers of standards are common, doesn't begrudge a new take on "True Grit."
"Oh, I think it's great, but I don't think it will beat the other one," he said, adding that is because of Wayne's acting skills, not his.
Campbell was just 33 when the movie was released. (Damon will be 40 when he is seen as La Boeuf on the big screen.) The movie was Campbell's first major role.
A year after "True Grit," Campbell co-starred in "Norwood," another Hollywood adaptation of a novel by "True Grit" author Charles Portis, a fellow Arkansas native. "Norwood" teamed Campbell again with Kim Darby, who played Mattie Ross in "True Grit." Campbell's other "Norwood" co-star was Joe Namath, whose skills on the big screen didn't measure up to those on the gridiron.
While Campbell never achieved stardom in movies, he certainly did in music.
Not only is Campbell an inductee of the Country Music Hall of Fame, in 1967 he demonstrated the breadth of his appeal by winning the Grammy Award for Best Male Country Vocal Performance for "Gentle On My Mind" and taking home the Grammy for Best Male Pop Vocal Performance for "By the Time I Get to Phoenix."
"Galveston," "Rhinestone Cowboy," "Southern Nights" and "Wichita Lineman" each topped Billboard's Country Singles chart and its Adult Contemporary sales board. Campbell scored five other No. 1 hits: "Country Boy (You Got Your Feet in L.A.)," "Don't Pull Your Love / Then You Can Tell Me Goodbye," "I Wanna Live," "Sunflower" and "Try a Little Kindness." In all, 27 Campbell singles made the Top 10.
Campbell's musical talents aren't limited to his voice. His guitar-playing prowess made him an in-demand studio musician early in his career. He recorded songs with acts as diverse as Frank Sinatra and the Monkees. He even recorded with Elvis Presley and spent several months on the road with the Beach Boys filling in for Brian Wilson in 1965.
As far as live performances, Campbell said, "I'm not doing it as much as I used to, of course," but he can still deliver on stage. He performed last month with the Forth Worth Symphony Orchestra, and a Star-Telegram critic wrote in his review, "At 74, Campbell retains a reasonable facsimile of his boyish good looks and doesn't sound much different than he did in the 1960s and '70s."
Bill Blankenship can be reached at (785) 295-1284 or [email protected] .
GLEN CAMPBELL
Where: Topeka Performing Arts Center, 214 S.E. 8th
How much: $59, $49 and $39
Buy how: In person at the TPAC box office or through Ticketmaster at (800) 745-3000, www.ticketmaster.com or the ticket service’s retail outlets
TRUE GRIT TRAILERS
Original: To see the trailer for the 1969 original “True Grit,” see its page on the Internet Movie Data Base site at www.imdb.com.
Remake: To view the trailer for the Coen Brothers’ version of “True Grit,” due Christmas, go to truegritmovie.com .
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Who was the first cricketer to take 300 test wickets | Trueman's 300th | Cricket | ESPN Cricinfo
August 15 down the years
Trueman's 300th
Fiery Fred misses a hat-trick but reaches a bigger landmark
Fred Trueman was the first bowler to take 300 Test wickets © Getty Images
1964
Colin Cowdrey's slip catch to dismiss Australia's Neil Hawke at The Oval made Fred Trueman the first bowler to take 300 wickets in Test cricket. Trueman, who had missed the previous match at Old Trafford, began the day on 297 wickets, and quickly took that tally to 299, with wickets in consecutive deliveries before the lunch break. Hawke averted the hat-trick but did not survive much longer. The match was drawn and the Ashes stayed with Australia, but for once it didn't matter so much. Asked whether he thought anyone would ever break his record, Trueman is reputed to have replied: "Aye, but whoever does will be bloody tired." Fiery Fred's eventual total of 307 remained the world mark until 1975-76.
1963
Birth of painter and wicketkeeper Robert Charles Russell. "Jack" Russell's 11 dismissals in Johannesburg in 1995-96 set a world record for all Test cricket. England's insistence on picking wicketkeeper-batsmen limited his international career, but even so, he played in 54 Tests, making 165 dismissals. And his own batting wasn't too shabby: he hit two Test hundreds, and his four-hour 29 not out in that Johannesburg Test buttressed Mike Atherton's epic match-saving innings. After retiring from international cricket, Russell was instrumental in the success of his beloved Gloucestershire, who won a hat-trick of one-day trophies in 2000. Eventually he had to give up the game altogether, in 2004, because of persistent injury trouble.
2005
A brilliant 156 from Ricky Ponting , and a stoical 24-ball stand between Australia's last pair of Brett Lee and Glenn McGrath, denied England victory in a match that would have taken them 2-1 up with two to play in the Ashes. The day began amid huge expectations and even bigger crowds: an estimated 10,000 ticketless fans were turned away from Old Trafford before 10am. The lucky few who grabbed their £10 tickets - some had camped overnight for the privilege - watched England chip and chisel away at a dogged Australian resistance. When Ponting fell, with four overs of the match remaining, victory seemed assured, but McGrath - batting a yard outside his crease to negate lbws - stood firm.
2015
Sri Lanka pulled off one of their greatest Test wins, coming from behind to beat India in Galle in the opening game of the series. The hosts were up against a first-innings deficit of 192, and at 95 for 5 in their second dig, an innings defeat loomed. However, Dinesh Chandimal's heroic unbeaten 162 altered the script on the third day, leaving India a tricky 176 to win. They had no answers to Rangana Herath on the fourth day, who along with Tharindu Kaushal spun Sri Lanka to a win, with figures of 7 for 48. The match also went into the record books for Ajinkya Rahane's eight catches, the most by a non-wicketkeeper in a Test .
1981
The century made by Ian Botham in the fifth Test was even better than his match-turning 149 at Headingley earlier in the series. Scored off only 86 balls, the result of classical clean hitting, the Old Trafford ton made the front page of the Times, which wondered if it was the greatest Test century ever. Certainly it was too good for the Australians, whose defeat cost them any chance of regaining the Ashes.
1928
Some claim that were it not for Bradman, Wally Hammond would have claim to being considered the greatest batsman of all time; but Hammond was also an outstanding allrounder. In Cheltenham , on this day, Hammond scored a hundred for Gloucestershire against Surrey. He went on to make a second hundred in the match - one of seven times he did that - and took ten catches in the close field. He also opened the bowling, though he took only one wicket. But in the next match he made amends, taking 15 for 128 against Worcestershire .
1886
Birth of Australian fast-medium left-armer Bill Whitty , whose 65 Test wickets cost only 21.12 each, largely as a result of the 1910-11 series against South Africa, in which he took 37 wickets. When the visitors needed only 170 to win in Melbourne , Whitty took 6 for 17 to bowl them out for 80.
1936
A typically magisterial 217 by Wally Hammond . The first double-century scored against India, it was the highlight of a day on which England scored 471 for 8. They went on to win the Oval Test by nine wickets.
1967
Despite a defiant 68 by Saeed Ahmed at Trent Bridge, Pakistan were all out for 114 (Derek Underwood 5 for 52) to give England a 1-0 lead in the series.
1951
Birth of Essex slow left-armer John Childs , who didn't play Test cricket until nearly 37 years later. His debut at Old Trafford in 1988 made him the oldest to make his England bow since 38-year-old Dick Howorth in 1947. West Indies won both the Tests Childs played in that summer, and his three wickets cost 61 each; but the winter tour to India was cancelled and he wasn't capped again.
Other birthdays
| Fred Trueman |
Which Briton broke the world triple jump record in 1995 | James Anderson takes 300th Test wicket for England - BBC Sport
BBC Sport
James Anderson takes 300th Test wicket for England
17 May 2013
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James Anderson glad 300th England Test wicket is 'out of the way'
Pace bowler James Anderson has become only the fourth England player to take 300 Test wickets.
Lancashire's Anderson, 30, joined Sir Ian Botham, Bob Willis and Fred Trueman by having New Zealand opener Peter Fulton caught by Graeme Swann on the second day of the first Test at Lord's.
"It was an emotional moment for me, I've worked really hard to get myself cemented in this team," he said.
Anderson, playing his 81st Test, made his debut against Zimbabwe in 2003.
The road to 300
"With England scheduled to play 11 Tests in the next nine months, including back-to-back Ashes series, expect Anderson to motor past Trueman and Willis - 307 and 325 wickets respectively - to leave only Botham ahead."
Read more on James Anderson
He began the first Test of the summer on 298 Test wickets and had Hamish Rutherford caught at slip by captain Alastair Cook in his first over.
Then, when Fulton edged an outswinger to Swann at second slip, Anderson became the 26th bowler in Test cricket to reach the 300-wicket milestone.
Anderson also added the scalp of Ross Taylor, his 301st wicket, as New Zealand closed on 153-4 in reply to England's 232 all out.
If he is to become England's most successful Test bowler of all time, he will have to overhaul Botham's 383, with Trueman's 307 and Willis's 325 his next targets.
"[Passing Botham] would be nice but it's a long way away," Anderson told BBC Sport. "I just want to keep taking wickets to put us into match-winning positions and hopefully the records will take care of themselves."
Anderson made his England debut in a one-day international in Australia in 2003, after playing only three one-day games for Lancashire.
Impressive performances down under earned him a place at that year's World Cup and a Test debut at Lord's, with the right-armer taking 5-73 against the touring Zimbabweans.
However, with back injuries blighting the early part of his career, Anderson would play only 20 Tests over the next five years and was the regular reserve for the 2005 Ashes-winning pace attack of Steve Harmison, Andrew Flintoff, Simon Jones and Matthew Hoggard.
But, with injuries and poor form gradually taking that foursome from the international game, Anderson has held a regular place in the England side since the tour of New Zealand in 2008.
Career-best figures of 11-71 followed against Pakistan at Trent Bridge in 2010, with Anderson going on to take 24 wickets on the tour of Australia in 2010-11 as England won the Ashes down under for the first time in 24 years.
In February of this year, Anderson claimed his 529th scalp in all formats to pass Botham's 528 and become England's leading international wicket-taker.
"He's right up there with the best that England have had and he's right up there with the best in the world," said former England captain Michael Vaughan.
"He really has been a most skilful bowler. I wasn't captain when he was at his best but you could always tell he was the guy that could produce magic.
"He's been the guy that has led the attack in all conditions. The one tag was that he didn't bowl well in the subcontinent, but last winter in India he proved that wrong."
Sri Lanka off-spinner Muttiah Muralitharan holds the record for the most Test wickets with 800. Australia leg-spinner Shane Warne is next on 708, with India's Anil Kumble having claimed 619.
Pace bowlers Glenn McGrath and Courtney Walsh both passed 500, while six other men have taken 400.
Of those still playing Test cricket, only India's Harbhajan Singh (413), New Zealand's Daniel Vettori (360) and South Africa's Dale Steyn (332) have collected more wickets than Anderson.
Listen to match highlights and Jonathan Agnew and Geoffrey Boycott's analysis of each day's play on the Test Match Special podcast.
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How many strings does a cello have | How Many Strings Does a Cello Have?
How Many Strings Does a Cello Have?
By Elizabeth W Marsh | Submitted On March 25, 2016
Cello Strings
The traditional cello has four strings: A, D, G and C. Each string is tuned a perfect fifth from the others (or seven half-steps apart). From the lowest (C) to the highest (A) open string, it covers nearly two octaves. From open C to the end of the fingerboard on the A, the cello's range is approximately five and one-half octaves. Many of the notes can be played in multiple places on the instrument.
String Descriptions
A String
The highest, or first string on the cello is A. Based on current trends of tuning to A440, the cello A sounds at 220 Hz or A3 on the piano keyboard. When you buy a cello A String, you might see it labeled as "I" (Roman Numeral) or "La," referring to the solfege (Do Re Mi) or European musical name. The open A String is notated in the bass clef as the top line. You may also see it as the middle line in the tenor clef, or the second ledger line below the staff in treble clef.
D String
The second string, a fifth down from A, is D. It sounds at approximately 146.8 Hz or D3 on the piano. The D String is often labeled "II" or "Re." Open D in the bass clef is the middle line. In tenor clef, open D is the bottom line.
G String
The third string is the G String. Another fifth down from D, the G String is tuned to 98 Hz or G2 on the piano. Commonly labeled "III" or "Sol." This is the bottom line of the bass clef staff.
C String
The fourth string, C, is tuned to 65.4 Hz or C2 on the piano. This is the lowest note on the cello. C is also frequently labeled as "IV" or "Do." Open C is the second ledger line below the bass clef staff.
The cello uses three clefs to read music: Bass, Tenor and Treble Clef.
Baroque or Electric cello, and certain pieces in the repertoire may require a fifth string (E), which would sound another fifth above the A string. There are also pieces which ask the cellist to tune one or more strings up or down to fit the hand better and tonality of the piece better. One example of this piece is Kodaly's Sonata for Solo Cello where the C and G Strings are tunded down one half-step to reach a B and an F-Sharp. You can hear this in the first chord of the piece.
Elizabeth is an cello teacher and performer. Find cellos, strings, and more on her website at http://theclassymusician.com/cello/cello-strings/
| four |
What is the largest of the woodwind family of instruments | 8notes.com - Beginners Cello Lesson - Introducting the 4 strings
Cello Cello Lessons Introducting the 4 strings
Introducting the 4 strings
The 4 Strings of the Cello
Let�s plunge straight in and learn the names of the 4 strings.
On the cello the highest string is on the left side as you are sitting with the instrument. You can also tell that it is the highest one because of its thinness. It is called �A�.
Moving downwards the names are: D, G and C (the thickest one).
The easy way to remember their names going is to have a saying like: �Cats Go Down Alleys�
Before we talk about the bow, lets pluck all those strings with the first finger of the right hand. Pluck the string in the gap between the bridge and the end of the black fingerboard.
Click on the play button to hear how this should sound.
Here's another exercise to try, again simply plucking the strings with the right hand. Try to pluck in a regular rhythm.
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In music a bagatelle is a piece of music composed primarily for which instrument | Basic glossary of musical forms
Music cataloging resources
Basic glossary of musical forms
These definitions are taken in part from the glossary of the The Classical Music Navigator by Charles H. Smith
air/ayre: (1) an English song or melody from the 16th to the 19th century; (2) a 16th-century solo song with lute accompanied.
aleatory music: music in which chance or indeterminacy are compositional elements.
anthem: a choral setting (often with solo voice parts and organ accompaniment) of an English language religious or moral text, usually for performance during Protestant services.
antiphon: a liturgical chant sung as the response to the verses of a psalm.
arabesque: a short piece of music featuring various melodic, contrapuntal, or harmonic decorations.
bagatelle: a short, light instrumental piece of music of no specified form, usually for piano.
ballade: (1) a 14th-15th-century French song form which set poetry to music; (2) an instrumental (usually piano) piece with dramatic narrative qualities.
barcarolle: song or instrumental piece in a swaying 6/8 time (i.e., suggesting the lilting motion of a Venetian gondola).
berceuse: a soft instrumental piece or lullaby, usually in a moderate 6/8 tempo; a lullaby.
canon: a contrapuntal form in two or more (voice or instrumental) parts in which the melody is introduced by one part and then repeated by the next before each previous part has finished (i.e., such that overlapping of parts occurs).
cantata: term applied to a 17th-18th- century multi-movement non-theatrical and non-liturgical vocal genre; subsequently used to describe large-scale vocal works in the same spirit, generally for soloists, chorus and orchestra; may also be for solo voice and accompaniment.
canzona: (1) 16th-17th-century instrumental genre in the manner of a French polyphonic chanson, characterized by the juxtaposition of short contrasting sections; (2) term applied to any of several types of secular vocal music.
caprice/capriccio: term describing a variety of short composition types characterized by lightness, fancy, or improvisational manner.
carol: since the 19th century, generally a song that is in four-part harmony, simple form, and having to do with the Virgin Mary or Christmas.
chaconne: a slow, stately instrumental work in duple meter employing variations.
chanson: French for song; in particular, a style of 14th- to 16th-century French song for voice or voices, often with instrumental accompaniment.
chant/plainchant: monophonic music used in Christian liturgical services sung in unison and in a free rhythm.
concertante: (1) a term used to modify another form or genre, suggesting that all parts should be regarded as equal in status (18th century) or indicating a virtuoso first violin part (19th century); (2) a work with solo parts in the nature of, but not the form of, a concerto.
concerto: (1) ensemble music for voice(s) and instrument(s) (17th century); (2) extended piece of music in which a solo instrument or instruments is contrasted with an orchestral ensemble (post-17th century).
concerto grosso: orchestral form especially popular in the 17th and 18th centuries in which the contrasting lines of a smaller and a larger group of instruments are featured.
credo: third item of the Ordinary of the Mass .
divertimento/divertissement: a style of light, often occasion-specific, instrumental music arranged in several movements..
etude/study: especially, a piece written for purposes of practicing or displaying technique.
fancy/fantas(-ia)(-ie)(-y)/phantasie: an instrumental piece in which the formal and stylistic characteristics may vary from free, improvisatory types to strictly contrapuntal; form is of secondary importance.
fugue: contrapuntal form in which a subject theme ("part" or "voice") is introduced and then extended and developed through some number of successive imitations.
galliard: a lively court dance of Italian origin, usually in triple time.
gigue (jig): a quick, springy dance often used as the concluding movement to 18th century instrumental suites.
Gloria: second item of the Ordinary of the Mass .
impromptu: a short instrumental piece of a free, casual nature suggesting improvisation.
incidental music: music composed for atmospheric effect or to accompany the action in a predominantly spoken play; the music is not integral to the work even though it may have dramatic significance.
Lied(er): German for song(s); in particular, a style of 19th-century German song distinguished by the setting of texts from the literary tradition and by the elaboration of the instrumental accompaniment.
madrigal: (1) a 14th-century Italian style of setting secular verse for two or three unaccompanied voices; (2) a 16th/17th-century contrapuntal setting of verse (usually secular) for several equally important voice parts, usually unaccompanied.
magnificat: a setting of the Biblical hymn of the Virgin Mary (as given in St. Luke) for use in Roman Catholic and Anglican services.
march: instrumental music in duple meter with a repeated and regular rhythm usually used to accompany military movements and processions.
masque: an aristocratic 16th-17th-century English theater form integrating poetry, dance, music, and elaborate sets.
mass : the principal religious service of the Catholic Church, with musical parts that either vary according to Church calendar (the Proper) or do not (the Ordinary).
mazurka: a moderately fast Polish country dance in triple meter in which the accent is shifted to the weak beats.
microtonal music: music which makes use of intervals smaller than a semitone (a half step).
minuet: a graceful French dance of moderate 3/4 tempo often appearing as a section of extended works (especially dance suites).
motet: (1) to ca. 1400, a piece with one or more voices, often with different but related sacred or secular texts, singing over a fragment of chant in longer note-values; (2) after 1400, a polyphonic setting of a short sacred text.
nocturne: a moderately slow piece, usually for piano, of dreamy, contemplative character and song-like melody.
ode: cantata-like musical setting of the lyric poetry form so called.
opera: theatrically staged story set to instrumental and vocal music such that most or all of the acted parts are sung. a drama set to music sung by singers usually in costume, with instrumental accompaninent; the music is integral and is not incidental.
operetta: a light opera with spoken dialogue, songs, and dances.
oratorio: originally setting of an extended religious narrative (and since ca. 1800, non-religious ones as well) for vocal soloists, chorus, and orchestra, intended for concert or church performance without costumes or stage settings.
ostinato: a short melodic, rhythmic, or chordal phrase repeated continuously throughout a piece or section while other musical elements are generally changing.
partita: term initially applied as a synonym for "set of variations" (17th century), then as a synonym for "suite" (ca. 1700 to present).
passacaglia: an instrumental dance form usually in triple meter in which there are ground-bass or ostinato variations.
pavan(e): a stately court dance in duple meter, from the 16th and 17th centuries, and remaining popular in the 17th century as an instrumental form.
polka: an energetic Bohemian dance performed in the round in 2/4 time.
polonaise: a stately Polish processional dance in 3/4 time.
prelude: (1) an instrumental section or movement preceding or introducing a larger piece or group of pieces; (2) a self-contained short piece usually for piano.
psalm: a vocal work set to text from the Book of Psalms.
quadrille: a lively, rhythmic 19th-century French country couple dance that incorporates popular tunes, usually in duple meter.
requiem: a musical composition honoring the dead; specially the Roman Catholic Mass for the dead, but also other commemorative pieces of analogous intent.
rhapsody: term similar to "fantasia" applied to pieces inspired by extroverted romantic notions.
romance: (1) a song with a simple vocal line and a simple accompaniment; especially popular in late 18th-19th-century France and Italy; (2) a short instrumental piece with the lyrical character of a vocal romance.
rondo: an instrumental form in which one section intermittently recurs between subsidiary sections and which concludes the piece.
scherzo: term designating lively and usually lighthearted instrumental music; most commonly used to label the fast-tempo movement of a symphony, sonata, etc.
serenade: a light and/or intimate piece of no specific form such as might be played in an open-air evening setting.
sinfonia: term applied in a variety of contexts in different periods; e.g., as a near synonym for "instrumental canzona," "prelude," "overture," and "symphony."
sonata: an extended piece for instrumental soloist with or without instrumental accompaniment), usually in several movements.
sonatina: a short sonata, or one of modest intent; especially popular during the Classical Period.
song cycle : a group of songs performed in an order establishing a musical continuity related to some underlying (conceptual) theme.
Stabat Mater: a sequence in the Roman Catholic liturgy regarding the crucifixion, and used in several Divine offices.
suite: a set of unrelated and usually short instrumental pieces, movements or sections played as a group, and usually in a specific order.
symphonic poem/tone poem: a descriptive orchestral piece in which the music conveys a scene or relates a story.
symphony: an extended piece for full orchestra, usually serious in nature and in several movements.
tango: an Argentinian couple dance in duple meter characterized by strong syncopation and dotted rhythms.
Te Deum: (from the Latin, "We praise Thee, O God") lengthy hymn of praise to God in the Roman Catholic, Anglican, and other Christian liturgies.
toccata: a piece for keyboard intended to display virtuosity.
trio sonata: a 17th-18th-century sonata for two or three melody instruments and continuo accompaniment
variations: composition form in the theme is repeated several or many times with various modifications.
waltz: a popular ballroom dance in 3/4 time.
| Piano |
What is the highest pitched woodwind instrument in an orchestra | "Fur Elise" by Ludwig Van Beethoven
"Fur Elise" by Ludwig van Beethoven
"Fur Elise" by Ludwig van Beethoven
Bagatelle No. 25 in A minor WoO 59
Ludwig van Beethoven.
By Aaron Green
History of Fur Elise
Ludwig van Beethoven was well into his career and almost completely deaf when he wrote his famous piano piece, Fur Elise, in 1810. Though the title of the piece comes from a discovered manuscript signed by Beethoven and dedicated to Elise, it has since been lost - sparking an interest in learning who this "Elise" could be. There are many theories, though many a far stretch, ranging from misreading Beethoven's sloppy handwriting to "Elise" being used as a term of endearment. It simply could be that Beethoven knew someone named Elise.
About the Music of Fur Elise
Fur Elise is a bagatelle, which literally means a thing of little or no value. This small tune, no longer than 4 minutes, can hardly be described as a bagatelle! It is perhaps just as recognizable as Beethoven's 5th and 9th symphonies, if not more.
Fur Elise can be basically broken down into five parts: A-B-A-C-A. It begins with the main theme, a simple somber melody played sweetly above arpeggiated chords (A), then briefly modulates to a major scale (B), then returns to the main theme (A), then ventures to a much more tumultuous and lengthier idea (C), before finally returning to the main theme.
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Beethoven only assigned opus numbers to his larger works, such as his symphonies. This small piano piece was never given an opus number, hence the WoO 59, which is German for "werk ohne opuszahl" or "work without opus number". It was assigned to the piece by Georg Kinsky in 1955.
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What word describes the rate of change of a body's velocity | Speed and Velocity
1-D Kinematics - Lesson 1 - Describing Motion with Words
Speed and Velocity
Acceleration
Just as distance and displacement have distinctly different meanings (despite their similarities), so do speed and velocity. Speed is a scalar quantity that refers to "how fast an object is moving." Speed can be thought of as the rate at which an object covers distance. A fast-moving object has a high speed and covers a relatively large distance in a short amount of time. Contrast this to a slow-moving object that has a low speed; it covers a relatively small amount of distance in the same amount of time. An object with no movement at all has a zero speed.
Velocity as a Vector Quantity
Velocity is a vector quantity that refers to "the rate at which an object changes its position." Imagine a person moving rapidly - one step forward and one step back - always returning to the original starting position. While this might result in a frenzy of activity, it would result in a zero velocity. Because the person always returns to the original position, the motion would never result in a change in position. Since velocity is defined as the rate at which the position changes, this motion results in zero velocity. If a person in motion wishes to maximize their velocity, then that person must make every effort to maximize the amount that they are displaced from their original position. Every step must go into moving that person further from where he or she started. For certain, the person should never change directions and begin to return to the starting position.
Velocity is a vector quantity. As such, velocity is direction aware. When evaluating the velocity of an object, one must keep track of direction. It would not be enough to say that an object has a velocity of 55 mi/hr. One must include direction information in order to fully describe the velocity of the object. For instance, you must describe an object's velocity as being 55 mi/hr, east. This is one of the essential differences between speed and velocity. Speed is a scalar quantity and does not keep track of direction; velocity is a vector quantity and is direction aware.
Determining the Direction of the Velocity Vector
The task of describing the direction of the velocity vector is easy. The direction of the velocity vector is simply the same as the direction that an object is moving. It would not matter whether the object is speeding up or slowing down. If an object is moving rightwards, then its velocity is described as being rightwards. If an object is moving downwards, then its velocity is described as being downwards. So an airplane moving towards the west with a speed of 300 mi/hr has a velocity of 300 mi/hr, west. Note that speed has no direction (it is a scalar) and the velocity at any instant is simply the speed value with a direction.
Calculating Average Speed and Average Velocity
As an object moves, it often undergoes changes in speed. For example, during an average trip to school, there are many changes in speed. Rather than the speed-o-meter maintaining a steady reading, the needle constantly moves up and down to reflect the stopping and starting and the accelerating and decelerating. One instant, the car may be moving at 50 mi/hr and another instant, it might be stopped (i.e., 0 mi/hr). Yet during the trip to school the person might average 32 mi/hr. The average speed during an entire motion can be thought of as the average of all speedometer readings. If the speedometer readings could be collected at 1-second intervals (or 0.1-second intervals or ... ) and then averaged together, the average speed could be determined. Now that would be a lot of work. And fortunately, there is a shortcut. Read on.
The average speed during the course of a motion is often computed using the following formula:
In contrast, the average velocity is often computed using this formula
Let's begin implementing our understanding of these formulas with the following problem:
Q: While on vacation, Lisa Carr traveled a total distance of 440 miles. Her trip took 8 hours. What was her average speed?
To compute her average speed, we simply divide the distance of travel by the time of travel.
That was easy! Lisa Carr averaged a speed of 55 miles per hour. She may not have been traveling at a constant speed of 55 mi/hr. She undoubtedly, was stopped at some instant in time (perhaps for a bathroom break or for lunch) and she probably was going 65 mi/hr at other instants in time. Yet, she averaged a speed of 55 miles per hour. The above formula represents a shortcut method of determining the average speed of an object.
Average Speed versus Instantaneous Speed
Since a moving object often changes its speed during its motion, it is common to distinguish between the average speed and the instantaneous speed. The distinction is as follows.
Instantaneous Speed - the speed at any given instant in time.
Average Speed - the average of all instantaneous speeds; found simply by a distance/time ratio.
You might think of the instantaneous speed as the speed that the speedometer reads at any given instant in time and the average speed as the average of all the speedometer readings during the course of the trip. Since the task of averaging speedometer readings would be quite complicated (and maybe even dangerous), the average speed is more commonly calculated as the distance/time ratio.
Moving objects don't always travel with erratic and changing speeds. Occasionally, an object will move at a steady rate with a constant speed. That is, the object will cover the same distance every regular interval of time. For instance, a cross-country runner might be running with a constant speed of 6 m/s in a straight line for several minutes. If her speed is constant, then the distance traveled every second is the same. The runner would cover a distance of 6 meters every second. If we could measure her position (distance from an arbitrary starting point) each second, then we would note that the position would be changing by 6 meters each second. This would be in stark contrast to an object that is changing its speed. An object with a changing speed would be moving a different distance each second. The data tables below depict objects with constant and changing speed.
Now let's consider the motion of that physics teacher again. The physics teacher walks 4 meters East, 2 meters South, 4 meters West, and finally 2 meters North. The entire motion lasted for 24 seconds. Determine the average speed and the average velocity.
The physics teacher walked a distance of 12 meters in 24 seconds; thus, her average speed was 0.50 m/s. However, since her displacement is 0 meters, her average velocity is 0 m/s. Remember that the displacement refers to the change in position and the velocity is based upon this position change. In this case of the teacher's motion, there is a position change of 0 meters and thus an average velocity of 0 m/s.
Here is another example similar to what was seen before in the discussion of distance and displacement . The diagram below shows the position of a cross-country skier at various times. At each of the indicated times, the skier turns around and reverses the direction of travel. In other words, the skier moves from A to B to C to D.
Use the diagram to determine the average speed and the average velocity of the skier during these three minutes. When finished, click the button to view the answer.
| Acceleration |
Who in a sixties TV series was thawed from a block of ice to fight crime | Speed | Define Speed at Dictionary.com
speed
rapidity in moving, going, traveling, proceeding, or performing; swiftness; celerity:
the speed of light; the speed of sound.
2.
relative rapidity in moving, going, etc.; rate of motion or progress:
full speed ahead.
full, maximum, or optimum rate of motion:
The car gets to speed in just nine seconds.
4.
Automotive. a transmission gear ratio.
5.
Photography.
Also called film speed . the sensitivity of a film or paper to light, measured by an ASA or DIN index, which assigns low numbers to slow film and higher numbers to faster film.
Also called shutter speed . the length of time a shutter is opened to expose film.
the largest opening at which a lens can be used.
6.
Slang. a stimulating drug, as caffeine, ephedrine, or especially methamphetamine or amphetamine.
7.
Informal. a person or thing that is compatible with or typical of one's ability, personality, desires, etc.:
My speed is writing postcards on the porch while everyone else is tearing around the tennis court.
8.
verb (used with object), sped or speeded, speeding.
9.
to promote the success of (an affair, undertaking, etc.); further, forward, or expedite.
10.
to direct (the steps, course, way, etc.) with speed.
11.
to increase the rate of speed of (usually followed by up):
to speed up industrial production.
12.
to bring to a particular speed, as a machine.
13.
to cause to move, go, or proceed with speed.
14.
to expedite the going of:
to speed the parting guest.
15.
Archaic. to cause to succeed or prosper.
verb (used without object), sped or speeded, speeding.
16.
to move, go, pass, or proceed with speed or rapidity.
17.
to drive a vehicle at a rate that exceeds the legally established maximum:
He was arrested for speeding.
18.
to increase the rate of speed or progress (usually followed by up).
19.
to get on or fare in a specified or particular manner.
20.
Archaic. to succeed or prosper.
Idioms
outspeed, verb (used with object), outsped or outspeeded, outspeeding.
overspeed, verb, oversped or overspeeded, overspeeding.
Synonyms
See more synonyms on Thesaurus.com
1, 2. fleetness, alacrity, dispatch, expedition; hurry. Speed, velocity, quickness, rapidity, celerity, haste refer to swift or energetic movement or operation. Speed (originally prosperity or success) may apply to human or nonhuman activity and emphasizes the rate in time at which something travels or operates: the speed of light, of a lens, of an automobile, of thought. Velocity, a more learned or technical term, is sometimes interchangeable with speed : the velocity of light; it is commonly used to refer to high rates of speed, linear or circular: velocity of a projectile. Quickness, a native word, and rapidity, a synonym of Latin origin, suggest speed of movement or operation on a small or subordinate scale; quickness applies more to people (quickness of mind, of perception, of bodily movement ), rapidity more to things, often in a technical or mechanical context: the rapidity of moving parts; a lens of great rapidity. Celerity, a somewhat literary synonym of Latin origin, refers usually to human movement or operation and emphasizes expedition, dispatch, or economy in an activity: the celerity of his response. Haste refers to the energetic activity of human beings under stress; it often suggests lack of opportunity for care or thought: to marry in haste; a report prepared in haste. 9. advance, favor. 11. accelerate. 16. See rush 1 .
Antonyms
the act or quality of acting or moving fast; rapidity
2.
the rate at which something moves, is done, or acts
3.
(physics) a scalar measure of the rate of movement of a body expressed either as the distance travelled divided by the time taken (average speed) or the rate of change of position with respect to time at a particular point (instantaneous speed). It is measured in metres per second, miles per hour, etc
4.
a rate of rotation, usually expressed in revolutions per unit time
5.
a gear ratio in a motor vehicle, bicycle, etc
(in combination): a three-speed gear
6.
(photog) a numerical expression of the sensitivity to light of a particular type of film, paper, or plate See also ISO rating
7.
(photog) a measure of the ability of a lens to pass light from an object to the image position, determined by the aperture and also the transmitting power of the lens. It increases as the f-number is decreased and vice versa
8.
a slang word for amphetamine
9.
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Which Kansas town made famous in many westerns is on the Smoky Hill river | Genuine Kansas - Smoky Hill River - Kansas
Smoky Hill River
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The Smoky Hill River is a 560-mile river in the U.S. states of Colorado and Kansas . It starts in the high plains of eastern Colorado and flows east. The two main tributaries, called the North and South forks, join near Russell Springs, Kansas. From there, the river continues generally eastward through central Kansas. The Smoky Hill River joins the Republican River at Junction City , Kansas to form the Kansas River .
Besides Junction City, other Kansas towns along the river are Salina and Abilene . Two dams, the Kanopolis and the Cedar Bluff, are used for irrigation and flood control. Native names for the river include Chetolah and the Okesee-sebo. Early maps of European explorers called the river (sometimes in combination with the Kansas) the River of the Padoucas, after a name given to the Comanche.
Ferries Along the Smoky Hill River
By George A. Root (1935)
According to an early edition of Webster's Unabridged Dictionary, the word "Kansas" in the Indian vernacular means "Smoky Water."[1] This reference applies particularly to the stream commonly known as the Smoky Hill. Indians who had lived and hunted along this stream for ages considered the Smoky Hill and Kansas rivers one and the same stream.
The Smoky Hill river is shown on early maps as the River of the Padoucas, from the fact that the stream has its source in territory occupied for ages by the Comanche Indians, or, as they were known, Padoucas. The earliest reference to the stream we have located is found on D'Anville's map of 1732 which shows the Smoky Hill and Kansas as one river and calls it the River of the Padoucas.[2] A map of British and French settlements in North America, published about 1758, names the stream the Padoucas river. Pike, the explorer, encountered the stream while on his way to the village of the Pawnees on the Republican River, in 1806, and his chart gives the name as the Smoky Hill, this being, so far as we have discovered, the first mention of the stream under this name, though the name must have attached some time prior to his visit.
John C. McCoy, who surveyed the Shawnee lands in Kansas in 1833, reached the river at a point about 200 miles west of the Missouri state line, and he called it the Smoky Hill. Schoolcraft, the historian, called the stream the Smoky Hill or Topeka river; Fremont called it the Smoky Hill Fork; and Max Greene, in his The Kansas Region, published in 1855, mentions the river, and says the Indian name for it was "Chetolah." The Plains Indians had another name for it, calling it the "Okesee-sebo."[3]
James R. Mead, an early hunter, trapper and trader on the plains during the latter 1850s and 1860s, has the following regarding the origin of the name. "The Smoky Hill river takes its name from the isolated buttes within the great bend, landmarks widely known, to be seen from a great distance through an atmosphere frequently hazy from smoke."[4]
George Bird Grinnell, the historian, has a different version of the origin of the name. He says that a large grove of cottonwoods about twenty-five miles west of old Fort Wallace, an old camping ground and burial place of the Indians along the river, was a landmark in that locality and could be seen for miles. At a distance those trees appeared like a cloud of smoke, thus giving rise to the name Smoky Hill, which he said was given by the Indians.[5]
In 1926 the topography of the Smoky Hill basin, which lies alongside the river, about four miles southeast of Sharon Springs, Wallace county, underwent a sudden and startling change. As the account of this convulsion of nature has a bearing on the origin of the name of the river, it is given here along with other interesting data. On the morning of March 9, between seven and eight o'clock; the bottom suddenly dropped out of the basin, leaving a gaping hole about 150x100 feet in size, and over a hundred feet deep. Old-timers remember when the Smoky Hill basin was a bottomless pool twenty-five or thirty years ago. Since that time through some mysterious workings of nature, the pool filled up with shale and clay. John T. Steele, of Abilene, writing to the editor of The Western Times, of Sharon Springs, in its issue of March 18, 1926, said:
I am going to tell you some ancient history with which you may not be familiar, about the basin, a part of which is an echo of Indian tradition that has been handed down to us about the peculiar phenomena of the Smoky Hill disappearing like it does, at what we call the basin. John Robb, who as you know, was a scout at Fort Wallace, told me thirty years ago, that the Indians were to a certain extent very suspicious of the place. And that it was reported by them that the pool at the basin had no bottom.
He said "that some soldiers in 1876, from the Fort, who had absorbed some of this Indian tradition, came out to test the truth of their statements. They had 500 feet of rope which he saw lowered into the pool at the basin, to which was added several lasso ropes contributed by interested cowboys, and that in all about 630 feet of weighted rope was let down in a vain attempt to touch bottom."
In March of 1913, I think it was, I visited the basin and was surprised to find it dry, except for a pool in the northwest side, about sixteen feet in diameter. The temporary bottom was less than twenty feet below the usual water level, and this small pool contained a ton or more of frozen fish.
The Kansas City Star sent a correspondent to the scene who stayed a week to report any changes. He stated that a strange blue haze hangs over the narrow bed through the summer, and suggested that perhaps the Indians who named it saw smoke issuing from the pool through volcanic action. Within a couple of weeks the cave-in had attained startling proportions, being at least 450 feet long from east to west and 300 feet north and south. From the east line of the cave-in it was 150 feet down to the water line, and the water by actual measurement was 180 feet in depth.[6]
The Smoky Hill in the early days traversed the center of the finest hunting country east of the Rocky Mountains. Along the stream and its various tributaries immense herds of buffalo,[7] and countless deer, elk, antelope and smaller game fed. For years it was considered a hunter's paradise. Every year hunting parties of the various Plains Indians went there on their annual hunts, to kill and cure sufficient meat to last till the next hunting season. There was an abundance of game for all, and plenty of fuel to smoke the meat, and much of their meat must have been cured and dried within sight of those high hills known as the Smoky Hill Buttes, that lie in the south central part of Saline county. Inasmuch as this locality was such a favorite camping place for the Indians, is it not within the range of probability that the name of the stream was suggested by the hazy or smoky atmosphere that hovered over the tree tops of this most favored of the camping and hunting grounds on the river?
On account of the abundance of game along the stream the Indians were reluctant to surrender this territory to the white men, and many battles with the Indians resulted as the white settlers encroached on their hunting grounds. In 1867 a treaty was held on Medicine Lodge creek, with the Kiowas and Comanches, at which time these tribes signed a treaty of peace agreeing to withdraw their opposition to the building of a railroad up the Smoky Hill and Platte rivers.[8] In 1868 a treaty was made with the Sioux, Arapahoes and other tribes, who, while agreeing to withdraw opposition to the building of a railroad across the plains, reserved the right to hunt on the Republican Fork and the Smoky Hill.[9]
In ordinary years the Smoky Hill is not a large stream, the channel gradually narrowing as the stream is ascended. At Lindsborg, 109 miles above its mouth, the width at average low water is fifty feet. The highest water of record in the stream was in May, 1903, when it reached 31.5 feet at this point, flood stage being at 20 feet.[10]
Gauging stations have been placed at several points on the lower river. The earliest, at Ellsworth , was established April 16, 1895, those at Lindsborg and Abilene on August 1, 1904, and the latest at Enterprise, in November, 1934. The river was out of its banks at a number of places during the flood of 1903 in the Kaw valley, while on several occasions during 1907 and 1908, the stream ceased to flow.[11]
During the summer of 1868 a prolonged drouth prevailed along the watershed of the Smoky Hill and its tributaries, and the Smoky had fallen to a low level. It is reported that on one particularly hot day that summer a large number of thirsty buffalo reached the river in what is now McPherson county. Driven by thirst the first animals to reach the water were soon driven out by others following, these in turn being crowded out by the vast herd bringing up the rear. As a result they drank the river dry on this occasion. This herd was described as covering an area thirty miles in length, and containing hundreds of thousands of buffalo.[12]
The Smoky Hill practically bisects all that portion of Kansas west of Fort Riley and, with the exception of the Arkansas River , has a greater mileage within the state than any other stream. The river is formed by two branches which rise in eastern Colorado. One, the north branch, has its source in Kit Carson county, and the other, the southern branch, starts in Cheyenne county. The North fork enters Kansas in Sherman County, makes a turn towards the southeast and joins the other branch in Logan county. The South fork enters Kansas in Wallace County, and flows practically east across almost three-fourths of the state. It traverses the counties of Wallace, Logan, Gove, Trego, Ellis, Russell, Ellsworth, McPherson, Saline, Dickinson and a portion of Geary, and unites with the Republican on the Fort Riley military reservation to form the Kansas River . The stream is about 530 miles long and has a drainage area of 57,727 square miles.[13]
The name of the individual who started the first ferry across the Smoky Hill above the mouth appears to have been lost to posterity, but the ferry, no doubt, was located close to Fort Riley. Col. Percival G. Lowe, of Leavenworth , who saw much service on the plains, mentions having crossed this stream on a poor ferry in 1854, at which time the ferry was located about a mile above the junction with the Republican. His account, however, failed to mention the name of the proprietor.[14]
Samuel Bartlett operated the first licensed ferry on this stream above its mouth. This authority was granted in 1857 and was the first ferry license issued by Davis (now Geary) county. It was located northeast of Junction City , and the license cost $10 a year, with ferriage rates as follows:
Two-horse team, mules, oxen or asses, 50 cents; each additional team, 20 cents; every buggy, or one-horse vehicle, and horse, mule or ass, 30 cents; every horse, mule or ass, and rider, 20 cents; each horse, mule or ass, led, 10 cents; for footmen, 10 cents; for cattle, 10 cents; for sheep, hogs and freight, the court left the charges for the parties to agree on.[15]
By 1859 Bartlett had a competitor. The Kansas Weekly Herald, of Leavenworth, of March 26, 1859, says: ". . . A short distance above the mouth of the Smoky Hill Mr. Patterson has a good ferry boat in which one can cross to the north side of the Smoky Hill and reach Junction City, the first town west of Fort Riley ."
No further mention of Patterson's ferry has been located.
The Herald of the same issue also published the following concerning Captain Bartlett's ferry: "A fine boat has recently been launched by Captain Bartlett, whose rate of tolls has been established by the citizens of the town. By this ferry a choice of roads may be taken, on the north or south side of the river."
Bartlett presumably operated his ferry to the satisfaction of all, as no record of complaint has been located. In 1860 he endeavored to secure a special charter from the territorial legislature, at which time the following bill was introduced:
AN ACT to Charter a Ferry across the Smoky Hill River in Kansas Territory . Be it enacted by the Governor and Legislative Assembly of the Territory of Kansas:
SECTION 1. That Samuel Bartlett, his heirs and assigns are hereby authorized to keep a ferry across the Smoky Hill river at the crossing of the Junction City and Lyons creek roads, in Kansas Territory, and shall have the exclusive right and privilege of keeping a ferry at said point and within two miles each way up and down the river, from said points for and during the period of ten years from the passage of this act.
SEC. 2. That the above named Samuel Bartlett, his heirs and assigns shall keep a good and substantial boat or boats in constant readiness at said ferry, to be properly manned and attended and kept in good repair.
SEC. 3. That the tribunal transacting county business for the county in which said ferry shall be situated is hereby authorized to determine and fix the rate of ferriage across the said river from time to time as may be deemed proper, and a list of the same shall be posted at the ferry landing or on the boat or boats so used and any fees extorted beyond the rate established shall work a forfeiture of all the privileges under this act.
[SEC. 4]. This act to take effect and be in force from and after its passage.
This bill was introduced in the council by Senator Woodward and was passed February 10. The house of representatives added some amendments and passed it. These amendments were concurred in by the council. For some unexplained reason, however, the bill never became a law.
In 1860 Bartlett built a new boat and started a second ferry. While the Junction City paper made no mention of this fact, commissioners' records of July 4 recite: "Ordered that the ferry of Samuel Bartlett on the Smoky Hill near Junction City be charged license at the rate of ten dollars per annum and that the upper ferry be exempt from license."[16]
Apparently some individual nursing a grudge at Captain Bartlett, or blessed with a perverted sense of humor, cut the cable one night and the ferry boat drifted away. Upon its recovery the Union of November 25, 1861, had the following to say regarding the incident:
Captain Bartlett[17] has at last restored to his famous crossing of the Smoky Hill the magnificent boat which he had built last spring to accommodate the traveling community. It had been for some time past four or five miles down the river, some villain having cut the rope. It is now on duty, and with such a commander who would doubt the safety of a trip across the Smoky Hill, as turbulent as it is.
Evidently some of the ferry operators in the county were delinquent in taking out ferry licenses from the county. Under date of July 3, 1860, appears the following brief entry: "W.H. McKinley, bill for services notifying ferrys to take out license. Allowed. $2."[18]
It is not known how long Bartlett's ferry was operated, since there was scant mention of ferry matters in early commissioners' records. However, it must have been operated up to some time in 1862. The following, relating to Davis county ferry matters, is something of a puzzle, as no further mention of the matter has been found. Commissioners' records of April 5, 1861, recite:
We the undersigned commissioners having in consideration the granting of a ferry license in the case of John Lawrence vs. ______ Sage, deside that we have no rite to grant License to any person over a charterd privilege and therefore deside that Sage has the Legal wright to run said ferry on compliance with the Law regulating his charter.
Signed Wm. Cuddy, chmn
J.L. Wingfield
J.H. Brown[19]
By 1863 there appeared to be a lack of ferry accommodations on the Smoky Hill. The Junction City Union of February 28 called attention to the matter, stating that both the Smoky Hill and the Republican rivers were free of ice, and that preparations should be made immediately to place a boat on the Smoky Hill, as the spring rise in that river would soon shut off communication with the whole southern country unless precaution was taken and a boat placed on the river at once.
From 1863 to 1866 no mention of ferry matters on the Smoky Hill in Davis county has been located.
L.B. Perry succeeded to the ferry at Bartlett's crossing. The Union, of March 9, 1867, stated that he "has placed a ferryboat on the Smoky Hill river at Bartlett's crossing, and the consequence is we see so many familiar faces whom the 'drouth' has kept from our view for some time past."
On March 13, 1867, Mr. Perry made application for a license to operate a ferry at the crossing of the Junction City and Council Grove state road.[20] His application was placed on file.[21] On May 4, following, Mr. Perry received his license, issued for a period of six months, the commissioners fixing the following rates: "Six mules, or six horses and wagon, 75 cents; 4 mules or horses, 50 cents; 2 mules or horses, 35 cents; 2 horses and buggy, 25 cents; 1 horse and buggy, 20 cents; 1 horseman and horse, 15 cents; 1 footman, 10 cents; sheep or hogs, each, 5 cents. Ten cents for each span of horses or mules above six.[22]
Very little in way of a history of the Perry ferry on the Smoky Hill has been located. In the Union of June 8, 1867, there was the following item: "On Tuesday Perry's ferry boat across the Smoky Hill sunk while crossing with an ox team. The river was on a rise. One yoke of cattle were drowned." As a bridge was built close to the ferry location during 1867 it is likely Perry discontinued his ferry before the expiration of his license.
Junction City had been an important road center from the time the town was established. It was on the most direct and practicable route from Leavenworth and Wyandotte to the frontier posts of central Kansas, and to the mountains and Santa Fe. The Leavenworth and Pike's Peak Express line up the Kaw Valley ran through Junction City and westward for some distance on the north side of the Smoky Hill, branching toward the northwest at a point in Ottawa county.
In the Kansas Statesman, Junction City, June 30, 1860, appeared the following notice regarding highways:
Notice is hereby given that a petition will be presented to the Board of County Commissioners of Davis County, K.T., at the July session A.D. 1860, for the viewing, laying out and establishing a county road from Island City by the way of the present crossing of Dry Run creek and Bartlett's ferry, on the Smoky Hill river to Junction City.
(Signed) "Many Citizens."
Under date of July 3, 1860, the commissioners' proceedings of Davis county recite "Petition for road was presented to start from Island City to Junction City, by the way of Bartlett's ferry. Fox Booth, Robert Reynolds and Joseph Walters said reviewers, to meet at Island City, on July 14, 1860, to view and establish said road."[23] In 1861 the legislature established three roads affecting Junction City, the first being a state road from Atchison to Junction City, by way of Holton and James' crossing; the next from Junction City to Topeka, and the third from Council Grove to Junction City.[24] On January 5, 1863, a petition was presented to Davis county commissioners for the establishment of a road from the Morris county line to Bartlett's ferry. This communication was filed and acted upon later when Christian Wetzel, C. Boyer and Chas. Roesler were appointed viewers to meet on the first Monday in February, following, at Bartlett's ferry.[25]
In April, 1863, an effort was being made within the county to establish a road from Bartlett's ferry, via Dry creek, Clark's creek and Davis creek to Junction City . In 1864 two post roads were established from Junction City, one running to Denver and the other to Fort Kearney, Neb.[26] The legislature of 1864 established three roads affecting Junction City. One ran from Junction City, via Pooler's[27] crossing and Lyon's creek to Marion Center; another from Junction City, via Abilene and Salina to the Santa Fe road, and the third from Junction City, via Quimby's to Clifton.[28]
The legislature of 1865 established five roads affecting Junction City, the first starting from that town and running by way of Lyons creek to Marion Center; another from Junction City in a southerly direction up Lyons creek to the northwest corner of township 4, range 4, thence in a southerly direction to the Santa Fe road, at or near where said road crosses the Cottonwood river in Marion county; another ran from Junction City northwestward on the south side of the Republican river to the mouth of Buffalo creek in Shirley (now Cloud) county; another ran from the town of Batchelder, Riley county, to a point on the Solomon river , A.B. Whiting, A.H. Towle and Seymour Ayres being commissioners selected to lay out this road; another was established to run as nearly due west as practicable from Junction City to the western boundary of Kansas. The road from Junction City to Council Grove was shortened, while a state road was established from El Dorado, via Chelsea, Butler county, and Cedar Point, Chase county, to Junction City.[29]
In the commissioners' proceedings of Davis county, November and December, 1865, there is some reference to the report of the commissioners selected to lay out a state road from Junction City to Marion Center. The county commissioners accepted the report of the road commissioners, excepting such portion as related to Pooler's ford. The county commissioners maintained that a county road was already laid out on the section line, nearly connecting Pooler's ford and Junction City , and that it was situated on equally as good ground as that selected by the road commissioners.[30]
In February, 1866, Capt. Alfred C. Pierce surveyed a state road from Junction City to Sibley, in Cloud county. This year the legislature authorized the location of a state road beginning at the southern terminus of Adams street, in Junction City, thence on the most practicable route and ground to the northeast corner of section 15, township 12, range 5 east, in Davis county; thence on the most practicable route and ground to intersect the Davis county road at the county line between Davis and Dickinson counties at or near the present residence of O.O. Bridges. J.W. Woodward, Geo. W. Taylor and George Bates were commissioners selected to locate this road.[31] The road from Topeka to Junction City, on the south side of the Kansas river, and the location of the state road running from Council Grove to Junction City were changed by the legislature of 1867.[32]
The route up the Kansas and Smoky Hill rivers to the mountains had long been recognized as the shortest one, and compared to the Platte river highway of Nebraska, to Denver and other towns in the Colorado gold fields, was some 116 miles shorter between the Missouri river and those points, David A. Butterfield, projector of the Butterfield Overland Despatch had employed Lieut. Julian R. Fitch to make a report on the practicability of a route up these streams for freighting purposes, and in his report Fitch pointed out the advantages of the Smoky Hill route, which was the shorter one and had no sand to contend with, while on the Platte route from Julesburg to Denver, a distance of 200 miles, the freighter or emigrant had a dead pull through sand, without a stick of wood or a drop of water, save the Platte itself, which was from three to five miles from the road.
When it was taken into consideration that a loaded ox team makes but from twelve to fourteen miles a day, and never exceeds sixteen, it would not pay to double that distance by driving to the Platte river for the only water in the country, for the purpose of camping. There was plenty of timber by the Smoky Hill route; also, nature had bountifully supplied this route with an abundance of bois de vache (buffalo chips), which was always cheerfully chosen by the tired emigrant in preference to cutting timber for a fire.
The Smoky Hill valley route was becoming more and more popular. Partisans of this highway were not backward in contrasting its advantages with those of the Platte river. A comparison of this sort when railroad building was started was published in the Leavenworth Times, and republished in the Junction City Union of April 27, 1867, as follows;
The Smokey Hill
There is no concealing the flood disaster of the road from Omaha west, and no mistake as to the snow difficulties it has had to encounter. Nor are these accidental. Every year they come, with less or greater severity; but with severity enough to deluge the plains of the Platte with water, and fill the gaps and ravines with snow. Nature will forever forbid this road being the main track west.
Old trappers and early pioneers, for the last nine years, have insisted upon the Smoky Hill being the best, whether regard should be had to difficulties or benefits -- to danger from climate, or advantages -- such as water, fuel, etc., on land.
Rough surveys followed. The first was made, mainly, at the expense of the city of Leavenworth, years ago. That gave a promise; still it was not thorough enough to satisfy the enquiring, or give confidence to the timid. The second was fuller; more satisfactory.
It convinced most persons interested in the west that the Smoky Hill was the route, and a few of the bolder pioneers tried it with success. Still old habit, regular stations, "being in company with each other," made the body of the plainsmen hug the Platte route. Nor was it until Isaac Eaton, Esq., passed over the Smoky Hill, established stations on the line, and then proved its superiority, that the public admitted it. That fact is now settled.
On Saturday night our road -- the Pacific, E. D. -- was finished to Salina. The commissioners will visit and examine the last finished portion of the line, and report. That report will reach Washington, in all probability, by Thursday or Friday, and the cars will run from Leavenworth to Salina.
Fort Harker will be the next point, and the warm July sun will witness this line completed. Onward is the word! Westward, the iron girder bears the increased and increasing weight of trade and travel.
With the establishment of roads, the settlement of the country quickly followed, and naturally there came a demand for bridges over the Smoky Hill. The year 1860 saw the first move in this direction by private interests, the legislature that year granting to the Smoky Hill Bridge Company exclusive rights, for fifteen years, for building and maintaining a bridge across the river between the mouth of Lyons creek and the line of the Fort Riley military reservation. This company included P.Z. Taylor, John T. Price, William Cuddy, James B. Woodward, W.W. Herbert, Robert Wilson, James R. McClure and James P. Downer. This company was capitalized at $25,000, but aside from this charter accomplished nothing else.[33]
Apparently the first bridge across the Smoky Hill in Davis county was built by Samuel Bartlett, and was completed early in December, 1861.[34] Just how long this bridge stood we have not learned. However, by 1866 a movement for a free bridge to be located at Bartlett's ferry began to take shape. On January 6, A.W. Callen, J.B. Woodward and James Brown were appointed a committee to measure the Kansas [Smoky Hill?] at Bartlett's ferry, at the point where the Topeka and Junction City road crossed the stream, and to draft a plan of a bridge and make an estimate of the cost.[35]
During the session of the legislature that year a bill was passed authorizing Davis county to issue $20,000 in bonds for bridge purposes, the county having decided to build the structure.[36] At a meeting of the county board on July 2 the commissioners ordered $20,000 of bonds issued for construction of this bridge, which was to be built of lumber and to be guaranteed against damage or destruction by water for five years.[37] The bonds were duly issued and offered for sale, but as only one bid was submitted for building the bridge, the commissioners decided not to let the contract at that time.[38]
On February 10, 1867, a second Smoky Hill Bridge Company was organized at Junction City, with S.M. Strickler as president; O.J. Hopkins, secretary, and H.F. Hale, treasurer. Directors of the company included H.F Hale, Robert Henderson, O.J. Hopkins, James R. McClure, S.M. Strickler, W.C. Rawolla and Bertrand Rockwell. The company proposed to construct a Howe truss bridge, which was to be located on the river near the mouth of Lyons creek. The new structure was to cost $18,000, of which amount $7,000 was raised in Junction City. The contract was let to Marsh, Hilliker & Co., who were to take one-half of the contract price in cash, and receive stock in the enterprise for the balance.[39] Work on the bridge began some time in March, the Union of March 30 containing the following paragraph:
The pile driver is vigorously at work preparing foundations for the Smoky Hill bridge, and while speaking of this, we must take occasion to confess our ignorance of the geography of our own county. The Smoky Hill bridge does not cross at the mouth of Lyons creek, but two or three miles below it, at the crossing of a state road. We understand they have found a very hard bottom. The stone is about prepared to be set in. We will tell more about it after Hilliker gives us that ride up there.
This bridge is said to have been completed by the Fourth of July but not accepted from the contractors until the December following.
During March, 1867, the county commissioners again took steps for the erection of a bridge over the Smoky Hill, near the Fogarty dam. This site was between Bartlett's ferry and the first bend up the river.[40] The contract was let to Marsh, Hilliker & Co, for $17,500, and work was to be "pushed as fast as the season and the erratic disposition of that stream" would permit. Work started about the first of April, following, and was completed by September and accepted by the county. Evidently the contractors did a rather poor job of construction work, for the county board subsequently notified the contractors that the bridge was in an unsafe condition, in need of repairs, and that the county would hold them responsible.
By 1871 a move was started for free county bridges. During July, a fund of $2,000 was subscribed in Junction City to be used toward the purchase of the Smoky Hill Bridge Company's bridge. The company wanted $10,000 for the structure, but the county refused to pay more than $8,000. About the first of September, following, the company transferred title to their bridge to the county.[43] Junction City enjoyed a lively freighting business during the early days. During the period preceding the Civil War much of the supplies for the frontier posts was shipped out via Fort Riley, Junction City and up the Smoky Hill valley for Rocky Mountain points and to Santa Fe.
After the war broke out the Santa Fe trade from Westport, Mo., was almost entirely wiped out by plundering of caravans by bushwhackers and others. As a consequence, the bulk of this trade started westward from Atchison and Leavenworth , which points were comparatively free from molestation of this sort, and went southwest to the Santa Fe trail after leaving Fort Riley .
With the inauguration of the Butterfield Overland Despatch line in 1865, the freighting from Junction City received an added impetus that summer, and with the addition of a daily line of stages to the mountains that frontier town was made one of the liveliest settlements west of the Missouri river. In June, 1866, a line of stages was also running from Junction City to Santa Fe.[44] In November, following, the Union Pacific was completed to Junction City, after which date the bulk of freight for the West went by rail to that point, where it was transferred to wagon trains and carried to its destination.
By 1867 this trade had so increased in volume that a meeting was held at Strickler's hall, Junction City, during March, for the purpose of securing a better road than the one up Lyons creek as then located. A road up the divide between Lyons and Turkey creeks was suggested by the Union as one that would require less upkeep than the one then in use on Lyons creek, which crossed that stream no less than six times. The Union stated there was a strong disposition manifested to enforce the collection of the road tax to meet the expenses of improving the roads, while a willingness was also indicated to have the roads repaired in any event.[45] That the roads were bad at this time, the following from the local paper would indicate:
Late in February, 1867, a Mr. J.O. Austin, of Albuquerque, N.M., spent a day or two in Junction City, while on his way to Boston. He reported a large number of New Mexican trains on their way in, for whom he was acting as a sort of route agent. He also reported a few cuts on the road between Junction City and Fort Larned that needed repairing immediately.[46]
About the middle of March, following, the agent of Chick, Armijo & Co., of St. Louis, probably the largest dealers in the Santa Fe trade and who were operating a store in Junction City , and also building a warehouse on the railroad, reported that during the next eight months Junction City would be the point for trans-shipment of freight destined for New Mexican points. He called attention to the fact that it was of the utmost importance to know the best route to and from this point. The road already selected by Merrick, Parker, Armijo, Guttman, Romero, Bata and other extensive freighters, is that across the Smoky Hill at what is Bartlett's ford or Perry's ferry, opposite Junction City -- the road being along Lyons creek, or on the divide between that and Clark's creek, striking the Santa Fe road at Lost Springs. A Howe truss bridge was being built across the Smoky near the mouth of Lyons creek at this time, which was to be completed within ninety days.[47]
Late in March two trains of provisions, etc., were started for Santa Fe, one belonging to Messrs. Parker and Merrick and the other to Mr. Romero. Within a week two trains from that point reached Junction City. At this time it was estimated that 1,500 wagons would be employed during the summer to transport government freight alone from Fort Riley, and end of the railroad to the various government posts.[48]
In January, 1866, the Smoky Hill was impassable for teams. A thaw early in the year raised the water to such an extent that skiffs were resorted to. Many freight wagons were detained at different points awaiting a chance to proceed.[49] During the spring of 1867 high water in streams beyond Junction City caused considerable inconvenience. Chapman's creek, in the eastern part of Dickinson county, seemed to furnish its full share of trouble. Early in February a couple of teams had to swim the stream, and on the morning of February 16, the Santa Fe coach was obliged to unload its cargo and swim the stream.[50] This condition obtained as late as April following, tying up railroad activities as well, as may be judged from the following in the Union of April 20:
Freight, mails and passengers have had a terrific time in attempting to go west by train during the past two or three days. Some days the trains don't come or go. When they do, there is no knowing at what time of the day or night the occurrence will take place. One of the consequences is a good deal of heavy waiting at the depot. The old reliable Kansas Stage Company is the only sure means of transit to the west at present.
Six miles west of Junction City was Kansas Falls, the most westerly town in Davis county on the Smoky Hill. The town was organized September 10, 1857, by F.N. Blake, E.P. Burgess and John Harvie, and was incorporated by the legislature of 1858. This location was noted for its famous "Seven Springs" and "Mair's Springs," popular camping places for travelers and freighters who traveled the Smoky Hill route. A mill was operating at this point in 1859, run by a man named Biggs (or Riggs), who probably ran a ferry in addition. During the session of the 1858 legislature, a bill was introduced in the council for the establishment of a ferry at this place, but it failed of passage. The town was also the beginning of a mail route via the Smoky Hill to Bent's Station, with service twice a month.[51]
Some time during 1866 Jonas K. Bartlett started a sawmill in this vicinity, cutting native timber, which apparently found a ready sale with the early settlers. He also installed a ferry in connection with his mill, as his patrons included those living on both sides of the river. The Junction City Union of August 4, 1867, had the following mention of this enterprise:
We were at Bartlett's mill the other day. Overcoming countless difficulties, the institution is now in running order, and sawing large bills every day. It is located on the Smoky Hill, about seven miles above town, in a large body of timber. High water has annoyed Bartlett to such an extent that he has put in the river a good ferry boat, and the freighting interests between town and the mill has got to be quite heavy.
A tragic incident occurred on his ferry late in May, that year. Three Negro deserters from the Thirty-eighth U.S. infantry arrived at the Green Lamb crossing[52] of the Smoky Hill on the afternoon of May 27, 1867. They crossed over and called at several houses. Finding men at home at all of these places they did not linger. When asked what they wanted they replied that they were looking for deserters. They finally started off, making their way down the river. About two miles below Green Lamb's[53] they reached the home of P.J. Peterson, where they asked for something to eat. Food being given them they inquired of Mrs. Peterson the whereabouts of the men. She replied that they were in the woods. On learning this, one of the Negroes seized her, dragged her into the basement of the house and ravished her person. Having satisfied his own passions he called for his two comrades to come down, but Mrs. Peterson broke loose from her black assailant and fled, shouting loudly for help. A posse composed of about fifty citizens soon spread over the prairies and started a search for the fiends. The three men were later overtaken on a ferryboat near Bartlett's mills by the posse, which began firing on them. One of the Negroes was killed instantly on the boat; another jumped into the river and was killed; the third ran into the woods, but was overtaken and killed and his body thrown into the river. The posse then disappeared, leaving the bodies to float down the river.[54]
Some time after the foregoing tragedy Bartlett apparently moved his mill farther up the river, this time over into Dickinson county , an advertisement published in the Union of November 9 following stating that the mill was located about two miles above the mouth of Chapman's creek.
Chapman's creek, about seven miles west of Kansas Falls and about three miles over the line in Dickinson county, was the next stream to be crossed in going up the Smoky Hill river on the military road. For that reason the history of that stream is given here. The first settlement in Dickinson county was made on this creek in 1855, but the stream, however, had a name bestowed by the Indians many years before, being known as the Nish-co-ba -- meaning Deep Water.[55]
The stream later received the name of Chapman's creek, but when it was bestowed, by whom, and for what particular Chapman has not been learned. In times of flood the Indian name has been found to be a most truthful one, as the following incident will illustrate: In June, 1869, a cloudburst which occurred on the headwaters of the creek swept down stream, and at the crossing of the military road the waters were said to have been at least fifty feet deep. The whole country for miles around was submerged, crops destroyed and thirteen lives lost.[56]
The highway up the Smoky Hill crossed Chapman's creek near its mouth and here in 1859 the government erected a substantial oak bridge.[57] During the special session of the territorial legislature of 1860 a bill was introduced in the council for the purpose of establishing a ferry across this creek. The bill passed the council, but was received by the house so late in the session that further action was not taken.[58]
The next ferry location above Bartlett's mills was at Newport, about five miles upstream. Abram Barry, a representative in the legislature of 1859, introduced House bill No. 81, an act to establish a ferry at Newport.[59] This town was platted in 1857 by the Newport Town Company, composed of N.P. White, Doctor Gerot and D.M. Rulison. This was the first town platted in Dickinson county, and was located on the E 1/2 S. 3, T. 13, R. 3. The following year it became the temporary county seat, the town comprising three log houses built on the public square, one of which was called the court house. Twenty votes were polled during an election held at this place in 1859.[60] The State Historical Society possesses a town-lot certificate of Newport, dated July, 1857, in its manuscript collection.
It would seem that a ferry would have been a convenience for Abilene during its cattle-shipping days. However, no record of any has been located. As all county clerk's records were among those destroyed in the disastrous fire of January 17, 1882, there is no way of checking up on ferry licenses issued. By an examination of newspaper files, however, we learn that steps were taken toward securing bridges as early as 1870. In February, 1871, during the construction of an iron bridge across the Smoky Hill, the structure collapsed and fell into the river when both arches were nearly up. No one was seriously hurt.[61] The Nationalist, of Manhattan, had the following item regarding the completion of this bridge: "Iron Bridges. The new iron bridges across the river at Abilene and Hoffman's mills are finished and open to travel. People on the south side can now reach the county seat without fording or ferrying the river.
About 1866, Newton Blair started a ferry on the Smoky Hill just below the junction of the Solomon river , in the extreme western part of Dickinson county, and operated it for about a year.[62] This ferry location must have been in use up to about 1872, during which year iron bridges were completed at Chapman and Solomon.[63]
In 1859 Reuben R. Stanforth was granted a charter by the legislature for a ferry across the Smoky Hill at the point where the military road from Fort Leavenworth to Bent's Fort crosses that stream. This crossing was just above the junction of the Smoky Hill and Solomon rivers. This charter was granted for a period of thirteen years, and Stanforth and his assigns were to have exclusive right of landing upon either bank of the stream at the point named and for a distance of two miles above and below. They were to keep sufficient boats to do the necessary crossing and keep the same in good repair; his rates were to be the average of those charged on the several ferries on the Kansas river . He was required to post a bond as required by law. This act also carried rights for the construction of a bridge over the Smoky Hill, the same as were accorded to the Lawrence Bridge Company. This act was approved by Gov. Samuel Medary, and was to take effect and be in force from and after its passage.[64] No further record of this ferry project has been located.
The next ferry location upstream was at Sabra, Saline county. This town was laid out shortly after the close of the Civil War, and had a post office in 1867, with C.W. Davis as postmaster. The town's exact location has not been determined; however, it was three and one-half miles from Solomon river, on the line of the Kansas Pacific Railroad and 170 miles west of the Missouri river. Sabra is shown on Ado Hunnius' "Map of Kansas" as being a short distance west of the town of Solomon, and evidently located between the mouths of the Solomon and Saline. On November 9, 1866, the Smoky Hill Bridge and Ferry Company was incorporated, its promoters being Frederick E. Cushman, H.L. Sitler, Silas Bullard, Charles W. Davis, John W. Kelso, Richard M. Wimsatt and Fred Rawolla. The company proposed to maintain and operate a bridge or ferry over the Smoky Hill river, between its confluence with the Solomon and the Mouth of the Saline. The capital stock of the company was placed at $50,000, in shares of $50 each. The principal office of the company was to be at Sabra. This charter was filed with the secretary of state December 3, 1866.[65] Sabra has long since been numbered among the dead and forgotten towns.
Salina was the location of the next ferry, which was started in the fall of 1858. This ferry had quite an interesting history. In 1854 or 1855 the government built a bridge at the Smoky Hill crossing, located a mile or two southwest of present Kanopolis , Ellsworth county . This structure went out during a flood in June, 1858, and much of the timber used in its construction drifted downstream as far as Salina, where it was salvaged by Alexander M. Campbell, who was operating a trading post on the river.
That fall Mr. Campbell and James Muir built a ferryboat, using this salvaged timber for that purpose, and putting their boat into use late in the year. The ferry location was where Iron avenue crosses the river, this point being also the end of the Phillips road which followed the divide south of the Kaw and Smoky Hill rivers from Lawrence to Salina. The old government road was in the valley, and in wet weather it was a difficult route to travel, so most of the settlers used the Phillips road, as they could not get into Salina from the east unless they forded the river. Campbell's ferry was a free ferry, the only institution of the kind in that part of the country, and was operated until the completion of a bridge across the river near the old landing place.
Some of the old-timers say they used the ferry as a bridge when the river was low, and as a ferry when the river was up. Mr. Campbell was a member of the town company, built the first house on the townsite -- a one and one-half story log structure, keeping a store and living in the lower portion, while the upper part was used as rooming quarters when transients stopped for the night. On the establishment of a post office he was appointed postmaster and kept it in his store, serving in that capacity for the next forty years. During the time he operated his ferry he also did much trading with the Indians, and also hunting.
There were times when he was absent from the new town, and it so happened on more than one occasion some travelers or freighters arrived on the opposite shore who wished to cross. On these occasions Mrs. Campbell was equal to the emergency, and untying the boat she poled it across to the opposite side of the river where the individuals who wished to cross assisted in making the return trip. This ferry was operated for about nine years.
During the early days of the new town, it was not an uncommon sight to find the few women residents gathered at the ferry to do the usual family washings. The water of the Smoky Hill was much softer than well water and required the use of less soap.
On Sunday afternoon, December 10, 1933, the Saline county chapter, Native Daughters of Kansas, marked the ferry site with a granite marker, which was inscribed in a unique way, with colors blasted into the stone to make a picture. The marker was placed at the point where the traffic across the river ascended, this being a short distance south of the bridge, and on the Union Pacific right-of-way, Salina to McPherson. Officials of the railroad cooperated with the Native Daughters in order to make the view of the marker from the avenue unobstructed.[66]
The Salina Bridge and Ferry Company was organized in the spring of 1867 for the purpose of building bridges or operating a ferry on the Smoky Hill in the vicinity of Salina. The incorporators were David Beebe, George H. Dell, J.N. Deitz, J.F. Deitz, and David Yarnall. Their charter specified that they have exclusive rights on the Smoky Hill beginning at the northeast corner of T. 14, R. 2 W., and running up the Smoky Hill through the village of Salina to the southwest corner of township and range above specified. This charter was filed with the secretary of state March 26, 1867.[67] Presumably this company never made use of its charter.
Ellsworth county may or may not have had a ferry at some time. On December 6, 1866, the Ellsworth Bridge and Ferry Company was organized. The incorporators included Philip D. Filker, Thomas D. Slocum, H.D. McMilkee, Wallace McGlath, J.R. McClure, O.J. Hopkins and D.F. Molan. It was the intention and purpose of the company to operate a bridge or ferry over the Smoky Hill river between the western boundary of the Fort Harker military reservation (formerly Fort Ellsworth) to a point on same river two miles west of said reservation. The principal office of this company was located at Junction City. The capital stock of the enterprise was listed at $10,000, in 200 shares of $50 each. This charter was filed with the secretary of state January 7, 1867.[68] No further mention of this enterprise has been located.
Assistance in the preparation of this sketch was given by Mrs, A.M. Campbell, Jr., Mrs. Nelson H. Loomis, Judge J.C. Ruppenthal, Roy F. Bailey, editor of the Salina Journal, and others, to whom the writer extends thanks.
NOTES
1. Junction City Union, January 5, 1867.
2. Copy of original map in the Kansas State Historical Society.
3. Junction City Union, August 6, 1864.
4. Kansas Academy of Science, Transactions, v. 18, p. 215.
5. Kansas Historical Collections, v. 17, p. 198.
6. The Western Times, Sharon Springs, March 18 to April 29, 1926.
7. Kansas Historical Collections, v. 11, p. 606.
8. Ibid., v. 16, p. 770.
9. Ibid., v. 16, p. 771.
10. U.S. Department of Agriculture, Weather Bureau, Daily River Stages, Part 9, p. 77, Part 10, p. 83.
11. Ibid., Part 9, p. 7; Associated Press dispatch, November 10, 1934.
12. McPherson Republican, June 3, 1932.
13. U.S. Department of Agriculture, Weather Bureau, Daily River Stages, Part 11, p. 112.
14. Kansas Historical Collections, v. 7, p. 113.
15. Davis county, "Commissioners' Journal," Book 1, pp. 2, 3.
16. Ibid., Book 2, p. 87.
17. Samuel Bartlett is listed in the 1860 "Census of Davis County," page 53, as being 28 years of age, and a native of Maine. He had real estate listed at $1,000 and personal property at $200. He was a younger brother of William K. Bartlett, a prominent early-day businessman of Junction City.
18. Davis county, "Commissioners' Journal," Book 1, p. 65.
19. Ibid., Book 2, p. 6.
20. The Junction City and Council Grove state road crossed the Smoky Hill a little northeast of Junction City on the NE 1/4 5 S. 7, T. 12, R. 6 E. The original survey of this road, including plat and field notes, is in the Archives division of the Kansas State Historical Society. The survey was made by Thomas White, county surveyor of Morris county, and the plat was drawn by Davies Wilson.
21. Davis county, "Commissioners' Journal," Book 2, p. 231.
22. Ibid., p. 241.
| Abilene |
On what river is Paris | American History - Tails of the Trails of the Smoky Hill River
American History
contributed by Lu Hickey
Chapter 1
The old western frontier of the 1800's was a wild and woolly beginning of the western migration of settlers, those coming from the Eastern states to look for fortune and fame in the untamed territories. The emigrants brought everything they could from their homelands to start a new life in the colonies. Those that could brought livestock, and chickens or grains of different variety of grain. Items were stored however possible, by whatever means, even if it meant putting the grains in the hems of their clothing for "seed".
The only means of transportation ahead of the railroads were wagons and oxen or mules pulling them and the other animals walking along side. After leaving St. Louis and crossing the only big river, the western movement gave birth to new modes of transportation and blazing trails to the unknown.
History is written of the famous trail blazers such as the Lewis and Clarke expedition, Kit Carson, and the famous gentleman, Horace Greeley who stated: "Go West, young man, Go West". Little is made known of the thousands of other families that settled the frontier.
The frontier trails, geographically, are East to West from St. Louis and North and South from Texas and Mexico. It seems the point of crossing of the trails were mostly in Kansas.. The Pacific Railroad had began the Western movement at St. Louis and seemed to follow the trails of the wagon trains. In essence, the railroad and the frontier trails were parallel.
The Smoky Hill River is not the longest or the biggest river in the west but, mile for mile, it can hold its own. Dramatic history has taken place along the banks of the Smoky Hill from the appearance of Coronado in 1540 to the final war whoop of the raiding Indians in 1879.
After Coronado came Villasur, Bourgmont, Pike and Fremont. They found the valleys and meadows around the Smoky Hills abundant in herds of buffalo and deer.
Discovery of gold on Cherry Creek brought the first wave of white men up the Smoky Hill, the short cut to the mountains of Colorado. Lack of water and food left many graves along the trail. One section of the trail became known as the Starvation Trail.. The Blue brothers caught in this desolate area, made a pact that the survivors would eat any who died. Only Daniel survived by eating his brothers.
The Leavenworth and Pikes Peak Express in 1859 made the first effort to put wheels over the short cut between the Missouri River and Denver but lack of funds and Indian raids caused its abandonment.
The Butterfield Overland Dispatch took up the challenge in 1865 and triggered some of the fiercest fighting anywhere on the plains but it survived until the railroad transformed the dusty trail to a trail of steel in 1870. Fors Harker, Hays and Wallace were established to protect the travelers and each wrote its bloody page in the history book. The railroad spawned the roaring cowtowns of Abilene and Ellsworth whose violence challenged that of the Indians.
The Smoky Hills saw most of the colorful characters of its day--General Custer, General Sheridan, General Forsythe, Wild Bill Hickok, Wyatt Earp, John Wesley Hardin, Billy and Ben Thompson, Buffalo Bill Cody, Bill Comstock. It recorded the wild, sometimes strange stories of the end of the track towns, the massacres such as the Jordon massacre, the the German family massacre, the raids that led to the battle of Beecher Island and Summit Springs,. Finally there was the last raid, Dull Knife's, dash to freedom from Fort Reno in Oklahoma Territory., leaving a swath of death along the Smoky Hill River and its tributaries. It was the last war whoop.
The Smoky Hills saw its vast prairies change from a buffalo pasture guarded by Indians to farmland tilled by white men but the transition was a long bloody one and the mourners at the grave sites were both red and white.
There were blood, sweat and tears on the new frontier but out of it a new age is born. Of such is the Heritage of America.
Chapter 2
Tales of the trails across the high desert are both mysterious and romantic. All of the trails are going some where in time and in the 1800's there were a lot of new virgin trails leading in all directions of fortune and fame. Some to death and destruction. The miners, merchants and settlers traveled at great risk. The Kansa and Pawnee Indians lands were around the Smoky Hills and when the white man came in killing their animals, the Indians went on rampage. Luckily for a some, the Cavalry out of Fort Leavenworth offered some protection.
The white man with his vast reserve of weapons and warriors eventually won the right to live on the great buffalo pastures along the Smoky Hill and turned them into wheat fields and the trails were gradually forgotten. But their were some who did not forget.. Howard Raynesford was one. Few men spent forty years digging into the history of one event when a dedicated historian does, it means that generations to come will benefit from his gleanings. Howard Raynesford (1876--1967) spent the last forty years of his ninety one digging into the history of the Butterfield Overland Despatch.
The Big Timbers was a large grove of cottonwood trees on the the Smoky Hill River in the treeless sea of grass close to what is now the Kansas Colorado state lines. This trail was the northern route to the gold fields in Colorado Mountains. It was a favorite camp site of the Indians. Over a thousand of them under Black Kettle camped her early in 1864 and it was the refuge for the same Black Kettle and other survivors of the Chivington Massacre on Sand Creek in November of that year.
The trees were very tall and dense with no underbrush and could be seen for a great distance, looking much like a cloud of smoke. Capt. John Fremont took particular note of this outstanding landmark in 1844 when he searched out the river's source and followed its flow to its junction with the Republican river. To Lt. Fitch's party surveying the route for the Butterfield Overland Despatch in 1865, this grove appeared on the horizon like a smoky hill or large blue mound. The station built there was officially called Blue Mound by that company even though it was generally spoken of as Big Timbers.
Atchinson. the eastern end of the Smoky Hill Trail, farther north than Kansas City was about twelve miles farther west and added little to the travel time of the westward-bound emigrant. Atchinson had a natural wharf for boats which not only came up the Missouri but from the north with freight that had been brought from the east by the only northern railroad to reach the river at council Bluffs Iowa. The Smoky Hill route to Denver laid out by David Butterfield as 116 miles shorter than any other and traversed a country whose terrain offered an excellent roadbed with almost no sand and with watering places every few miles.
When settlement of the country began, it naturally appeared along the trail. Travelers for one reason or another, stopped and settled down often forming a town. Before the settlements, however, the entire plains country was a battleground with an implacable enemy who gave no quarter and fought by none recognized rules of civilized warfare.
The smoky Hill Trail which ran the full length of Smoky Hill Valley and beyond was considered the most dangerous crossing of the plains. Not a mile of that two hundred mile section of the trail that crossed Western Kansas escaped repeated conflicts with the hostiles. It took a type of determination and perseverance that we seldom see today to change thatcountry into "the breadbasket of the world." Truly the trails west to the Rocky Mountains proved hazardous and relentless but the "intestinal fortitude" of the settlers can be heard in the wind, if but only listens.
Chapter 3
America was settled by pioneers who marched resolutely toward the virgin lands to the west, seeking a free life and a fortune. Pike and Fremont followed. Then gold was discovered in California, and from that moment nothing could stem the westward tide.
In the early 1850's, Cherokee Indians had brought stories back to Georgia of the gold in the Rocky Mountains. They were not taken seriously but in the spring of 1858, one man acted upon the tales of the Indians and was able to get others interested thus setting out with an expedition to the mountains.
Green Russell had prospected for gold in California, following the rush there in 1849. The group of prospectors were not finding a mother lode and soon lost interest, leaving the mountains and returning to the east. A trader named Cantrell took a sample of the soil back to Wesport and had it checked by an experienced miner, he had found gold and the news spread like wildfire.
The discovery of gold in the rocky Mountains of Western Kansas Territory presented a problem for the gold seeker from eastern Kansas who wanted to get to the fields as quickly as possible. There were already two established routes to the mountains but both took the traveler far out of his way to Cherry Creek.
A verse published by a Topeka newspaper spurred on the men who were impatient to get rich quick.
A call to the mines:
Hurra for Pike's Peak, Hurra for Pike's Peak
A rich El Dorado has lately been found
Far, far to the west and near Cherry Creek
where gold in abundance has been scattered around.
Ah !! Hurra for Pike's Peak !
Hurra for Pike's Peak !! hurray for Pike's Peak !!
there is gold in the mountains, gold in the vale.
There is plenty for all who are willing to seek
believe me, believe me. tis no idle tale
Come, hurra for Pike's Peak !!
The fact that the gold was not exactly in the shadow of Pike's Peak had little significance to the man in eastern Kansas with his face set eagerly to the west. As people in the midsection of the country later thought of Los Angeles, San Francisco and Portland as neighboring cities on the West Coast, so people in the mid nineteenth century thought that Pike's Peak was all the mountains of Colorado. The goldfields of Cherry Creek and directly to the west became known as the gold fields of Cherry Creek and directly to the west became known as the gold fields of Pike's Peak although the peak was seventy miles to the south.
Chapter 4
THE QUIVARA AND THE CATTLE
Cattle have played a significant if not a worshipful role in the being of mankind. This writer intends for this story to hold your thoughts in reading as it did mine in writing.
Out of the prairie dust, as far as the eye could see, a thunderous blur on the horizon, hundreds of golden cattle, small and long horned, almost lost in the dust of the riders. Somewhere west of the Pecos River on a quest eastward, the Indian runners had forewarned the settlers at the missions of the coming entourage. The pale faced, black-bearded men riding big horses and protected from enemy harm by the silver-like armor on their bodies and heads. The pale-faced men were wearing garments that shone as the gold in streams and rocks. The pale-faced men carried sharp and dangerous weapons the Indians had never seen The pale-faced men with black beards were the Spaniards and their leader was known only as Coronado.
The runners were advising all the native Indians to flee for safety as these strange looking men and their cattle were coming through the arroyos on their quest for the lost city of gold or the Quivara. But the important aspect of Coronado was not his quest for gold but his tame and manageable cows that followed behind.
The season on the trail Coronado herd was of 500 head, those in the front were the stronger young cows but their leader was beautiful indeed. She was a well horned, long bodied four year old, coat as gold as the sun, she was spotted on her face and her rump. The cattle she led were like Josephs Coat of Many Colors, white through yellow, red, brown, black, some spotted, some mottled and brindled.
The cattle Coronado brought from Mexico were not for breeding purposes. They were for eating, their skins to furnish material for shoes, and riatas, saddle bags and hundreds of items made from leather.
The drovers were far east of the Pecos River and the Spaniards rode harder, hoping for a swift and short journey to market east but this proved not to be the case. For days the herd was pushed east across land where there were no trees, grass or water. The cattle became leaner. Once water was detected and the cattle ran to the scent only to find the deadly alkali waters. Many died in the stampede and many more died from the poisoned water hole and what survived, wandered away to roam the wild country.
Coronados drovers rounded up as many cattle as they could find and continued their trek eastward. Eight days after leaving the Pecos terrain, the expedition was once again confronted and surrounded by a dark and monstrous herd of giant buffalo. The drovers struggled to push past the herd but in vain as the cattle herd became curious as to these strange looking cousins. The roaring and fighting of the buffalo bulls excited the male yearlings to the point of trying to join in.
Coronado continued on his quest for gold, through the cap rocks and canyons. Deep in the gashes between the canyon walls, he came upon a clear glistening stream and green flowery meadows and spacious enough for all the stock to graze for weeks. The drovers settled in to rest and allow the cattle to gain back weight and strength.
One afternoon a dark cloud came roaring out of the west, terrifying wind, thunder and lightening. Hail stones as big as nuts pounding into the overhanging ledges of their safe haven. The lighting was a constant flashing and the thunder was shaking the canyon walls. The terrified animals plunged and lunged and bolted out of the canyon to escape the fury of a prairie storm. A few of the soldiers horses were saved but the camp tents and provisions were blown away, and the heavy metal armor and helmets were dented from the hailstones. This was the essence; Coronado turned southward and home leaving his cattle to the wind and his gold to the ghosts.
It is assumed that Coronados cattle survived and multiplied. Hundreds of years after Coronado, De Vaca, Juan de Onate, Cortez and hundreds of missionaries, settlements of the white pioneers began to crop up. Land in what later, became Texas, was nearly free, thousands of wild cattle roamed the lush prairies and drank from the crystal clear streams. This prompted what came to be known as King Country.
All these years the pueblo Indians of the New Mexico had suffered inhuman treatment from the Spaniards, the soldiers, colonists and the secular. Although the first little missions in Texas seem to have been established down on the Rio Grande by refugees from those farther up in the territory. The first herd of importance was introduced by Alonso de Leon in 1689. The cattle increased so fast it was almost an explosion. In 1716, thousands of black satin cattle, Castilian bulls grown larger, bodies rangier, both the horns and the legs had changed in size.
By 1770, the Mission of Espiritu Santo at Goliad had claimed 40,000 cattle. At Espiritu, Santo and Rosario bulls were prized mostly for the fiestas. There were no matadors but there "Day of the Bulls" with bull tailing, bull roping and riding. By 1800, Texas was characterized by her wild cattle herds.
A stimulating element in this is like a shot of redeye to the johnnies of the frontier towns, the race of the new railroads. In the North, the Union Pacific had already crossed into Nebraska and up the Platte. Other railroads were creeping across Missouri and to the Shawnee Trail across southeast Kansas . Once more the farmers hurried out to guard the border against the disease their cattle had not suffered once during the Civil War years with no Texas cattle on the trail. Most of them had been guerillas in the war and to a Union man, any Texan was a "bloody Johnny-Reb". At the first death of a mik cow near the trail, the farmers were out with guns and any other weaponry they could get hold of.
The southerners tried to argue their cattle was clean and healthy but the farmers said, no they carry poison wherever they go. After several shootings and stampedes, the cattle and the fever stopped at the end of the trail, Baxter Springs Kansas.
In 1866, an estimated 250,000 cattle crossed the Red River into Indian Territory headed for Kansas. The Indians, who also raised cattle, charged the drovers a toll charge. Some drovers paid, some did not and went around the Indian lands. The Indian Act of 1834 penalized drovers $1 a head for cattle drive across Indian lands with the owners consent. Others swung around the east into Arkansas risking attack from the farmers. One of these trailers was Captain E.B. Millet, who made it to the Mississippi River but by then his herd was too gaunted to sell. He crossed into Illinois, bought winter feed for his cattle and lost money. Many other herds started north and most ended disastrously, the cattle scattered over Southeast Kansas. But the owners went home to gather up more herds for the next springeven Millett. It was like a call, a sacred call that could not be denied.
In 1873, the Kansas legislature pushed the tick quarantine line westward making it illegal to drive Texas cattle to Kansas, Abilene, Newton and Ellsworth. Angrily, McCoy pointed out that these towns had really bee illegal for through stock, meaning straight through from the tick regions since 1867.
With 40,00 cattle wintered in Ellsworth, even though the drive with Newton on the Santa Fe became the leading shipping point on the Kansas Pacific Railroad in 1872. By midsummer, more than 100,000 Longhorns were grazing around town and fires of the cow camps dotted the night like fireflies.
During the unhappy summer of 1873, 177,000 cattle were reported on the trail by July with thousand more to come. Even without the money of a good cattle market many gamblers were in Ellsworth including the Thompson brothers. Once more, Ben came first with Billy up the trail within a few days. Ben hoped to go into the saloon business but finding it overcrowded, he pawned his diamond stickpin and ring and borrowed on the side to set up poker tables at Joe Brennans saloon, Gamblers Roost.
Cad Pierce and Neil Cain drove herds up from Austin about the same time of the Thompsons arrival. Cain was the card dealer and Pierce bucked the board. Sheriff Whitney, a northerner veteran and Indian fighter and Brocky Jack Norton was the city marshal. The trail-driving season was about ended so the city decided to lay off a few of the peacekeepers, but this proved to be a mistake. Three days later, there was the gunfight of all times in Ellsworth. Some gamblers at Brennans were playing for unusually high stakes. The Thompsons were there but not playing, Ben trying to look after Billy who was drinking too much. Cain was dealing Monte and Cad Pierce wanted to raise the stakes. Ben Thompson got John Sterling to cover the extra money; John volunteered to cut Ben in on half the winings. He picked up $1000; put it in his pocket and left.
The next day, Ben Thompson ran into Sterling and reminded him of the promise, Unarmed he got struck in the face so he went for Sterling with his fists but a policeman held him off with a six-shooter, Later at Brennans, Ben was talking this over, a policeman and Sterling passed by the swinging doors. One of them called in, "Get your guns, Texans and fight "
No one would loan Be a gun, running for his own pistol and rifle he accepted the challenge of Sterling and the policeman, "Meet me at the railroad grade and we will have it out. "But in the meantime, Billy Thompson who was quite inebriated, got to Bens shotgun and let it go off, striking the sidewalk at the feet of Capt. Millet and little Seth Mabry, so Ben had to take the gun away from Billy. Sheriff Whitney heard the disturbance and went out to the Thompsons. "Put up your guns now boys." Together the three went back to Brennans saloon walking abreast. At the door a Texas cowman yelled, "Look out Ben, here they come."
Ben whirled, was the policeman running up with his gun drawn. In the shooting that followed Sheriff Whitney was hit by a load of buckshot from the gun in Billy Thompsons hand. "My God, Billy, you have shot our best friend," three days later Whitney was dead.
The town organized a vigilante group to rid Ellsworth of the undesirable Texans and issued a warning to Lone Star men---the very ones that brought prosperity to Ellsworth. The governor of Kansas offered a $500 reward for Billy who was long gone to Texas. He was apprehended by a Texas Ranger and brought back to Ellsworth and released.
In 1853, a new organization was established. The northwest Texas Stock Raisers Association was to work for the interest of the stock growers of the region. The territory was divided into six regions from the ArkansasTexas border to El Paso. The Association would supervise the roundups so there would be no question to ownership of the cattle or the brand. Association members were to check the drovers herds for ownership. Kit Carter was elected president and Jim Loving the secretary. Board members were little Seth Mabry, the Harrolds, the Ikard brothers and the old fighters.
As the new men scattered back across the Dillingham Prairie, some were content, others hopeful but looming on the horizon was a horror as seemingly great as the feverBarbed Wire.
The new association plunged headlong into its work. But the association was not a cure-all. By the second meeting, one charter member was accused of violating the rules. Captain Millett offered a resolution for additional power to stop herds. There was some who recalled the highhanded outfit of Millets cowboys in shooting scrapes at the Bee Hive. Yes if would be Millet advocating arrests right and left but then, how else could the Association be effective?
Capt. Eugene Bartlett Millet and little Seth Mabry spend many years together, being drovers, ranchers, and members of the community. Capt. Millett died a pauper after the late 1800s blizzard and disease epidemic. He is buried in the old Ellsworth KS cemetery.
Chapter 5
The Scottish Connection
None of this could be hidden or ignored with the booming gold rush of the Black Hills.Brisbins "How to get rich on the Plains, the Beef Bonanza." Published in 1881 and was read everywhere as the most certainly outpost of adventure. Men and money poured out upon the Great Plains. Many of the earlier ranchers dedicated ones hunted more grass. To men like Goodnight and Print Olive crowding the others in the cattle pool in Kansas. Ikard and Harrold, charter members of the Northwest Texas Association added 70.000 cattle and drove them to range west of the Indian Territory. C.C. Slaughter bought state lands almost by the county in West Texas until he had a pasture fifty miles wide and eighty miles long.
But the real boom capital for the cow country came from the East and the British Isles. The East, which kept pouring money into the range country, needed no justification nor did London and Edinburgh throwing pounds of sterling into the pot to exceed the Yankee dollar. In Edinburgh drawing rooms buzzed stories of the bonanza. Young aristocrats hungry for adventure had no trouble tapping the family exchequer for investment. The western cattlemen were only too happy to unload their holdings fancy prices to such investors. A Scotsman, J S Tait issued a small brochure, The Cattlefields of the far west. He estimated the possible profits as from 33 to 66 percent and added some fine success stories.
Many wealthy men in Texas particularly Colonel Slaughter, president of the First National Bank at Dallas mad a tidy sum from cattle. One famous Pioneer of the Panhandle, Charles Goodnight, made $600,000.00 in ten years. His partner Adair of Ireland put about 360,000.00 the last few years. He took out $70,000.00 for expenses and the rest of his investment was now worth $3000.000.00. Tait added that Searight, Slaughter, Goodnight and Adair could be surpassed in wealth by many cattle kings and there were a couple dozen such menKing, Snyders, Lux, Lytle, Brush, Lawrence, Stuart, Kohrs, Carey and so on, all the pioneers in ranching.
The Bay State Land and Cattle company was one of the cross-financed with capital in Scottish and English money. The ranch was started in Nebraska in late 1870; this was the first Castle of the Plains. A palace complete with indoor facilities set up on Lodge pole Creek. Soon a second house was set at Pumpkin Creek. By 1883, the Bay State had bought out several ranches and in addition the Bay State leased Union Pacific railroad lands and established another ranch in the Big Horn Basin of Wyoming. The Bay State was by no means the flashiest ranch. Many of the Wyoming Territories were purchased by the English Lords as was Morton Frewens, Powder River, who was owned by Sir Shane Leslie of England.
John J Adair, The Scot-Irish financier who went in with the Goodnight outfit in the Palo Duro Canyons of West Texas.
ADAIR, CORNELIA WADSWORTH ADAIR, CORNELIA WADSWORTH (1837-1921). Cornelia Wadsworth Adair, diarist and rancher, the second of the six children of Gen. James Samuel and Mary Craig (Wharton) Wadsworth, was born on April 6, 1837, in Philadelphia. She spent her early years at Hartford House, her father's country estate near Geneseo, New York. In 1855 the family left for a two-year sojourn in France and England. Soon after their return in 1857 Cornelia married Montgomery Ritchie, a grandson of Harrison Otis of Boston. Two sons were born to them. Her father and her husband died in 1864. The widowed Cornelia took her two small sons to Paris, where the older son died a few years later.
In 1867, while attending a ball in New York City given in honor of Congressman J. C. Hughes, Cornelia Ritchie met broker John G. Adair of Ireland. They were married in 1869 and afterward divided their time between America and their estates in England and Ireland. In the fall of 1874 they left Ireland to see the American West and to experience a buffalo hunt along the South Platte River in Nebraska and northeastern Colorado. Her brother had served as an aide to Philip H. Sheridan,qv and Cornelia Adair probably used the general's influence to obtain a military escort under Col. Richard Irving Dodge to accompany the party, which departed from Sydney Barracks in Nebraska Territory. She kept a detailed diary of the two-month journey, which included attending a council of cavalry officers and Ogallala Sioux, near the South Platte. In 1918 she had it published.
In the summer of 1877, when her husband and Charles Goodnightqv formed a partnership to found the JA Ranch,qv Cornelia accompanied the party from Pueblo, Colorado, to the new ranch headquarters Goodnight had established in Armstrong County, Texas. Because the Adairs lived at the ranch only sporadically, Goodnight became its manager and, under orders from Cornelia Adair, paid high salaries for experienced, law-abiding ranch hands. After Adair died in 1885, Cornelia became Goodnight's partner. In 1887 she traded a second ranch for his one-third interest in the JA, a share that comprised 336,000 acres, 48,000 cattle, assorted mules, horses, and equipment, and rights to the JA brand. Although she was a naturalized British subject and spent most of her time in Ireland, Cornelia Adair also maintained a home in Clarendon and contributed generously to various civic projects in the vicinity of the JA Ranch, which by 1917 covered half a million acres. She provided funds to build the Adair Hospital and the first YMCA building in Clarendon and strongly supported that community's Episcopal church. She also vigorously promoted the Boy Scout movement since she knew Lord Baden-Powell and many others of its British organizers. She died on September 22, 1921, and was buried next to her husband in Ireland. In 1984 the Adairs' Glenveagh Castle, which sheltered Belgian refugees during World War I,qv became an Irish national park
In 1881, The Texas Land and Cattle Company Limited of Dundee bought 236,000 acres in Nueces County from Mifflin Kennedy. In addition they got control of more land in the Panhandle and the Cherokee Strip. The next year the Scottish Matador was registered to buy $1, 250,000 work of property and in six months the had 60,000 cattle, and 300,000 acres of land.
ROCKING CHAIR RANCHROCKING CHAIR RANCH. The Rocking Chair Ranch Company, Limited, as its British owners designated it, encompassed northeastern Collingsworth County and extended into Wheeler County. The brand that gave it its name, however, was probably first used by Noah Ellis in South Texas during the early 1860s. It came to Collingsworth County in the fall of 1879, when John and Wiley Dickerson drove 2,000 cattle from the Llano River country to Dogwood Springs, on the South Fork of Elm Creek. By 1880 the Dickersons had established their headquarters at a site located south of a range of mesas subsequently named the Rocking Chair Mountains. In 1881 A. Conkle of Kansas City and John T. LytleROCKING CHAIR RANCH. The Rocking Chair Ranch Company, Limited, as its British owners designated it, encompassed northeastern Collingsworth County and extended into Wheeler County. The brand that gave it its name, however, was probably first used by Noah Ellis in South Texas during the early 1860s. It came to Collingsworth County in the fall of 1879, when John and Wiley Dickerson drove 2,000 cattle from the Llano River country to Dogwood Springs, on the South Fork of Elm Creek. By 1880 the Dickersons had established their headquarters at a site located south of a range of mesas subsequently named the Rocking Chair Mountains. In 1881 A. Conkle of Kansas City and John T. Lytleqv of Medina County acquired the brand; they registered it at Mobeetie on September 30. By November 1882 Conkle and Lytle had a herd of 14,745 head. The Rocking Chair Ranch was, however, without a legal home until February 17, 1883, when the partners bought 235 sections of former Houston and Great Northern Railroad land from the New York and Texas Land Company.qv On April 3 Conkle and Lytle sold their land, brand, cattle, and horses for $365,000 to Early W. Spencer and J. John Drew, who were seeking a suitable American cattle scheme for British investors. Drew, an Englishman, returned to England to promote the new syndicate. Within five months he resold the property to the Rocking Chair Ranch Company for $26,857. The principal owner was Sir Dudley Coutts Marjoribanks, first baron of Tweedmouth; after his death in 1884 his oldest son, Edward Marjoribanks, inherited both the title and company ownership. Another major stockholder was John Campbell Hamilton Gordon, earl of Aberdeen and later governor general of Canada, who in 1887 became joint owner of the Rocking Chair Ranch with Sir Edward, his brother-in-law.
The new owners sought to develop their vast holdings along the lines of a British estate. In December 1883 they purchased the HAY cattle from James R. Haynie and the OM herd from Sam and Joe White. Each of these small outfits owned a section of school land in Collingsworth County, which the "Rockers" also purchased; these later became known as the Hay Camp and OM Creek. In December 1885 a third section near the Wheeler county line was added to the Rocking Chair. This was the J Buckle range, owned by Dan Cole, whose cattle the syndicate also purchased. Cole had built a small, unpainted house on North Elm Creek in 1882, and it was here that the syndicate established its first "ranch headquarters," in deference to Texas terminology. By that time the investors had acquired a total of 1,600 additional acres and were leasing another 100,000 from the state. In 1889 the company laid out the town of Aberdeen as the nucleus of the ranch. John Drew, who resided with his family in Aberdeen, was appointed general manager of the enterprise, and Henry J. Nesper, who later became the first storeowner and postmaster in Aberdeen, was hired as range foreman. Buck Julian trailed the first herd of Rocking Chair cattle to Dodge City in the fall of 1883. For an assistant manager and bookkeeper, the company appointed the second Baron Tweedmouth's youngest brother, Archibald John Marjoribanks, known among the cowboys as "Archie" or "Old Marshie." Uninterested in learning the fine points of ranching,qv Marshie drank and gambled in the Mobeetie saloons and hunted with purebred hounds. Nevertheless, he hired hands to build a corral, sought out high-grade horses, and spent much time at the North Elm Creek headquarters reading periodicals and writing detailed letters on ever everyday ranch affairs-all at a $1,500 annual salary. From 1884 to 1893 Drew and Marjoribanks managed the ranch. The high-handed extravagance and arrogance of the British investors caused considerable resentment among the cowhands and other area residents. Throughout his ten-year stay at the ranch, the "Honourable Archie" never mingled or rode with the cowboys.
Such social divisions resulted in the failure of usually honest people to condemn illegal actions against "Nobility's Ranch," as facetious Texans called it. Nearly everyone in the eastern Panhandle,qv with the exception of Marjoribanks, knew that the owners were being taken by rustlers and resentful cowboys who mavericked calves. Even Drew, who retained the loyalty of other ranch employees, was said to have obtained 100 cows for every one a nester stole. Often he reportedly shipped many more cattle than the records indicated. Troubles on the ranch were usually attributed to the attitudes of the resident foreigners. Though the Rockers profited for a time, the results of such chicanery eventually appeared in the financial reports. Deciding that a personal investigation was needed, Lord Aberdeen, Baron Tweedmouth, and other titled stockholders appeared one day unannounced at the ranch headquarters. To stave off potential embarrassment, Drew bluffed his way through the requested cattle census by hurriedly driving cattle around a hill and back again so that they were counted repeatedly. At each count, several hundred were added to the actual number. In the end, the "Lords of the Prairie" fell for Drew's bluff and left satisfied.
But mismanagement practices continued. Troubles on the ranch heightened with the heated battle between the Rocking Chair men and neighboring settlers over the location of the Collingsworth county seat in 1890. Resentment between factions increased after Rocking Chair cowboys unwittingly triggered the Great Panhandle Indian Scareqv in January 1891. At one time Drew and his family were involved in a shooting fray with irate neighbors over stolen cattle; fortunately, Texas Rangers were able to restore order before any killings occurred. Finally, on January 18, 1893, Archie Marjoribanks offered to sell the Rocking Chair. By then even he realized the extent of the cattle losses and the disastrous condition of the ranch's finances. When Lord Aberdeen and Baron Tweedmouth came again to investigate, they found the cattle count so low that they tried to sue John Drew, but no jury would rule in their favor. Drew was discharged, and George W. (Cap) Arrington was hired to replace him. Through careful management, Arrington shipped cattle and paid off overdue accounts. The losses of the past decade could not be entirely recouped, however, so Arrington started screening prospective buyers while the company went into the hands of a liquidator. On December 22, 1896, the 152,320-acre Rocking Chair Ranch was sold for $75,200 to William E. Hughess Continental Land and Cattle Company. Hughes added it to his Mill Iron Ranch and designated the old Hay Camp near Dodson as the headquarters of the Collingsworth County section. After the Mill Iron was broken up in 1913, the former Rocking Chair range was leased by the Crews brothers of Childress. Although the Rocking Chair brand was discontinued after its sale to Hughes, it was revived in 1914 by C. E. Deahl, a former Rocking Chair Company employee, for his cattle operation near Panhandle. John N. Janes also used a modified Rocking Chair brand from 1914 to 1930.
Chapter 6
The Prairie Cattle Company, Limited, is sometimes called the “mother of British cattle companies” since it was the first foreign syndicate to take advantage of the southwestern “Beef Bonanza” of the early 1880s. The Scottish American Mortgage Company, based in Edinburgh, established it in 1880 and by the following year it had purchased the JJ spread in southeastern Colorado and the Hall brothers’ Cross L Ranch in northeastern New Mexico. The company’s first big investment in the Texas Panhandle occurred in July 1881, when it purchased George W. Littlefield’s LIT Ranch for $253,000. Included in the transfer were 14,000 head of cattle, 250 saddle horses, and the LIT headquarters east of Tascosa. Subsequently the company added several smallholdings to these properties. By the end of 1882 the Prairie Cattle Company owned close to 100,000 cattle and range rights to an unbroken, 300-mile strip of land from the Canadian River to the Arkansas River.
In 1885 the Prairie Cattle Company appointed W. J. Todd general manager. The syndicate hired Murdock Mackenzie, who emigrated from his native Scotland, to handle its financial affairs from the office in Trinidad, Colorado. Both men sought to put the business on a sound footing and improve the quality of Prairie Company cattle. Mackenzie succeeded Todd as general manager in 1889 and remained in that position until 1890, when he resigned to take over the Matador Ranch. Two other Matador men, Henry H. Johnstone and Arthur G. Ligertwood, also started out with the Prairie Company. J. C. Johnson succeeded Mackenzie as manager and remained until the enterprise ceased operations in 1917.
The company prospered for a time. But in the January blizzard of 1886 many of its cattle froze to death at the great Panhandle drift fences, which ranchers below the Canadian River had built to control the spread of Texas fever. Mackenzie managed to save the syndicate by dropping the price of beef and by selling off land in small parcels. In 1902 the company purchased the old LE Ranch rangeland from the Reynolds Land and Cattle Company. Nevertheless, by 1912 the Prairie Company held only 200,000 acres in the northern Panhandle. The LIT properties were sold to Lee Bovine in 1913, and the LE range was sold to J. M. Shelton in May 1915. By 1916 the Prairie Cattle Company, at one time the world’s largest British investment company, had been liquidated
“Old Pap”, John Clay, the progenitor of the Scottish ranches, had made it possible for one Scot group to be successful along with the management of Murdock Mackenzie.
The southern division of the Prairie Cattle Company became known as the Matador. The Matador was the only British ranch to make a decent profit for its investors although the profits had all but vanished from 1903 to 1908. With the upswing of word of the declaration of World War One, dividends began to increase, due largely to the British meat sales. Mackenzie was the finest cowman the foreign ranches brought into management and was considered one of the west’s most influential supporters of the government’s policies for protecting the interests of small farmers and ranchers.
Many of the old free rangers spit in the dust at talk of Murdock Mackenzie and his good will shown toward settlers. But they had to admit he was a powerful man in the fight for rights of the pioneer. Most of the southern land was deeded and the northern ranges leased from the Indian Bureau. Mackenzie along with Mr. Turney, the Big Bend rancher who followed the Scotsman as head of the Cattlemen’s Association, called on the whole of the ranchers to take a stand against the railroad’s high freight rates.
The Interstate Commerce Commission decided in favor of the cattlemen against the railroads and won. In 1904, Mackenzie visited the President and got a vote for railroad control to be decided by the ICC, changing the entire conception the government right of price fixing and authority to regulate rail costs.
Murdock Mackenzie went on in life to become a successful rancher, politician and a family man. He was but one of the high spirited, rough and tough Scots that settled the American West.
Chapter 7
The Matador Ranch, with its headquarters in Motley County, just below the Caprock on the rolling plains of northwest Texas, was started in the fall of 1878 when banker Alfred M. Britton entered a partnership with Henry H. (Hank) Campbell. Campbell purchased a small herd and range rights from Joe Browning, who in early 1878 had made his headquarters at an abandoned dugout at Ballard Springs in Motley County. A buffalo hunter named Andrew Jackson Ballard had built the dugout. Campbell’s next purchase was 8,000 “jingle bob” cattle that had recently been brought into the region from the Pecos. Soon afterwards Spottswood W. Lomax and John W. Nichols of Fort Worth and a Mr. Cata of New York became associated with Britton and Campbell in financing the enterprise, which they reorganized as the Matador Cattle Company with capital stock of $50,000. The amount of stock suggested a brand, 50M, which was used one year and then replaced by the Matador V. Lomax, an enthusiast in Spanish literature, gave the ranch its name. On December 4, 1882, the Matador Cattle Company sold out to the Matador Land and Cattle Company of Dundee, Scotland. Approximately 100,000 acres of land and 40,000 cattle located in Motley, Dickens, Cottle, and Floyd counties were involved in the sale. However, before the property was formally transferred in early 1883, Britton and Campbell, the former retained as the company’s manager and the latter as ranch superintendent, convinced the company’s board of directors to purchase an additional 203,000 of acres lying within the range and to acquire 22,000 more cattle. After Campbell’s resignation in 1891, the board assigned a new manager, Murdo Mackenzie, who adopted a program of grading up the herd and of sending steers to northern pastures for maturing. A severe drought in 1892 on the Matador range caused the company to lease the White Deer pasture of 348,000 acres in Carson County from Francklyn Land and Cattle Company. The lease was retained until 1902. That year the Matador purchased 210,000 acres of the XIT Ranch from the Capitol Freehold Land and Investment Company and established the Alamositas division of the ranch along the Canadian River in Oldham County, Texas. Subsequent purchases adjacent to Alamositas increased the size of the division to 800,000 acres. From 1904 until 1914 it leased 500,000 acres from the United States government on the Cheyenne River Indian Reservation, a Sioux preserve in South Dakota, and another of 150,000 acres in Canada was leased from 1905 to 1921. The original ranch was enlarged by purchases, and by 1910 the company owned 861,000 acres in Texas and had 650,000 acres under lease in the two northern pastures. The company also leased 500,000 acres in northern Montana from 1913 to 1928 and 300,000 acres on the Pine Ridge Indian Reservation in South Dakota from 1921 to 1926. Since 1910 the average number of cattle on hand has been 55,000.
Through the first quarter of the twentieth century the Matador used its ranch in Motley County as a breeding ground. Yearling steers were sent to Alamositas until they were two years old, then shipped to the northern leases for double wintering, and then to markets in Chicago or Kansas City. By the 1930s the company restricted the major portion of its activities to the Texas ranches. Headquarters of the ranch in 1946 was at Denver, Colorado. On July 31, 1951, the ranch was sold to an American syndicate, Lazard Brothers and Company of London. Their property included 400,000 acres at the Matador Division, 395,000 at Alamositas, 4,600 acres in Montana, a herd of 1,400 horses, and 46,000 cattle. The Lazard Brothers divided the land and cattle among fifteen corporations they had formed. The various cattle corporations took over operations at different divisions of the ranch, and the Matador division went to ten of them. During the 1950s different individuals and groups bought the corporations and either started their own ranching operations or sold the land off to other ranchers. Fred Koch of Wichita, Kansas, purchased three of the corporations in the name of his Rock Island Oil and Refining Company, acquiring 105,000 acres of the Matador Division including the ranch headquarters. On October 3, 1952, Koch incorporated the Matador Cattle Company, and the headquarters of the Matador Ranch was located just south of the town of Matador. Matador Cattle Company was a subsidiary of Koch Industries, headed by Fred Koch. After his death in 1967 his sons, Charles and David, took over. In 1968 Sterling Varner was president of Matador Cattle Company, followed by Tom Carey in 1969 and Wes Stanford in 1975. In the early 1980s John Lincoln was president. The ranch is noted for its quail, dove, small deer, and, of course, fat cattle and nutritious grass. In 1960 the ranch launched a mesquite eradication program that accelerated in the 1970s, since the trees’ extensive root systems continued to spread and absorb what little water was available to grow grass. Testifying to the wildness and toughness of the land, where cattle get lost in the Croton Breaks in adjoining Dickens County, ranch hands have found during several Matador roundups ten-year old animals that had never been branded.
So now we have the story of the Scottish cattle and the drovers. Traditionally wealth had usually been measured in cattle and Highland black cattle served as the economic base for the Scottish laird and his tenants. Drovers swam their herds over the lochs or drove them down the roads to the great fairs in London or Falkirk. Thousands of cattle and sheep were sold at Falkirk. In the eyes of many Scotland had become a vast grazing area that supplied the world with their beef. While on the road, the Scots excelled in their profession, armed drovers and their dogs lived on oatmeal, onions, ewe’s milk, cheese, bannock and a ram’s horn filled with whisky, when night fell the Scot simply wrapped his plaid around him and slept by his charges.
For fifty-five years, John Cameron of Corriechoille drove herds to Falkirk Tryst to become “the most famous drover of Lochabee” and one of the richest. Drovers moved the herds across the Kyle of Rhea, by tying the tail of one animal to the horns of another.
By the middle of the nineteenth century each region of Scotland had specialized in its type of cattle, the kyloes, the Galloway, the Ayrshire, the Fifeshire, Shetland and Orkney. Only the Scottish shorthorn rivaled the Aberdeen Angus in popularity. Thusly, the Scots felt nearly at home on the plains of American Midwest.
A number of Scots made the Atlantic crossing to manage some of the operations. Previously mentioned, the Marjoribanks brothers, Colin Cameron, John Clay and then we see Murdock Mackenzie, the overseer of the famous Matador Land and Cattle Company, which later became head of the American National Livestock Association. One observer in the Denver stockyards remarked at Murdo’s “Caledonian eye and native shrewdness”. As stated before, Murdo was a world wide Scot, very successful and lived a life not unlike that of a Scottish laird. The Matador was purchased in the 1950's by the Koch Family. It is still in operation.
This ends the Tails of Trails of the Scottish Drovers.
Reference Materials:
Lost Trails of the Cimarron—Harry Chrisman
Scots in the North American West—Ferenc Morton Szasz
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Which river runs into the Dead Sea | Earth Snapshot • Jordan River Flowing into the Dead Sea
December 27th, 2009 Category: Lakes , Rivers
Dead Sea - December 19th, 2009
The Jordan River is a 251 kilometre (156 mile) long river in Southwest Asia which flows vertically through the center of this image, into the Dead Sea . The last section, between the Sea of Galilee and the Dead Sea, has the least gradient. Thus, the river begins to meander before it enters the Dead Sea, which is about 400 metres below sea level and has no outlet. Two major tributaries enter from the east during this last phase: the Yarmouk River and Jabbok River.
In 1964, Israel began operating a dam that diverts water from the Sea of Galilee, a major Jordan River water provider, to the National Water Carrier. Also in 1964, Jordan constructed a channel that diverted water from the Yarmouk River. Syria has also built reservoirs that catch the Yarmouk’s waters. Environmentalists blame Israel, Jordan and Syria for extensive damage to the Jordan River ecosystem.
In modern times, the waters are 70% to 90% used for human purposes and the flow is much reduced. Because of this and the high evaporation rate of the Dead Sea, the sea is shrinking. All the shallow waters of the southern end of the sea have been drained in modern times and are now salt flats.
In 2007, Friends of the Earth Middle East named the Jordan River as one of the world’s 100 most endangered ecological sites, due in part to lack of cooperation between Israel and the neighboring Arab states.
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On which Mediterranean island is mount Etna | The __________ River flows into the Dead Sea and is an important source of irrigation water. A. Tigris B. Euphrates C. Jordan D. Shatt al-Arab
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The __________ River flows into the Dead Sea and is an important source of irrigation water. A. Tigris B. Euphrates C. Jordan D. Shatt al-Arab
The C. Jordan River flows into the Dead Sea and is an important source of irrigation water.
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In the military world what is an A.F.V. | AFV News from around the Net – Tank and AFV News
IHS Jane’s – ST Kinetics showcases expanded Terrex IFV family with an eye on international requirements
Singapore Technologies (ST) Kinetics, the land systems division of state-affiliated defence prime ST Engineering, is seeking to expand its global 8×8 armoured vehicle footprint with the Terrex family of infantry fighting vehicles (IFVs), which now includes three distinct platforms with gross vehicle weight (GVW) ratings ranging from 24-35 tonnes. Senior ST Kinetics executives asserted during a closed press briefing on 22 July – which also commemorated an occasion where all three current members of the Terrex family were displayed together for the first time – that the company’s sustained efforts in capability development will enable it to meet the growing spectrum of operational requirements from international customers.
Herald-Mail Media – Letterkenny celebrates upgrades to armored vehicle
CHAMBERSBURG, Pa. — Letterkenny Army Depot last week celebrated production of its upgraded mine-resistant, ambush-protected vehicle designed for soldiers to use in clearing routes. The RG31 now has 300 horsepower, a larger transmission, the addition of independent suspension for improved mobility, 360-degree spotlights for night visibility and an armored gunner’s hatch, according to a news release. “When most people think of Letterkenny, they think of missiles … and that is a huge part of what we do here,” depot Commander Col. Deacon Maddox said in a statement. “What many people do not know about Letterkenny is that approximately one-third of the depot’s work is the (route clearance vehicles), which includes the RG31.”
UPI – Ukraine military receives 10 Dozor-B armored vehicles
KIEV, Ukraine, July 21 (UPI) — The Ukrainian military has taken custody of 10 Dozor-B armored vehicles, the Ukroboronprom defense concern announced Wednesday. The military has accepted the fighting vehicles, which are ready to use without any restrictions, the company said in a statement . The modern armored vehicle can carry 10 troops and offers protection from armor-piercing bullets, shrapnel, mines, chemical and radiological attacks.
Defense World.net – Slovakia To Purchase 30 Rosomak Armored Vehicle From Poland
Slovokia is negotiating a purchase of 30 eight-wheeled Rosomak armored modular vehicle (AMV) from Poland. The announcement by Poland’s defense ministry follows unsubstantiated news reports that Slovakia’s Defense Ministry had scrapped the acquisition plan, Sputnik reported Monday. Bartlomiej Misiewicz, the Polish Defense Ministry spokesperson was quoted as saying by the news daily that the negotiations “will be continued, as indicated by the talks by the defense ministers of Poland and Slovakia that took place during NATO’s summit in Warsaw.”
TRT World – 4 ways Turks stopped tanks during the failed coup
“How do we stop a tank?” was not a question that many Turkish civilians considered before the failed coup attempt on July 15. Quick thinking, improvisation and sheer determination by civilians in a desperate situation answered this question as thousands stood together to stop a coup from taking place. Unable to reach rebel helicopters and fighter jets firing at them, civilians took on their biggest threat within their reach, army tanks which had blocked off key locations around Ankara and Istanbul.
The National Interest – Is Russia About to Make Tanks (As We Know Them) Obsolete?
Could the Russian Terminator series—also know as the Boyevaya Mashina Podderzhki Tankov—be the harbinger of future armored vehicle design? Based on its experience in Ukraine, Georgia, Chechnya and Afghanistan, the Russian military certain believes so according to Ruslan Pukhov, director of the Moscow-based Centre for the Analysis of Strategies and Technologies (CAST). As such, Russia is mulling over the possibility of ditching the traditional tank—as it is currently conceptualized—and considering adopting a machine that is much more capable of defending itself against missile-equipped infantry and engaging other vehicles at stand-off ranges with anti-tank missiles.
Morocco World News – Morocco Receives First US Abrams Tanks for Royal Armed Forces
Rabat – Upon the instructions of the King, Supreme Commander and Chief of General Staff of the Royal Armed Forces (FAR), a ceremony to receive the first US Abrams Tanks M1A1, meant for the FAR, was held on Tuesday at the central department for material management and storage (ECGCM) in Nouaceur. Chaired by Major General, Inspector of the Armored Corps , the ceremony was attended by wali of greater Casablanca and US Consul General in Casablanca, as well as by two important Moroccan and American delegations, said a statement by the FAR general staff.
The Jerusalem Post – The first Hebrew tank battalion switches to Merkava MK 4 tanks
In recent days, the IDF’s Battalion 82 took a leap forward through decades of military technology, when it left behind it Merkava MK 2 tanks, and took possession of the cutting edge Merkava MK 4 tanks instead. Battalion 82, a part of the 7 Armored Brigade, is the first Hebrew armored formation. It was formed prior to the 1948 War of Independence, and took part in every one of Israel’s wars, according to Maj. Itamar Michaeli, the battalion’s deputy commander.
Interfax – Ukraine – Ukraine transferring new batch of Oplot combat tanks to Thailand
Ukraine is transferring a new batch of new Oplot-T combat tanks being built at Malyshev Plant (Kharkiv) to Thailand under a contract of over $200 million signed in 2011. The press service of Malyshev Plant reported that the acceptance certificate was signed recently by representatives of Thai Armed Forces arrived to Ukraine. The foreign customer confirmed that all characteristics of new tanks meet the contract requirements. The batch of tanks is ready for shipping, the press service said.
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Which nation invented the Molotov Cocktail | AFV News from around the Net – Tank and AFV News
IHS Jane’s – ST Kinetics showcases expanded Terrex IFV family with an eye on international requirements
Singapore Technologies (ST) Kinetics, the land systems division of state-affiliated defence prime ST Engineering, is seeking to expand its global 8×8 armoured vehicle footprint with the Terrex family of infantry fighting vehicles (IFVs), which now includes three distinct platforms with gross vehicle weight (GVW) ratings ranging from 24-35 tonnes. Senior ST Kinetics executives asserted during a closed press briefing on 22 July – which also commemorated an occasion where all three current members of the Terrex family were displayed together for the first time – that the company’s sustained efforts in capability development will enable it to meet the growing spectrum of operational requirements from international customers.
Herald-Mail Media – Letterkenny celebrates upgrades to armored vehicle
CHAMBERSBURG, Pa. — Letterkenny Army Depot last week celebrated production of its upgraded mine-resistant, ambush-protected vehicle designed for soldiers to use in clearing routes. The RG31 now has 300 horsepower, a larger transmission, the addition of independent suspension for improved mobility, 360-degree spotlights for night visibility and an armored gunner’s hatch, according to a news release. “When most people think of Letterkenny, they think of missiles … and that is a huge part of what we do here,” depot Commander Col. Deacon Maddox said in a statement. “What many people do not know about Letterkenny is that approximately one-third of the depot’s work is the (route clearance vehicles), which includes the RG31.”
UPI – Ukraine military receives 10 Dozor-B armored vehicles
KIEV, Ukraine, July 21 (UPI) — The Ukrainian military has taken custody of 10 Dozor-B armored vehicles, the Ukroboronprom defense concern announced Wednesday. The military has accepted the fighting vehicles, which are ready to use without any restrictions, the company said in a statement . The modern armored vehicle can carry 10 troops and offers protection from armor-piercing bullets, shrapnel, mines, chemical and radiological attacks.
Defense World.net – Slovakia To Purchase 30 Rosomak Armored Vehicle From Poland
Slovokia is negotiating a purchase of 30 eight-wheeled Rosomak armored modular vehicle (AMV) from Poland. The announcement by Poland’s defense ministry follows unsubstantiated news reports that Slovakia’s Defense Ministry had scrapped the acquisition plan, Sputnik reported Monday. Bartlomiej Misiewicz, the Polish Defense Ministry spokesperson was quoted as saying by the news daily that the negotiations “will be continued, as indicated by the talks by the defense ministers of Poland and Slovakia that took place during NATO’s summit in Warsaw.”
TRT World – 4 ways Turks stopped tanks during the failed coup
“How do we stop a tank?” was not a question that many Turkish civilians considered before the failed coup attempt on July 15. Quick thinking, improvisation and sheer determination by civilians in a desperate situation answered this question as thousands stood together to stop a coup from taking place. Unable to reach rebel helicopters and fighter jets firing at them, civilians took on their biggest threat within their reach, army tanks which had blocked off key locations around Ankara and Istanbul.
The National Interest – Is Russia About to Make Tanks (As We Know Them) Obsolete?
Could the Russian Terminator series—also know as the Boyevaya Mashina Podderzhki Tankov—be the harbinger of future armored vehicle design? Based on its experience in Ukraine, Georgia, Chechnya and Afghanistan, the Russian military certain believes so according to Ruslan Pukhov, director of the Moscow-based Centre for the Analysis of Strategies and Technologies (CAST). As such, Russia is mulling over the possibility of ditching the traditional tank—as it is currently conceptualized—and considering adopting a machine that is much more capable of defending itself against missile-equipped infantry and engaging other vehicles at stand-off ranges with anti-tank missiles.
Morocco World News – Morocco Receives First US Abrams Tanks for Royal Armed Forces
Rabat – Upon the instructions of the King, Supreme Commander and Chief of General Staff of the Royal Armed Forces (FAR), a ceremony to receive the first US Abrams Tanks M1A1, meant for the FAR, was held on Tuesday at the central department for material management and storage (ECGCM) in Nouaceur. Chaired by Major General, Inspector of the Armored Corps , the ceremony was attended by wali of greater Casablanca and US Consul General in Casablanca, as well as by two important Moroccan and American delegations, said a statement by the FAR general staff.
The Jerusalem Post – The first Hebrew tank battalion switches to Merkava MK 4 tanks
In recent days, the IDF’s Battalion 82 took a leap forward through decades of military technology, when it left behind it Merkava MK 2 tanks, and took possession of the cutting edge Merkava MK 4 tanks instead. Battalion 82, a part of the 7 Armored Brigade, is the first Hebrew armored formation. It was formed prior to the 1948 War of Independence, and took part in every one of Israel’s wars, according to Maj. Itamar Michaeli, the battalion’s deputy commander.
Interfax – Ukraine – Ukraine transferring new batch of Oplot combat tanks to Thailand
Ukraine is transferring a new batch of new Oplot-T combat tanks being built at Malyshev Plant (Kharkiv) to Thailand under a contract of over $200 million signed in 2011. The press service of Malyshev Plant reported that the acceptance certificate was signed recently by representatives of Thai Armed Forces arrived to Ukraine. The foreign customer confirmed that all characteristics of new tanks meet the contract requirements. The batch of tanks is ready for shipping, the press service said.
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In which British castle would you find the huge field gun Mons Meg | 404 Page | Directory categories for businesses & services in and around Edinburgh
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How long was the Enterprise's mission supposed to last in Star Trek | The true story of Mons Meg
Extracted from "The Archaeological Journal" Volume 10, 1853. The paper discloses historical record disproving the tradition that 'Mons Meg' was forged at Carlingwark specially for the bombardment of Threave Castle.
THE ANCIENT BOMBARD, PRESERVED AT EDINBURGH CASTLE.
Cannon, constructed of iron staves bound together with hoops of the same material, were in use for so long a period that it becomes very difficult, in the absence of written testimony or well-authenticated tradition, to assign a date to any particular examples that may have come down to us. Of the great gun of Ghent, which, except in its dimensions, is almost identical with Mons Meg, Captain Fave has recorded his belief that it is in all probability the very "bombarde merveilleusement grande" mentioned by Froissard as employed by the citizens of Ghent against their neighbours of Oudenarde. And that cannon of this fashion were still in use in the days of Henry VIII., is a fact familiar to us all from the well-known operations upon the wreck of the Mary Rose.
Famous guns, like famous nations, begin their history in the faltering accents of tradition. The early days of Mons Meg are chronicled in a Galloway legend; which, however, had so much weight with Sir Walter Scott that he wrote to Mr. Train, a distinguished Scottish antiquary, who had communicated to him the local story with such corroborative facts as he could collect: "You have traced her propinquity so clearly as henceforth to set all conjecture aside."
The legend in question has been preserved in Wilson's "Memorials of Edinburgh in the Olden Time" as follows:
"The Earl of Douglas having seized Sir Patrick McLellan, Tutor of Bomby, the Sheriff of Galloway and chief of a powerful clan, carried him prisoner to Threave Castle, where he caused him to be hanged on 'The Gallows Knob’ a granite block which still remains, projecting over the main gateway of the Castle. The act of forfeiture, passed by Parliament in 1455, at length furnished an opportunity, under the protection of government, of throwing off that iron yoke of the Douglases under which Galloway had groaned for upwards of eighty years.
When James the Second arrived with an army at Carlingwark, to besiege the Castle of Threave, the McLellans presented him with the piece of ordnance now called ' Mons Meg.’ The first discharge of this great gun is said to have consisted of a peck of powder and a granite ball nearly as heavy as a Galloway cow. This ball is believed, in its course through the Castle of Threave, to have carried away the hand of Margaret de Douglas, commonly called the Fair Maid of Galloway, as she sat at table with her lord, and was in the act of raising the wine-cup to her lips. Old people still maintain that the vengeance of God was thereby evidently manifested, in destroying the hand which had been given in wedlock to two brothers, and that even while the lawful spouse of the first was alive. As a recompense for the present of the gun, and for the loyalty of the McLellans, the king, before leaving Galloway, raised the town of Kirkcudbright into a Royal Burgh, and granted to Brawny Kim, the smith, the lands of Mollance in the neighbourhood of Threave Castle. Hence the smith was called Mollance, and his wife's name being Meg, the cannon, in honour of her, received the appellative of 'Mollance Meg.’ There is no smithy now at the 'Three Thorns of the Carlingwark ;' but a few years ago, when making the great military road to Portpatrick, which passes that way, the workmen had to cut through a deep bed of cinders and ashes, which plainly showed that there had been an extensive forge on that spot at some former period." In addition to this, (adds the correspondent of Sir Walter,) Symson, in his work written nearly a hundred and sixty years ago, says: "The common report also goes in that country, that in the Isle of Threaves, the great iron gun in the Castle of Edinburgh, commonly called Mount Meg, was wrought and made."
To the above tradition the sober-minded archaeologist will probably object that it is of somewhat too melodramatic a character. "Brawny Kim," and the Tutor of Bomby, King James and the rebel Douglas might have passed; but the shot of retribution, - as heavy as a cow, and impelled by a peck of powder, - passing through the walls of the Castle, straight into the banqueting-room of the Fair Maid of Galloway, dashing the wine-cup from her perjured lips, and carrying off her hand; that very hand which had been given in wedlock to two brothers, and given moreover while the lawful spouse of the first was alive: all this smacks too much of the minnesinger's budget to be readily accepted as true history. The transition too from Mollance to Mons is sufficiently violent, besides having no voucher in contemporary records. But worse than this is, the Lady of Mollance, Brawny Kim's wife Meg, being called in to stand parcell-godmother to the great gun, when we know that in all the ancient records in which it is mentioned, the name Meg never appears: the piece is simply called Mons, and the first writer who applies to it the name of Meg is Drummond of Hawthornden.
While, however, we hesitate to give full belief to the tradition as it stands, let us remember that we have it in an accumulated form: and that, divested of the marvellous incidents with which three hundred years' currency among the gossips of Galloway may have embellished it, there is nothing in the simple history itself that may not possibly be true.
The first appearance of Mons for which we have a contemporary voucher, is on the expedition of James IV. to besiege Dumbarton, when she was brought forth from Edinburgh Castle and carried to take part in the attack. In the accounts of the Lord High Treasurer of Scotland of that period, under date of 10 July, 1489, we have:
"Item, given to the gunners to drink-silver when they cartit Monss, by the king's command, xviij shillings."
In 1497 the great gun was again withdrawn from the Castle of Edinburgh and carried in solemn procession to Holyrood House, from whence she was taken by James IV. to the siege of Norham Castle.
In the Scottish Treasury accounts of this time are many interesting notices of our bombard. She was mounted on a new carriage for the occasion, as appears by the following entries:-
July 24, 1497. "Item, to pynouris to bere ye trees to be Mons new cradill to her at St. Leonard's quhare scho lay, iij sh. vi d."
July 28. "Item, for xiij stane of irne to make graith (gear) to Monsis new cradill and gavilokkis (iron crows) to gu with her, xxx sh. iiij d."
"Item, to vij wrights for twa dayis and a half ya maid Monsis cradill, xxiij sh. iiij d."
Among other entries of the same period we have:-
"Item, for viij elne of canwas to be Mons claiths to cover her." Another item is for painting the canvas.
“Item, to the Minstralis that playit before Mons doune the gait, xiiij sh."
In 1501, 1527, 1532, and 1539 various payments are recorded for the well-keeping of Mons and her carriage. On one occasion she is "ourelaid with reed leid" and her "quheles and extreis creischit (wheels and axletrees greased) with Orknay butter."
In 1558, on the rejoicings consequent on the marriage of Queen Mary with the Dauphin of France, the great gun was again in request; for, on the 3rd of July in that year, we find this payment made by order of the Queen Regent: "To certain pyonaris for thair labouris in the * * * of Mons furth of her lair, to be schote, and for the finding and carrying of hir bullet efter scho was schot, fra Weirdie Mure (Wardie Muir is fully two miles from the castle) to the Castell of Edinburgh, x s. viii d."
In 1578, among the "Towellis, Plenissingis (furniture), Artaillierie and Munitioun within the Castell of Edinburgh, pertening to our Soverane Lord and hienes derrest Moder," our bombard again appears as " Ane grit peice, of forgit yron, callit Mons."
In 1633, when King Charles I. visited Edinburgh, Mons was found unfit to join in the salute which welcomed His Majesty from the Castle : " Item, to * * * * for rining and wining of the tuich hole of the iron peice that had beene poysoned thir many yeares by gane, iij * * *."
At the surrender of Edinburgh Castle in 1650, Mons appears under a new style and title: "The great Iron Murderer called Muckle Meg;" and in another document she is denominated “the Great Mag."
Sir John Lauder of Fountainhall, in his Historical Notices of Scottish Affairs, records that in October, 1680, "the Duke of York having visited the Castle of Edinburgh, - for a testimony of joy, the gun called Muns Meg being charged by the advice of ane English Canonier, in the shooting was riven; which some foolishly called a bad omen. The Scots resented it extremely, thinking the Englishman might of malice have done it purposely, they having no cannon in all England so big as she."
In Maitland's History of Edinburgh, published in 1753, we read: "Adjoining to the fourth or innermost gate of the Castle, on the ground, lies a huge piece of ordnance denominated Mounts Meg." By the phrase, "on the ground," it would appear that Mons was at this time without a carriage.
In 1754 our venerable bombard, riven, rusty, and carriageless, was sent to England; but she does not seem to have quitted the land of her glories without a plunge, for in the Tower books of this date we find John Dick applying to the Board of Ordnance for compensation "for injury to his vessel and hawser on shipping the great gun at Leith for conveyance to the Tower."
In 1829, on an application to George the Fourth, in which Sir Walter Scott was prominently active, Mons Meg was restored to Scotland; and in her march from Leith to Edinburgh she was "attended in grand procession, and with a military Guard of Honour, to her ancient quarters in the Castle."
Under date of June, 1835, the Officer commanding Royal Artillery at Leith Fort informs the Board of Ordnance that "the large gun called Mons Meg, placed in the Battery in the Castle of Edinburgh, fell down with a great crash." The Society of Antiquaries of Scotland also report the wreck of "the old wooden carriage, which had crumbled almost to dust," and pray the Board to grant the supply of a new one. In accordance with this wish, a new carriage was constructed at the Royal Carriage Department at Woolwich, and forwarded to Edinburgh in 1836. It is of cast-iron, and still supports the honoured remains of The Great Murtherer.
The name of Mons borne by this bombard is generally attributed to its having been fabricated at the town of that name in Flanders; and this probability seems to gather strength from the circumstance of the great gun of Ghent resembling it so closely in model and construction. Hall tells us besides how James II. of Scots in 1460 besieged Roxburgh Castle with "his newe Bombarde lately cast in Flaunders, called the Lion."
At various periods of her career, the appearance of Mons Meg has been preserved by the arts of portraiture: by the sculptor, the modeller, and the engraver.
An ancient sculptured stone, apparently of the close of the sixteenth century, which once formed part of a gateway in Edinburgh Castle, and is now fixed over the entrance to the Ordnance Office there, exhibits the figure of Mons mounted on one of her old "cradills." In the "Memorials of Edinburgh" is an engraving of this stone, which, by the kindness of the author, we are enabled to place before our readers. The appearance of Mons, when forming one of the "Lions" of the Tower, may be seen in the model which is still preserved in the Tower Armories.
The engraving at the commencement of this paper is from a drawing also preserved in the Tower; the one furnished by Lieutenant Bingham, R.A., for the purpose of constructing that new carriage which, we have seen, was supplied in 1836. On the technical accuracy, therefore, both of forms and figures, we may entirely rely. The Commanding Officer of Royal Artillery, in forwarding this drawing from Scotland, communicates also the traditional account, that "the fracture disclosing the longitudinal bars took place the last time the gun was fired." It is scarcely necessary to say that the bursting of the cannon may be attributed to the increased strength of the powder of the seventeenth century as compared with "a peck" of that of the fifteenth. Of the extraordinary charges used anciently for various kinds of gonnes, there is no more curious instance than that cited by Captain Fave (Du feu Gregeois, &c., p. 158), from an old treatise of "Canonnerie," of unknown date, printed at Paris in 1561. To charge your "baston de canonnerie :"
"Vous debvez mesurer la longueur du baston par dedans, despuis la bouche d'iceluy jusques au fond, et icelle longueur diviser en cinq parties egales; desquelles l’une sera pour mettre le tampon, et l’autre sera vuide, et les autres dernieres doivent estres chargees de bonne poudre." That is, the charge of "strong powder" is to occupy three-fifths of the barrel.
The mode of construction of the Scottish Gun is plainly shown at the point where it has been "riven." Longitudinal strips of iron are ranged like the staves of a cask and welded together; and then a number of rings or hoops, also of wrought iron, are driven tightly over them. The thickness of the bars is 2½ inches ; that of the hoops, 3½ inches. There is no core beneath the strips, as in some early bar-and-hoop guns (for instance, Nos. 118 and 119 of the collection at the Royal Military Repository at Woolwich); but the welded staves themselves form the concave cylinder. The magnitude of this engine, the contrivance of its parts, and the nice proportions of its outline, show that it is by no means one of the earliest efforts of the gunsmith's art. Cannon at first were conical in form, a curious example of which will be found in a Sloane manuscript in the British Museum, No. 2433, vol. B, fol. 113; figured by Strutt in his Dress and Habits, and by the Emperor of the French in his Etudes sur l’Artillerie. When first made cylindrical, the gun would probably be of equal thickness throughout. The next step would be to strengthen the portion near the charge. Further experiences would show that the action of the powder on the various parts of the piece would be best met by a graduated construction; and thus we arrive at the plan of the gun before us; consisting of chamber, first and second reinforce, and chase. To such a model one can scarcely accord a higher antiquity than about the middle of the fifteenth century. The apertures shown at the base ring and at the upper end of the chamber are of unusual occurrence; but they are found in the Great Gun of Ghent, and appear also in the figure of an ancient pierrier given by Ufano. The purpose of them, according to the local tradition (for the communication of which we are indebted to Robert M'Kerlie, Esq., Ordnance Storekeeper at Edinburgh Castle), was "for moving Mons Meg from her bed or ' lair,’ when that was found necessary, by means of iron levers."
Monstrelet, under the year 1478, has an amusing account of the trial of a "grosse bombarde," carrying a ball of "ccccc livres de fer," made at Tours; which may be consulted by those who find interest in the details of the early days of "Canonnerie."
J Hewitt.
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What was Celebrity Squares called in the U.S.A. | Celebrity Squares (TV Series 1975–1997) - IMDb
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British version of "Hollywood Squares" with nine celebrities of varying stature arranged in a grid and answering questions from host Bob Monkhouse to win prizes for one of two contestants. ... See full summary »
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Title: Celebrity Squares (1975–1997)
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British version of "Hollywood Squares" with nine celebrities of varying stature arranged in a grid and answering questions from host Bob Monkhouse to win prizes for one of two contestants. During the first run in the late 1970s, William Rushton occupied the centre square in virtually every edition. After a decade's break, the series returned for a few more years in the early 1990s but was not as popular. Written by Allen Dace
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(England) – See all my reviews
Celebrity Squares was a UK version of the U.S. game show Hollywood Squares. The concept was rather boring in my opinion like that other quiz show Blankety Blank but it was the host that provided the entertainment.
There were two contestants who would play a version of noughts and crosses on a huge game board. On each square was a celebrity. Bob Monkhouse would ask the celebrities a question and the contestants would have to guess if the answer given by the celebrity was right or wrong. If they were right then the contestant would win either an X or O on that particular square.
Well, that was the format. Nothing exciting but the great Bob Monkhouse saved the day as usual. Bob Monkhouse is believed to know more jokes than anyone else in the world and watching this show I can believe it.
The show was cancelled in 1979 but returned in 1993 for a few years. If you see any repeats on Sky or Cable TV, then watch it to catch all of Bob Monkhouse's jokes.
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What type of car does Mr. Bean drive | Hollywood Squares
Hollywood Squares
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His success has led him to numerous television appearances including Hollywood Squares, WB TV series 7th Heaven and the Ellen DeGeneres Show.
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I think that after that show, maybe, I would watch Fantasy Island, or the new version of Hollywood Squares. Again I was eight, or maybe ten, so excuse my memory for being a tad foggy.
Los Angeles Times
- Jan 14, 2017
and “Hollywood Squares,” among others. Gautier also published several books about caricature drawing, and a children's book called “A Child's Garden of Weirdness.
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Neko White (@Neko_White92) Originally from Harlem, Neko White has stolen the show on MTV2's “Hip Hop Hollywood Squares”, Elite Daily's “Gen Why Show”, and “Gotham Comedy Live”. He was one of Just for Laugh's New Faces picks this year, and has a ...
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0117_betty_white_birthday_composite-2 Betty White hit 95 today and she's still going strong, doing what she's best known for ... working her butt off in Hollywood. Sources close to Betty tell TMZ ... she's preparing for a guest spot on the sitcom ...
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Rudner later graced a version of “The Hollywood Squares” and parlayed her shtick into award-winning solo comedy specials on HBO and PBS.
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After he left Sha Na Na in the mid-1980s, Bauman hosted TV game shows, including a version of “Hollywood Squares.” In recent years he's hosted several old-time rock 'n' roll specials on PBS.
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The emojis are kept in these cubes, almost like Hollywood Squares or the monsters from Cabin in the Woods, waiting to be selected by their user, Alex.
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A smile that revealed almost impossibly perfect white teeth, along with a disarming sense of humor, endeared Davidson to contestants and fans of the many game shows on which he appeared, including “Hollywood Squares” and “The $100,000 Pyramid.”.
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Cullen Marshall and Jessica Crofton play Kim's worried parents, roles played in the movie by Paul Lynde (of "Hollywood Squares" fame) and Mary LaRoche. Real-life teen heartthrob at the time, Bobby Rydell, played Kim's steady boyfriend, Hugo Peabody, ...
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What was Bruce Springsteen's first number one album in the U.K. | Bruce Springsteen Scores 11th No. 1 Album on Billboard 200 | Billboard
Bruce Springsteen Scores 11th No. 1 Album on Billboard 200
Danny Clinch
Bruce Springsteen
Bruce Springsteen earns his 11th No. 1 album on the Billboard 200 this week with the arrival of "High Hopes."
The set, which Columbia Records released Jan. 14, sold 99,000 copies through the week ending Jan. 19, according to Nielsen SoundScan.
With the No. 1 debut, Springsteen pulls ahead of Elvis Presley to stand alone as the act with the third-most No. 1s in the history of the Billboard 200. Ahead of both acts on the all-time list are the Beatles (with 19 No. 1s) and Jay Z (with 13).
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Bruce Springsteen, 'High Hopes': Track-By-Track Review
Springsteen's first No. 1 album was "The River," released in 1980. He has since followed it up with chart-toppers through the '80s, '90s, '00s and '10s. Having already claimed a No. 1 in the 2010s (2012's "Wrecking Ball"), Springsteen remains the only act to have achieved No. 1 albums in each of the last four decades.
"High Hopes" is Springsteen's first studio album (released since Nielsen SoundScan started tracking data in 1991) to debut with fewer than 100,000 copies. His SoundScan-era high came when 2002's "The Rising" powered through 525,000 copies in its first week, easily debuting at No. 1.
"High Hopes" sold particularly strong with Internet retailers, thanks largely to Amazon.com. The company carried an exclusive CD/DVD version of the album, with the DVD sporting a full-length concert of Springsteen and his E Street Band performing the entire "Born in the U.S.A." album.
Through Internet sellers, the physical version of "High Hopes" sold nearly 37,000 copies for the week -- the largest week for an album sold via the Internet since last May. Daft Punk's "Random Access Memories" was the last biggest seller through the 'net, when it shifted 38,000 in its debut frame. That sum was largely due to Web-based orders of the vinyl LP version of the album. The vinyl set accounted for 12,000 of that 38,000 Internet total.
(As for the vinyl version of "High Hopes," it sold a little more than 2,000 copies in its first week.)
In total, "High Hopes" sold 74,000 physical copies last week, easily making it the week's top-selling physical album. On the digital side of things, "High Hopes" sold 26,000 downloads, the fourth-largest-selling digital album of the week.
Last week's Billboard 200 No. 1, the soundtrack to Disney's "Frozen," slips to No. 2 to with 87,000 (though it's up 2% in sales). The album is in its eighth week on the list, and has spent the past three weeks locked in one of the top two rungs. In turn,it's the first soundtrack to spend three weeks in the top two since May 2009, when "Hannah Montana: The Movie" spent seven nonconsecutive frames in the region.
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The long-running "Kidz Bop" series collects its 18th top 10 album, as "Kidz Bop 25" bows at No. 3 with 76,000. The franchise, which features kid-friendly covers of popular songs, collects its 39th charting album in total with the arrival of "Kidz Bop 25." In addition to the 25 numbered albums, the "Kidz Bop" franchise has spawned themed collections like "Kidz Bop Christmas," "Kidz Bop Sings the Beatles" and "Kidz Bop Halloween Hits!"
On our Kid Albums chart, which tracks the top-selling children’s albums of the week, "Kidz Bop 25" easily debuts at No. 1. It marks the 27th No. 1 on the chart for the "Kidz."
The last numbered "Kidz" album, "Kidz Bop 24," arrived at No. 3 on the Billboard 200 last year (and No. 1 on Kid Albums) with 62,000 sold in its first week.
Behind "Kidz" this week is Beyonce's self-titled album, which falls 2-4 with 61,000.
Two more new entries arrive in the top 10: Sugarland's Jennifer Nettles with her solo debut, "That Girl," and rock band Switchfoot with "Fading West." The former starts at No. 5 with 54,000, while Switchfoot steps in at No. 6 with 39,000.
As one-half of Sugarland (with singer/guitarist Kristian Bush), Nettles racked up six earlier albums on the Billboard 200, with three of them hitting No. 1. The pair topped the list with "Love on the Inside" in 2008, the live set "Live on the Inside" the following year and then "The Incredible Machine" in 2010. Collectively, Sugarland's albums have sold 9.9 million copies in the United States, according to SoundScan.
"That Girl" also arrives at No. 1 on the Country Albums chart.
Meanwhile, Switchfoot garners its third top 10 album on the Billboard 200 with "Fading West." It's the act's highest-charting set since 2005's "Nothing Is Sound" debuted and peaked at No. 5. "Fading West" also gives the act its fifth No. 1 on the Christian Albums chart, following "Vice Verses," "Oh! Gravity," "Nothing Is Sound" and "The Beautiful Letdown."
Lorde's "Pure Heroine" is up next on the Billboard 200 this week, dipping two slots to No. 7 with 31,000. Eminem's "The Marshall Mathers LP 2" falls four rungs to No. 8 with 29,000 (down 19%), and Katy Perry's "PRISM" descends 7-9 with 22,000 (down 2%). Imagine Dragons' "Night Visions" rounds out the top 10, falling one spot to No. 10 with 20,000 (though it's up by 17%).
Over on the Digital Songs chart, Perry's "Dark Horse," featuring Juicy J, remains at No. 1 with 261,000 downloads sold (up 7%). Meanwhile, a Great Big World & Christina Aguilera's "Say Something" rises one spot to No. 2 with 208,000 (down 4%).
Pitbull's "Timber,"featuring Ke$ha, drops 2-3 with 202,000 (down 11%), and Aloe Blacc's "The Man" rises 7-4 with 165,000 (up 19%).
OneRepublic's "Counting Stars" descends 4-5 with 156,000 (down 15%) while Jason Derulo's "Talk Dirty," featuring 2 Chainz, flies 18-6 with 148,000 (up 84%).
Eminem's "The Monster," featuring Rihanna, slides 5-7 with 136,000 (down 16%), Lorde's "Team" is stationary at No. 8 with 133,000 (up 7%), and Passenger's "Let Her Go" falls 6-9 with 130,000 (down 12%). Bastille's "Pompeii" closes out the top 10, falling one spot to No. 10, with 129,000 (up 4%).
Overall album sales in this past chart week (ending Jan. 19) totaled 4.4 million units, up 4% compared with the sum last week (4.3 million) and down 11% compared with the comparable sales week of 2013 (5 million). Year-to-date album sales stand at 14.1 million, down 14% compared with the same total at this point last year (16.3 million).
Digital track sales this past week totaled 24.1 million downloads, down 6% compared with last week (25.6 million) and down 13% stacked next to the comparable week of 2013 (27.8 million). Year-to-date track sales are at 80.3 million, down 12% compared with the same total at this point last year (91.2 million).
Next week's Billboard 200 competes with the same week in 2013 when: Gary Allan's "Set You Free" debuted at No. 1 with 106,000 and the Lumineers' self-titled album jumped 7-2 with 50,000 (up 31%).
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Who duetted with Cliff Richard on When God Shines His Light | Song of the Day: Bruce Springsteen – Bobby Jean | Rocknuts
Song of the Day: Bruce Springsteen – Bobby Jean
Share the love, rockers...
On this day in 1985, Bruce Springsteen went to number one on the U.K. Album Chart for the first time with Born in the U.S.A. The album had been out since its U.S. release date of June 4, 1984 and had already been a smash elsewhere. Seven of the 12 songs on the album were released as singles (all reached the Top 10), and the five that weren’t were still pretty great. This is one of those five, but even though it wasn’t released as a single, it reached No. 36 on the Billboard Mainstream Rock Tracks chart anyway. It’s a very Springsteen-esque anthem punctuated by a killer sax solo.
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Who had a No 1 in the 90's with Turn Back Time | Aqua - Turn Back Time - YouTube
Aqua - Turn Back Time
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Music video by Aqua performing Turn Back Time. (C) 1997 Universal Music (Denmark) A/S
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What is or was the name of Georgie Fame's backing group | Aqua - Turn Back Time - YouTube
Aqua - Turn Back Time
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What is Luther's Cradle Hymn more commonly known as | Appendix Mc: Not So Far Away In A Manger
Not So Far Away In A Manger
FORTY-ONE SETTINGS OF AN AMERICAN CAROL
By Richard S. Hill
December, 1945
Second Series, Vol. III, No. 1
Even three wise men needed a star when they went searching for the manger where the little Lord Jesus laid down His sweet head. Unguided, one befuddled reference librarian has no chance at all of finding the true source of the little song that some unknown American has written in honor of the event. The complexity of the route and the number of false road signs which have been set up to confuse the unwary wayfarer would see to that. Nonetheless, it is patently high time that someone undertook to put a modicum of order into the growing confusion of false attributions which at present characterize the carol. Recent Lutheran hymnals, where according to the accepted story the carol might most fittingly appear, have begun to be so suspicious of it that they omit it entirely, and William Gustave Polack, in preparing The Handbook to the Lutheran Hymnal (St. Louis, Concordia Publishing House, 1942), does not even refer to it in passing. Unable to accept the attribution to Luther, they all preferred to ignore the carol entirely rather than attempt to find out who really did write it.
Martin Luther celebrating Christmas with his family, by Gustave F. L. Konig. Reproduced from T. B. Stork's Luther's Christ-Baum, Philadelphia, 1855. ( Large Image )
In addition, the multiplicity of settings is beginning to confuse everyone. At least eight compilations have attempted to solve the matter by printing two of the settings, but with so many to choose from, the solution does not advance matters noticeably. Likewise, it only makes more acute the problem that faced a certain school teacher who wrote to the Library of Congress a year ago. She had been teaching her children to sing "Away in a manger" to one tune, and now the Sunday schools in her town were telling them to sing it to another. Both the day school and the Sunday school song book gave their tune as composed by Martin Luther. Which tune did Luther really write? Or was it only the words.
The teacher eventually got an answer, much too late to do her any good. In addition, the answer hedged on several of the chief points. Several trips to the stacks of the Library had only served to confuse matters still further. Later, a process of crystallization set in, but only after many more dozens of volumes had been pulled from the shelves and the pertinent ones stacked on a spare table in the reference section. Even so, the ultimate origin of the carol has not been reached, and possibly it never will be. As Miss O'Meara pointed out to the writer, the chief question was posed in Notes and Queries in 1924 without ever receiving an answer. The explanation may lie in the fact that no one knew where to look for the answer. If the present search has done nothing else, it has limited the probable field of origin very considerably, both in range and in time, and consequently, since these facts may make it possible for some wanderer in the by-ways of nineteenth century religious literature to recognize the first edition of "Away in a manger" as such, it seems worth while to present them. After all, it is the Christmas season, when interest turns once more for a bout with the dozen or so Christmas carols that seem to do more to evoke the spirit of Christmas than any other single factor.
Lest there be any mistake in the matter, let it be stated right at the start that Martin Luther had nothing whatsoever to do directly with the writing of the words or the composing of any of the forty-one musical settings of "Away in a manger." This may come as something of a shock, not only to the editors of several hundred hymn books and collections of carols, but also to the supposedly more *scholarly annotators; of the handbook of several churches, who ought to have known how to check the matter for themselves and to have established it beyond question long ago. Just as one example out of many, it is disappointing to find William Chalmers Covert, D.D., Litt.D., and his associate editor, Calvin Weiss Lauffer, D.D., writing in the Handbook to the Hymnal (Philadelphia, Presbyterian Board of Christian Education, 1935, P. 144):
Martin Luther did not often appear as a gentle character. He was generally brusque and uncouth; yet it has not been considered an incongruity to ascribe to him this tender and lovely carol that for centuries, in the several tongues of many lands, has been the lullaby sung over the beds of countless children. This Christmas hymn has been the message to unnumbered little children, by which they have learned to know and to love "the little Lord Jesus."
Such pious and grossly inaccurate fiction is particularly amazing in a scholarly and dignified church publication, particularly since some of Dr. Covert's colleagues had rightly been more suspicious. The Rev. Professor James Moffatt, compiler of the Handbook to the Church Hymnary (London, Oxford University Press, Humphrey Milford, 1927, p.226) wrote:
In many hymn-books this charming lyric is ascribed to Martin Luther. But there is nothing corresponding to it in any of his hymns or in his other writings.
Robert Guy McCutchan in Our hymnody; a manual of the Methodist hymnal (New York, etc., The Methodist Book Concern, 1937, p.436) agrees with regard to Luther, and since in addition he is the first one to claim a separate origin for the third verse of the carol, it seems best to introduce here a fairly complete quotation of what he has to contribute:
This hymn has long been ascribed to Martin Luther. The first two stanzas have not been traced to any of Luther's works and are so unlike any of his other hymns that they can only be labeled anonymous. Bishop William F. Anderson has given the story of the writing of the third stanza:
When I was Secretary of the Board of Education, 1904-08, I wanted to use "Away in a manger," which I found with the designation "Martin Luther's Cradle Song," in the Children's Day program one year. It had but two stanzas, 1 and 2. Dr. John T. McFarland, then Secretary of our Board of Sunday Schools, was my near neighbor in his office at 150 Fifth Avenue (New York). I asked him to write a third stanza. He went to his office and within an hour brought me the third stanza beginning, "Be near me, Lord Jesus, I ask Thee to stay." I used it, which was the first time it was ever published. I am pleased to see that it is now being used very widely. The honor of it belongs to that great and good man, Dr. John T. McFarland.
John Thomas McFarland, I.L.D., was born at Mount Vernon, Indiana. January 2, 1851, and died suddenly at his home at Maplewood, New Jersey, December 22, 1913 . . .
It will be necessary to come back to this account later, since not all of it is above question. Nonetheless, it seems reasonably certain that in the beginning there were only two stanzas, and it seems desirable to make this distinction early in the discussion.
It is not to be supposed that either of the above statements with regard to Luther's authorship, any more than the present writer's more categorical utterance, is based on a line by line check of the fifty-seven fat volumes in the Weimar edition of Luther's Werke and the twenty-four volumes of supplements thereto. There would be no need for it. Luther is one man whose work and life have suffered no neglect. Down to his Tischreden, every crumb of information has been carefully brushed up and digested. Furthermore, Luther's part in the development of the German chorale has been studied and restudied time and time again. The major works covering this more limited field from Winterfield to Moser's little Die Melodien der Lutherlieder have naturally been checked without finding any possible direct source for "Away in a manger. " Miss Eva O'Meara is my witness that the carol is not in Zahn; and since Zahn covers practically all conceivable German evangelical hymns down to 1888, it would seem to be reasonably conclusive evidence that the carol is not only not by Luther, but that it is not even German. Ask any German! Inquiries have been made both here in Washington and in New Haven, but no German could be found who would admit to any knowledge of any of the tunes or of any antecedent for the words. The" Weihnacht section of innumerable German hymn books and carol collections, published both in Germany and in this country, have been examined in considerable detail. The words "Kripp" and "Kripplein" seem to occur in almost half of them, but otherwise the order of events described and the phraseology bear no possible relation to "Away in a manger."
Indirect, but rather convincing, evidence may also be found in two bilingual collections of carols. In 1918, the Lutheran Publishing Company of Buffalo, N. Y., brought out two parallel collections, compiled with more than usual care by Adolf T. Hanser. The first was entitled The Christmas Song Book, containing forty of the best Christmas songs. The second collection was called The Christmas Song Book, containing thirty of the best Christmas songs; songs in English and German, Volume IL No. 44 on page 32 of the first collection is "Away in a manger" with no author or composer specified and no mention of Luther. Although all but four of the thirty songs in the second collection are the same as those in the larger volume, "Away in a manger" was one of the songs omitted. Both English and German texts had to be supplied in the second collection, and the temptation is strong to suppose that the lack of a German version had something to do with its omission. In 1934, Professor Herbert H. Wernecke solved the problem differently. He published privately in Webster Groves, Mo., a little volume called Christmas Songs and Weihnachts-Lieder, in which he printed the English and German versions on opposite pages. When he had no German translation, he apparently made one, and thus "Joy to the world," words by Isaac Watts and music attributed by Wernecke to Handel (although, of course, it is at most derived from him), becomes: "Freue dich, Welt, dein Konig naht! Mach' deine Thore weit!" On pages 4-5, he gives "Away in a manger," including the third stanza. To simplify the comparison, the English and German versions of the first stanza are given side by side:
Away in a manger, No crib for a bed,
The little Lord Jesus Laid down His sweet head.
The stars in the sky Looked down where He lay,
The little Lord Jesus Asleep on the hay.
So arm in der Krippe, Keine Wiege zum Bett,
Der liebe Herr Jesus, Da schlief er so nett,
Die Sterne am Himmel Sahen auf ihn so frohDer liebe
Herr Jesus, Er schlief nur auf Stroh.
Half an ear for natural prosody is sufficient to tell that the German is the translation, not the English.
The point is being belabored overly much for two reasons. First, it seems essential to lay once for all the legend that Luther wrote a carol for his children, which no one else knew anything about, until it suddenly turned up in English dress four hundred years later in Philadelphia. Luther can well afford to spare the honor. He has always exerted the sort of appeal on the popular mind that has drawn legends to him, and scholars have constantly had to struggle to keep these excrescences down to a reasonable number. Strangely enough, however, what was an excrescence as a legend immediately turns into an extremely charming and natural product of American culture as soon as it is returned to its true point of origin. As a new nation last century, we were afraid of our own abilities, and whenever a foreign name or origin could be used to prop up one of our songs, that song was promptly surrounded with all the borrowed glory that could be imported. The process has gone far enough, and it is about time we started claiming--or acknowledging-our own waifs, and letting them travel on their own merits. Some of them can do it, and "Away in a manger" is certainly one such.
Secondly, the break with Luther must be made particularly sharp and distinct, since although Luther himself had nothing to do with the carol, the colonies of German Lutherans in Pennsylvania almost certainly did. If we wished, the background from which the carol must have grown could undoubtedly be traced back to its German sources, but for the present purposes, it should be sufficient to start with a little book of 32 pages called: Luthers Christ-Baum, mit sechs sch5nen Bildern. Geselischaft zur Verbreilung Evangelisch-Lutherischer Schriften. Philadelphia: Lindsdy und Blahislon ... 1855. Earlier in the century, Gustav Ferdinand Leopold Konig (1808-1869) engraved and painted so many pictures illustrating the life of Luther that he was commonly identified as the "Lutherkonig," a pun that is as bad as many of his pictures. Whatever their quality, the entire Lutheran world of the mid-nineteenth century loved them, and the board in Philadelphia selected six of them to be reproduced in their Christmas book. The one showing Luther and his family with the Christmas tree in the background served as frontis-piece, and since in a sense it is documentary evidence, it has been reproduced from this 1855 copy on page 17. The unacknowledged author of the book was Theophilus Baker Stork (1814-1874). He spent most of his opening pages describing the earlier years of Luther's life, but on page 30 he gets to the subject of his frontispiece:
Der Chrirl-Bamm.
Der Christbaum, wie manche andere schone Sitte, ist deutschef Herkunft, und es sollen dadurch die Kinder an die Geburt des Christ-Kindleins erinnert. werden. Urspriinglich hatte man neben dem Baum auch die Krippe und Maria, mit dem Kinde Jesu. Das aber ist nach und nach abgegangen. Nur steht noch auf der Spitze des Baumes der Christengel, der man iffig ffir Christ-Kindlein gehalten. (Siehe Titelbild.) In diesern Bilde scht ihr wie Luther mit seinen Kindern das Weihnachtsfest feiert. Betrachtet das Bild . . . (Follows a long description of the content and meaning of the picture.]
The pictures and Stork's text became tremendously popular, establishing themselves as a sort of tradition, strong enough for the Lutheran Publication Society to feel justified in bringing out an English paraphrase of the original publication "by request" as late as the year 1916. The blatant Germanism was toned down considerably, but the sense of the text was followed closely.
Meanwhile, Stork had come close to providing a translation himself when he published his Luther at Home (Philadelphia, Lutheran Board of Publication, 1872). On pages 119-120, he wrote:
In one of Koenig's happiest illustrations, we have Luther with his family on Christmas eve. The Christmas-tree, in olden times, represented the birth of the Christ-Kindlein. At the foot of the tree was the manger, with the mother and her holy child. But these have disappeared, and the only figure remaining is the announcing angel, at the top of the tree, which is sometimes mistaken for the Christ-child, . . . The artist has given us a true picture of Luther with his family on Christmas eve.
Earlier in the same little volume, Stork adds another element to the story, which is of very considerable significance. On page 65, he writes:
Luther's carol for Christmas, written for his own child Hans, is still sung from the dome of the Kreuz-Kirche, in Dresden, before daybreak on the morning of Christmas-day. "It refers to the custom, then and long afterwards prevalent in Germany, of making, at Christmastime, representations of the manger with the infant Jesus." *
Please note that the title of the Christmas carol is not specified. For this, as well as for Stork's quotation, we must follow his foot-note to *Evenings with the sacred poets, P-98, issued anonymously by Frederick Saunders (1807-1902) and first published in New York by Anson D. F. Randolph and Co., in 1870, two years before Stork's book. Since the passage in question again appears as a quotation, we need not stop to repeat it, but follow Saunders' foot-note to his original-Catherine Winkworth's Lyra Germanica: hymns for the Sundays & chief festivals of the Christian year, translated from the German. The first edition appeared in London in 1855, followed by a New York edition in 1856. A number of later editions followed in fairly rapid succession, each in a more handsomely tooled leather binding than the last. Miss Winkworth's translations soon became the standard translations, and she is still given the chief credit for many versions that appear in our hymn books. Her influence can therefore be counted as tremendous, and thus the significance of the following transcription from page x of her Preface should not be underestimated:
The carol, "From Heaven above to earth I come," [which she gives in translation on page 121 is called by Luther himself, "a Christmas child's song concerning the child Jesus." He wrote it for his little boy Hans, when the latter was five years old, and it is still sung from the dome of the Kreuzkirche in Dresden before daybreak on the morning of Christmas Day. it refers to the custom then and long afterwards prevalent in Germany of making at Christmas-time representations of the manger with the infant Jesus.
The chief point of these quotations has at length been reached. Stork, and others like him, vigorously instilled in the minds of Lutheran children a picture of Luther spending Christmas with his children. He told them that Luther wrote a carol for these children, but he neglected to give the carol a name. Had he done so, any Lutheran would have recognized "Vom Himmel hoch da komm ich her" or its English translation. It was usually printed, normally in truncated form, in both the regular Lutheran hymnals and in many of the Sunday school collections. But it is never identified as "Luther's Cradle Hymn," and in fact, more often than not, it is given in the earlier collections without mentioning Luther at all. As in Stork's account, the connection with Luther seems to have become dim. Now, it would be the grossest nonsense to suppose that the two simple stanzas of "Away in a manger" are a translation--or even a paraphrase-of the fifteen stanzas of Luther's great hymn. Naturally, one could hardly describe a baby lying in a manger, surrounded by cattle, without making use of a few similar words and expressions, but Luther, even when writing for his children, could never throw off his role of educator and doctrinarian. He could, when he wished, be extremely gentle and even playful, but invariably he seems to have felt that simple sentiment was not enough. He must also instruct and elevate the spirit and mind. Thus the flavor and effect of Worn Himmel hoch" is basically different from that produced by the naturalness and simple observation of "Away in a manger." The unknown author of "Away in a manger" was willing to present a picture and let his audience draw their own conclusions; Luther was not. "Vorn Himmel hoch" may be found in so many Christmas collections that it hardly seems necessary to reprint its fifteen stanzas here, even if more space were available, but if there is any doubt in any reader's mind on the dissimilarity of the two poems, it is suggested that he take time out at this point and check the matter elsewhere.
If, then, it be granted that "Away in a manger" is not a translation of "Vom Himmel hoch," what could possibly be more logical than to suppose that some Lutheran in Pennsylvania (the locale is selected for reasons which will become more apparent later) should attempt to make good the supposed deficiency, building his new poem on the mixture of legend and fact that had become associated with Luther's celebration of Christmas with his family.
The tantalizing part of the whole thing is that the name of no poet has been found anywhere except in two collections, both published by Birchards in 1917. One collection is Father Finn's Carol Book, and the other was compiled by the firm's own staff of editors: Standard Songs, No. 4. Christmas carols, ancient and modern (cf. the Check-list at end, item no. 31). In the first, the name, "Samuel Mack," appears where the author's name is usually given; in the second, this is extended to "English text by Samuel Mack." There is no mention of Luther, so that the first form implies that Mack wrote the poem by himself, whereas the second implies that he translated it from some unspecified source. Father Finn has kindly written to say that at this late date he does not remember how the name came to be placed there, or even whether he had anything to do with the matter. Mr. Nelson M. Jansky of Birchards has done everything he could to trace the ascription to its source, but was finally forced to the conclusion that the information was buried with Harvey Worthington Loomis, who seems to have assisted in the editing. "He knew just about everything there was to know about these old songs and most of the sources whence they came. I wish he were here now." This is certainly a sentiment in which the present writer concurs. Miss O'Meara attempted to attack the problem from the genealogical angle, and found that a Mack family started from Essex and Saybrook, along the Connecticut River, and that there had been a Samuel in every generation. One Samuel, 1825-1863, went to Kansas and became a preacher, but there is nothing to indicate that any of them wrote religious verse. If they did, it is not to be found under the name of Samuel Mack in either the Main or the Union Catalog of the Library of Congress, nor in the Bibliographical Center in Philadelphia.
The discouraging part about the whole thing is that, even if Samuel Mack is actually the author-and certainly more about the when and where would have to be known before it could be definitely ascribed to him-there are still too many places where one might search for the poem. Certain clues seem to indicate that the verses were first printed separately without a musical setting. It has been so found, apparently classed as a recitation, printed in Melodies for little people, containing also one hundred recitations . . . By S.V.R.Ford (New York, Hunt & Eaton; Cincinnati, Cranston & Stowe, 1891) ; and Granger's Index to poetry and recitations, together with its supplements, lists twenty-two collections which include it-a rather remarkable total if the poem were extracted from a song. Lastly, the poem turns up four or five times adapted to a standard melody belonging more properly to other words, and the recurrence of such adaptations seems to suggest a poem in search of a melody.
As a matter of fact, the earliest appearance of the poem found thus far Is in an adaptation of this sort. In a Little children's book: for schools and families. By authority of the general council of the Evangelical Lutheran Church in North America (Philadelphia, J. C. File, 421 Market Street, 1885), the original two stanzas of "Away in a manger" are printed, not among the other Christmas carols, but as a "Nursery" hymn, the very last item in the volume. The date of copyright is June 16, 1885, but the preface is dated "Christmas 1884." A facsimile of the page is given below.
The tune to which the words are to be sung gives every appearance of being a standard melody used elsewhere for other hymns. There is a possibility, of course, that J. E. Clark wrote his hymn tune, St. Kilda, specifically for these words, but if so, the reason for connecting our cradle hymn with a saint associated with a small English island off the coast of Scotland completely escapes me. [ Large Image ] Unfortunately, no information on J. E. Clark or any other printing of his tune, previous or later, has been located. Other St. Kildas and other Clarks have turned up, but not these exact two. Presumably, the metrical scheme of the verses � usually given as 11.11.11.11 or 6.5.6.5.13 � was so unusual that the editors had to go fairly far afield to find a suitable tune. They have done an exceptionally careful job in compiling their little book. Not only are the names of authors and composers customarily given, but also the actual books from which the hymns were taken and where necessary the names of translators. Thus the omission of both an author and a source of the words for "Away in a manger" cannot be set aside simply as a piece of carelessness. In its way, it may be taken as a very tenuous clue, indicating something about the type and nature of the source. There are various possibilities. The source itself presented the poem anonymously or in such a way that the name of the author could not easily be determined. The source may have been so ephemeral that there seemed no point in citing it. Such a source might be one of the seven Lutheran Sunday school papers or magazines, carefully graded for the consumption of everyone from a teacher down to The little ones, an illustrated weekly paper for infant schools. Edited by Mr. Robert B. Kinsell. Since the annual subscription rate was only twenty cents, it could hardly have been a very imposing sheet.
If we add to this clue, another "clue by omission," it becomes possible to make even more pointed guesses. The Little Children's book does not mention Luther in any way, shape or form, whereas in the second setting, which appeared two years later, Luther is given as author, and the statements appear that Luther wrote it for his own children and that the carol is still frequently sung-in Germany by mothers to their children. Although the statements are not true, there is no reason for supposing that the composer of the second setting made them up out of whole cloth. Probably, he either took or deduced the statements from the same source as the words of the poem, and just as probably, his source was the same as that used by the editors of the Little children's book. If all these assumptions and deductions are held in suspension at one time, they seem to point to a fairly definite type of source. For one thing, it was prepared for the consumption of children. Luther is somehow involved, but in such a way that one set of editors could see that he had not written the poem (possibly because they knew more about Luther), whereas the second editor got the impression that the poem was written by Luther for his children and that it was well known in Germany. If the source was quasi-fictional-a little play for children to act or a story about Luther celebrating Christmas with his children � one man might easily have appreciated that the poem was written by the author of the playlet or story for dramatic effect, whereas the other man might take it as pure history.
These deductions may not all be strictly accurate. In fact, if they turn out to be the literal truth, the present amateur detective will be more surprised than anyone else. Nonetheless, they form an hypothesis which fits all the known facts, and shapes them into a perfectly logical pattern. And if anyone should find such a story or play containing the words of "Away in a manger," written between the outer limits of 1880 and Christmas of 1884, but more probably in 1883 during the 400th Anniversary of Luther's birth, he will almost certainly have discovered the first edition of this very elusive poem.
Once past this absolute origin, we soon get on reasonably sure ground. The second setting, to which reference has already been made, appeared in a collection, registered for copyright slightly less than two years later than the first, on May 7, 1887 (see above). It bore the title: Dainty songs for little lads and lasses, for use in the kindergarten, school and home, by James R. Murray (Cincinnati, The John Church Co.) On page 110, reproduced herewith in facsimile, appears what is easily the most widely popular setting of them all. [ Large Image ] Wherever he got the ideas expressed in the heading, Mr. Murray made one serious tactical mistake in saying that Luther "composed" the hymn, and then placing only his own initials where the composer's name is normally given. As a consequence, his fellow compilers of song books apparently supposed that all he had done was to arrange the accompaniment. Presumably, the carol began to show signs of its ultimate popularity almost immediately, and someone pointed out to him his error. The following year, therefore, he brought out another collection, Royal Praise for the Sunday School. A collection of new and selected gospel songs . . . by J. R. Murray (Cincinnati, The John Church Co., (filed Apr. 25, 1888]), and this time he made a slightly different arrangement of the music, transposing it to G major, and adding a repetition of the final phrase. The heading remains the same, except that he adds the definite statement: "Music by J. R. M.," and at the foot of the page appears a separate copyright notice: "Copyright, 1888, by The John Church Co." On June 4th, 1892, the John Church Co. registered a third collection compiled by Murray-Little sacred songs for little singers of the primary department of the Sunday school, and for kindergartens and the home-in which Murray went back to his original setting in F major, and entered his claim to the music simply with his initials.
Under the circumstances, there would seem to be no reasonable grounds on which Murray's claim to having composed the setting can be denied. Nonetheless, although his setting has been found in something over sixty collections and hymn books, his name has never once been given as the composer except in his own compilations. The fault, of course, is his own for giving the impression that the basic work was Martin Luther's. He knew the copyright law, and as editor of Church's Musical Visitor, was constantly writing paragraphs on how the firm was proceeding against persons who infringed John Church's rights. The average compiler of a song book, however, was-and most of them still are-woefully ignorant of many provisions of the copyright law, notably the fact that a new arrangement of an old musical composition gets the same protection as an original work. Supposing that an old song cannot possibly be copyrighted, they do not bother to hunt up a public domain version, but blithely appropriate the handiest new arrangement. Often the publisher of the new arrangement does not catch them promptly, and after a few infringements have taken place, it is extremely difficult to get a favorable judgment from any court, and the new arrangement falls prematurely into the public domain along with the original version. Theoretically, this need not happen, since the law gives full protection to an arrangement, but nonetheless in practice, it happens all the time, and consequently encourages infringers to ply their trade.
In all probability, the infringements against James R. Murray's setting started at a fairly early date, but the first one that has been found was published in 1902, thirteen years before the first period of protection had run its course. Later they become more frequent, and almost all of them clearly betray their origin by reprinting parts of Murray's title and not infrequently reprinting his composition note for note. Naturally enough, however, the middle version, which says "Music by J.R.M." is never copied. It may be of interest for the record to have a list of the earliest of these collections, which have been found.
1902 MARGUERITE COOK. Beginners Songs. Chicago, David C. Cook Publishing Co. No. 119. Luther's Cradle Hymn. [No author or composer; 2 stanzas]
1908 MARGUERITE- COOK. Primary Songs, No. 3. Elgin, Ill., David C. Cook Publishing Co. No. 91. Luther's Cradle Hymn. (No author or composer given. Stanzas 1.21
1909 J. LINCOLN HALL and ELSIE DUNCAN YALE. Songs for little singers. New York, etc., Hall-Mack Co. Page 43: Luther's Cradle Hymn. (Written by Martin Luther for his children, and still sung by German mothers to their little ones.) [Stanzas 1-21
1910 IDA F. LEYDA. Carols. Chicago, Leyda Publishing Co. Page 52: Luther's Cradle Hymn. (Composed by Martin Luther for his children.) [Stanzas 1 & 3; the carol was not included in the 1908 edition, but was reprinted as above in the editions of 1912 and 19141
1917 Common service book of the Lutheran church. Authorized by the general synod, the general council, the united synod in the south. Philadelphia: The Lutheran Publication Society; The general council publication board. Columbia, S. C., The Lutheran board of publication. No. 536: [No author or composer; no reference to Luther; entered with the opening phrase as specification of hymn tune. Stanzas 1-21
1918 ADOLF T. HANSER. The Christmas song book, containing forty of the best Christmas songs. Buffalo, N. Y., Lutheran Publishing Co. Page 32: Away in a Manger. [Probably taken from preceding collection.]
1919 ADOLF T. HANSER. The Christmas song book. Buffalo, N. Y.: The Sotarion Publishing Co. Page 34: Away in a manger. [No author or composer.]
1921 Children's Praise. Second edition. Pittsburgh, The United Presbyterian board of publication. No. 56: A Babe in a Manger. [Based on] Luke 2.-[Music by] Martin Luther. [Four completely new stanzas, no author given, but words copyrighted by the Board, are substituted for the original two. They are completely uninspireid, and no reprints have been found.]
1921 BENJAMIN S. WINCHESTER and GRACE WILBUR CONANT. Worship and Song. Boston, Chicago, The Pilgrim Press. Revised edition. (The 1913 edition does not include the carol.] No. 83: Away in a manger. (Tune: I Mueller. [Words by] Martin Luther (1483-1546) -[Music by] Carl Mueller.
Please-note in this last collection the new attribution of the music to Carl Mueller. It would certainly not be safe to say that this ascription occurs for the first time in Worship and Song, but it is the earliest that it has been found. From 1921 to the present, however, of the collections upon which notes have been taken, fifteen have come out for Martin Luther as the composer of this particular melody and fifteen for Carl Mueller. Several collections in the early twenties give no composer at all, and since 1934 a trend has developed to pass off the problem entirely by giving the origin of the tune simply as "German" or "Traditional." The more responsible Lutheran, Presbyterian, and Methodist compilations at first gave the composer as "Unknown," and later shifted to a grudging "Ascribed to Carl Mueller."
At one stage of these investigations before the fairly clear-cut evidence in favor of James R. Murray had been discovered, Carl Mueller seemed like the only likely candidate, and a great deal of time was spent and a number of unoffending individuals put to considerable needless trouble in an effort to identify the man. The problem was much like trying to identify one particular John Smith. Eventually, the conclusion was reached that although someone living might be possessed of evidence that would make the attribution to Carl Mueller stick, the general pattern of the evidence as formulated at present made the whole thing look rather like the desperate hoax of an editor who, knowing full well that the melody was not composed by Luther, preferred to put down just any name, so long as it was vague enough, rather than attempt to establish the correct composer. For the present and until the originator of the Carl Mueller attribution has the grace to come forward with something more than a name, the sensible solution would seem to be to forget the man entirely, and award the honor to James R. Murray. He claimed it at a time when his claim makes good sense, and until someone proves the contrary, he should get what little benefit he can from this posthumous glory.
No roaring genius, he was nevertheless a serious and capable member of the musical community during the latter part of the last century, and deserves far better treatment than he has received from the compilers of American dictionaries. So far as can be discovered, F. O. Jones' A handbook of American music and musicians (Canaseraga, N. Y., 1886) and Granville L. Howe's A hundred years of music in America (Chicago, 1889) are the only two dictionaries to take any notice of his musical activities at all. Samuel Raymond's The record of Andover during the Rebellion (Andover, Mass., 1875, p. 179) supplies a few facts on his birth and young manhood. The son of Walter and Christina Murray, he was born in Andover on March 17, 1841. Jones agrees on the 1841, but Howe, who apparently knew Murray personally, raises the date to 1842. Both Howe and Jones say that he received his musical education from George F. Root, Lowell Mason, Wm. B. Bradbury, George J. Webb, and Whitney Eugene Thayer, but some of this education must have been acquired through professional association with these men during later years. He was mustered into the army on July 21, 1862 as a private in Co. H, 1st Heavy Artillery, and discharged therefrom on July 8, 1864 at the expiration of his service. While still in the army, he became nationally famous through the composition of the sentimental ballad, Daisy Deane, and immediately after his discharge joined the staff of Root & Cady. Mrs. Epstein refers to him during this period of his career rather frequently, and his compositions and collections were largely published by the firm.
From 1868 to 1871, he assisted Root in the editing of the firm's Song Messenger, and for a time had his name on the masthead as editor. After the Chicago fire, he returned to Andover to teach music in the public schools, remaining there until 1881, when he removed to Cincinnati to edit the Musical Visitor for The John Church Co. Until the magazine was discontinued at the end of 1897, the city directories list him as "Editor Church's Musical Visitor," and thereafter through the issue of 1904 as "musical editor The John Church Co., but in 1889 Howe wrote that he had "entire charge of the editorial and publishing department of the house." Neither his middle name nor the exact date of his death has been established as yet, but since his wife, Isabel, continued to live in the Mt. Auburn section of Cincinnati, the disappearance from the directory cannot be simply a question of moving to some other city, and it seems probable that he died during the year 1904.
Mrs. Murray renewed the copyright on Dainty songs for little lads and lasses on March 18, 1915, and therefore if either she or The John Church Company had realized what they were missing, they could probably have collected a small fortune on his setting of "Away in a manger" before it eventually fell into the public domain on March 18, 1943.
By 1891�but apparently not much before�the carol was sweeping the country. S. V. R. Ford's printing of the poem during this year in his Melodies for little people has already been mentioned. Murray's setting had not yet achieved the character of a folk song, however, and most of the editors of Sunday and day school song books and the compilers of the somewhat too frequent "cantatas" and "Sunday school services" took the precaution of providing their own music. It was the custom at the time to make copyright registrations of new material in a compilation by depositing proof sheets or the pages bearing the works in question, cut from the collection. Often the complete collection was not deposited at all. Flimsy and small, some of the proof sheets seem to have gone astray, and even when they can be found, it is normally impossible to establish the title of the collection in which they were intended to appear. Unsatisfactory as this scanty bibliographical information is, it at least guarantees the existence of a number of early settings, of which otherwise we would probably have no knowledge at all.
With forty-one settings to cover, it is obviously impossible to deal with them separately in the main body of the text. They will all be found listed in their proper order in the check-list that ends this article, and the space thus freed can be devoted to a fuller discussion of the four main settings, plus one additional setting that presents a number of odd aspects. The only point that must be brought out here is that four of these settings appeared during the course of 1891 and three more in 1892. Since only one of these seven settings developed any staying-power, the burst of publishing activity is in itself of relatively little importance, but it demonstrates beyond any reasonable doubt that Murray's setting was provoking considerable excitement and that all the compilers of song books wanted to take advantage of it.
During the excitement, on October 17th, 1891, the S. Brainard's Sons Company of Chicago deposited The joyful Story. A new Christmas entertainment for Sunday Schools by J. B. Herbert. Similar entertainments, playlets, services, or cantatas for Christmas, Easter, Rally Day, and Children's Day were apparently standard features of most Sunday schools, to judge by the hundreds of them that are preserved in certain classes in the Library of Congress, but the present writer must admit that this is the first time he has ever come in close contact with them, and he rather supposes that this may be true of a goodly number of other people. Since they are a little difficult to believe at first sight, the cover of Herbert's "entertainment," along with a facsimile of the page bearing his setting, has been reproduced on page 18. Unfortunately, the bright red and green on the cover must be left to the imagination. The joyful Story is made up of twenty-two "numbers." The choir sings an unspecified anthem, the chorus follows with "Cheerily Chime." No. 3 is a welcoming recitation in two short stanzas, and then the chorus sings a carol, "Rejoice and be joyful," by Mr. Herbert himself. A "responsive exercise" about the shepherds, written for the occasion, is read by the Superintendent and the School, and this is followed by two hymns and another recitation. At this point, the little children are brought forward for a "Primary Class Exercise." They sing a small carol, and then three girls give a "Recitation, with singing" about "Merry Christmas." Another chorus and recitation build up to No. 16, "Solo for a little child," which is, of course, a setting by "J.B.H." of the "Cradle Hymn / (Written by Martin Luther for his children.)" The concluding numbers mingle a recitation in which "a little girl talks to a large doll which she carries in her arms," the distribution of the Christmas gifts, a chorus, and a quartet, with everyone going home after a performance by the school and the congregation of "Joy to the World." It all goes to form a simple and homely milieu which seems much more than a mere half century away.
John Bunyan Herbert (1852-1927) was probably a homely man also. Born in Ohio, he moved at an early age to Monmouth, Illinois, according to the Historical and biographical record of Monmouth and Warren County, 111. (Chicago, 1927). He went to grade school there, and later to Monmouth College, graduating in 1869. After getting a medical degree from the Hahnemann Medical College of Chicago, he set up his practice in Monmouth in 1872. Gradually, he became more and more interested in music, and in 1880 he organized a male quartet, which he directed and in which he sang second tenor. It acquired far more than local fame, traveling to several of the national Prohibition Conventions and many Chautauquas. Although the personnel changed from time to time, the quartet remained an entity well into the present century, which probably explains the large number of collections of anthems and secular glees for male voices compiled by Herbert. In addition, he wrote quite a number of political songs, a harmony method, and a book on how to write accompaniments for songs. His last published work, which appeared in 1922, was a collection of settings of songs from the plays of Shakespeare, some by himself and some arranged from earlier composers. His letterhead in 1904 announced that he was prepared to give "Lessons in harmony and composition by mail; manuscripts corrected and arranged for publication." There is no mention of medicine, and judging by the number of his published works, his medical practice must have become a minor interest many years before this.
No other composition of his has attained anything like the popularity of his setting of "Away in a manger." The form in which Herbert published it, with only his initials above the music, had somewhat the same effect on the setting's later history as in the case of Murray. In 1901, only ten years after it first appeared, Mari R. Hofer compiled a Primary and junior songs for the Sunday school (Chicago, Clayton F. Summy), and in 1906, Marion H. P. McFadden edited The Babies' Hymnal (Chicago, A. C. McClurg & Co.). The carol appears in both of these books under the title "Cradle Hymn (Written by Martin Luther for his children)." This is the exact reading of Herbert's "Entertainment," and it is difficult to avoid the conclusion that, misled by the ascription to Luther, one or both of these ladies helped herself to the setting from Herbert's pamphlet.
There must have been other publications of the setting in the interim, but the next one to turn up in the present survey appeared in 1921 in Songs for the little child, compiled by Clara Belle Baker and Caroline Kohlsaat, and issued by The Abingdon Press of New York and Cincinnati. The opening phrase, "Away in a Manger," is used as the title, and in the customary spots to the right and left where the composer's and author's names normally appear, there stands the name, Martin Luther. With the customary skepticism of the Lutherans on this point, Gunnar J. Malmin merely "ascribes" the carol to Luther in Hymns for church schools (Minneapolis, Minn., Augsburg Publishing House, 1929). So far as these records go, it was in the following year that the Presbyterian Board of Christian Education first went back to crediting J. B. Herbert with the music. Even so, in their Primary music and worship for church, school, and home, they still "ascribe" the words to Martin Luther. In the later 1930s, as the Herbert setting gradually becomes really popular--even to the point of rivalling Murray's setting-both traditions may still be found, presumably depending on the perspicacity and competence of the ' various compilers of the collections. As late as 1943, Opal Wheeler in her Sing for Christmas (New York, E. P. Dutton and Co., Inc.) not only unblushingly attributes both words and music to Martin Luther, but furnishes an extended and completely imaginative little story on just how and why Martin Luther wrote it. Something ought to be done to restrain such compilers of song books, even if it is only by embarrassing them occasionally in public.
The first edition of J. B. Herbert's setting of "Away In A Manger."
Reproduced from a copy in the Library of Congress
| Away in a Manger |
In Spain what is a corrida | Away in a Manger - Christmas Devotion |CBN.com
Christ watches me, His little lamb,
Cares for me day and night,
That I may be His own in heaven;
So angels clad in white
Shall sing their "Glory, glory,"
For my sake in the height.
~ Christina Rossetti
No Christmas song is more loved than this tender children's carol. With its simply worded expression of love for the Lord Jesus and trust in His faithful care, the hymn appeals to young and old alike. It is usually one of the first Christmas songs learned in early childhood; yet its pleasing melody and gentle message preserve it in our affections all through life.
For some time Away in the Manger was titled Luther's Cradle Hymn. It was thought to have been written by Martin Luther for his own children and then passed on by German mothers. Modern research discounts this claim, however. Stanzas one and two first appeared in the Little Children's Book, published in Philadelphia in 1885. The third verse was written by a Methodist minister, John T. McFarland, in the early 1900s when an additional stanza for this carol was desired for use at a church children's day program.
How important it is that we take time to help our children see beyond the glitter of the Christmas season and teach them the true meaning of Christ's birth. The most thrilling story ever known to man began in Bethlehem at Christmas.
"Away in a manger, no crib for a bed,
the little Lord Jesus laid down His sweet head;
the stars in the sky looked down where He lay,
the little Lord Jesus, asleep on the hay.
The cattle are lowing, the Baby awakes,
but little Lord Jesus, no crying He makes;
I love Thee, Lord Jesus! look down from the sky,
and stay by my cradle till morning is nigh.
Be near me, Lord Jesus, I ask Thee to stay
close by me forever, and love me, I pray;
bless all the dear children in Thy tender care,
and fit us for heaven, to live with Thee there."
Adapted from Amazing Grace: 366 Inspiring Hymn Stories for Daily Devotions
Copyright 2002, Kregel Publications. Used with permission.
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What mode of transport would you be using in the Devizes to Westminster marathon | Canoe Race: Devizes To Westminster - British Pathé
British Pathé
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Description
Unissued / Unused material.
Canoe race from Devizes (Wiltshire) to Westminster (London).
MS canoeists Rhodes and Lowery coming out of Savernake Tunnel. MS as one canoeist covers himself with waterproof sheet. CU St Bernard dog with brandy barrel round its neck. MS canoeists passing crowd on bank.
MS as competitors carry their canoes over lock at Wootton Rivers. LS as competitors carry their canoes over dried up part of canal. LS as canoeists leave Savernake Tunnel.
| Canoe |
In which long running BBC series did Bonnie Langford play the part of Melanie | Devizes to Westminster Canoeists paddle through Katesgrove | The Whitley Pump
Devizes to Westminster Canoeists paddle through Katesgrove
/ Evelyn Williams
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Canoeists taking part in the Devizes to Westminster International Canoe Race have been passing through Reading on the Kennet and Avon Canal all day today, 26 March 2016.
The race comprises two events; a four day crew competition that began in Devizes on Friday 25 March and a two day senior doubles non-stop challenge that began this morning.
The four day crew competition passed the Reading checkpoint from shortly after 11am and then went on to Marlow where they stopped for the night.
The senior doubles boats began arriving in Reading in blustery and wet conditions at around 6pm, just as it was getting dark (pictured).
The 125 mile race has been held over the Easter weekend every year since 1948. This year 300 boats are taking part.
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What is the name of the pub in the TV series Born and Bred | Film Locations - TV Locations
The Wrinkled Stocking tea rooms
Nora Batty's house
The canal at Slaithwaite
Last of the Summer Wine was first broadcast on BBC television in January 1973, making it Britain's longest running TV comedy series. Every single episode has been written by Roy Clarke. The male characters are all in their 'twilight years' but act as if in their second childhood! Bill Owen (who played Compo) made the area his second home. He died in July 1999 and is buried nearby in the village of Upperthong.
Many of the canal scenes in Last of the Summer Wine were filmed at Slaithwaite, which is frequently used as a location in ITV's 'Where the Heart Is'. Slaithwaite features in the canal section of this web site. Bamforths produced their saucy seaside postcards of nagging (buxom) wives and their (scrawny) hen pecked husbands at Holmfirth. Bamforths were also producers of 'Magic Lantern' slide shows and silent films.
Goathland - 'Heartbeat'
Aidensfield Arms + TV crew and actors
Goathland's village green
Heartbeat, from Yorkshire TV, is set in the 1960s, and features the community of Aidensfield and its police force. The village of Goathland is in the North York Moors National Park and features as the village of Aidensfield. The Aidensfield Stores are used as the Post Office, and the Goathland Hotel features as the Aidensfield Arms. If you're lucky, as we were, then it's possible to visit Goathland and see them filming (picture 3). Goathland's railway station and the preserved North Yorkshire Moors Railway also appear in the series. (Note:- Goathland station appears as Hogsmeade station in Harry Potter and the Sorcerer's Stone).
Aidensfield police house is actually in Askwith and the police station is 60 miles away, in Otley! (Just like it would be if the series was representative of life now!) The fishing port of Whitby is often used as a location. A page about Whitby appears in the Out and About section of this website.
Downham - 'Whistle Down the Wind' & 'Born & Bred'
Downham village
Assheton Arms
Damens station
Downham village in Lancashire is a film maker's dream. It has no TV aerials, no intrusive overhead cables, no double yellow lines, but lots of photogenic ducks! The Assheton family have been lords of the manor since 1558 and they still ensure that Downham retains an air of tranquility. Downham was used as a location in the 1961 film Whistle Down the Wind, starring Alan Bates and Hayley Mills. The film tells how three children assist an escaped convict they find in their barn, convinced that he is Jesus. Local children starred in the film. The farm used in Whistle Down the Wind was Worsaw End Farm (picture 2 above).
Pictures 3 and 4 are locations for the BBC's comedy drama Born & Bred. This is another nostalgic series, with predictable story lines. It's 'easy watching' TV, in the same mould as Heartbeat, Monarch Of The Glen, Where the Heart is and Ballykissangel. Downham's village pub, the Assheton Arms features in the programme as The Signalman's Arms. Damens railway station ( Britain's smallest) is 20 miles from Downham and is seen as Ormston in the TV series.
Wharfedale - 'Calendar Girls'
Kilnsey Crag
Kettlewell
Calendar Girls (released 2003) stars Helen Mirren, Julie Walters and John Alderton. The film was inspired by the true story of eleven ladies from Rylstone Women's Institute in North Yorkshire. They decide on ways to raise funds for leukaemia research in support of Angela Baker's husband John, who is suffering from non-Hodgkin's lymphoma. By producing a calendar of themselves in the nude they hope to sell a few hundred copies, and the rest, as they say, is history!
Burnsall was used as the location for the annual village show, although it's referred to in the film as 'Kilnsey Show'. The Tennants Arms at Kilnsey was the public house where the men awaited the production of the calendar and where they held the press conference. Kettlewell was used as the fictional village of Knapely. Other locations used in the film were Settle (where I was born), also Skipton and Ilkley.
| signalman s arms |
What is the capital of Ecuador | Film Locations - TV Locations
The Wrinkled Stocking tea rooms
Nora Batty's house
The canal at Slaithwaite
Last of the Summer Wine was first broadcast on BBC television in January 1973, making it Britain's longest running TV comedy series. Every single episode has been written by Roy Clarke. The male characters are all in their 'twilight years' but act as if in their second childhood! Bill Owen (who played Compo) made the area his second home. He died in July 1999 and is buried nearby in the village of Upperthong.
Many of the canal scenes in Last of the Summer Wine were filmed at Slaithwaite, which is frequently used as a location in ITV's 'Where the Heart Is'. Slaithwaite features in the canal section of this web site. Bamforths produced their saucy seaside postcards of nagging (buxom) wives and their (scrawny) hen pecked husbands at Holmfirth. Bamforths were also producers of 'Magic Lantern' slide shows and silent films.
Goathland - 'Heartbeat'
Aidensfield Arms + TV crew and actors
Goathland's village green
Heartbeat, from Yorkshire TV, is set in the 1960s, and features the community of Aidensfield and its police force. The village of Goathland is in the North York Moors National Park and features as the village of Aidensfield. The Aidensfield Stores are used as the Post Office, and the Goathland Hotel features as the Aidensfield Arms. If you're lucky, as we were, then it's possible to visit Goathland and see them filming (picture 3). Goathland's railway station and the preserved North Yorkshire Moors Railway also appear in the series. (Note:- Goathland station appears as Hogsmeade station in Harry Potter and the Sorcerer's Stone).
Aidensfield police house is actually in Askwith and the police station is 60 miles away, in Otley! (Just like it would be if the series was representative of life now!) The fishing port of Whitby is often used as a location. A page about Whitby appears in the Out and About section of this website.
Downham - 'Whistle Down the Wind' & 'Born & Bred'
Downham village
Assheton Arms
Damens station
Downham village in Lancashire is a film maker's dream. It has no TV aerials, no intrusive overhead cables, no double yellow lines, but lots of photogenic ducks! The Assheton family have been lords of the manor since 1558 and they still ensure that Downham retains an air of tranquility. Downham was used as a location in the 1961 film Whistle Down the Wind, starring Alan Bates and Hayley Mills. The film tells how three children assist an escaped convict they find in their barn, convinced that he is Jesus. Local children starred in the film. The farm used in Whistle Down the Wind was Worsaw End Farm (picture 2 above).
Pictures 3 and 4 are locations for the BBC's comedy drama Born & Bred. This is another nostalgic series, with predictable story lines. It's 'easy watching' TV, in the same mould as Heartbeat, Monarch Of The Glen, Where the Heart is and Ballykissangel. Downham's village pub, the Assheton Arms features in the programme as The Signalman's Arms. Damens railway station ( Britain's smallest) is 20 miles from Downham and is seen as Ormston in the TV series.
Wharfedale - 'Calendar Girls'
Kilnsey Crag
Kettlewell
Calendar Girls (released 2003) stars Helen Mirren, Julie Walters and John Alderton. The film was inspired by the true story of eleven ladies from Rylstone Women's Institute in North Yorkshire. They decide on ways to raise funds for leukaemia research in support of Angela Baker's husband John, who is suffering from non-Hodgkin's lymphoma. By producing a calendar of themselves in the nude they hope to sell a few hundred copies, and the rest, as they say, is history!
Burnsall was used as the location for the annual village show, although it's referred to in the film as 'Kilnsey Show'. The Tennants Arms at Kilnsey was the public house where the men awaited the production of the calendar and where they held the press conference. Kettlewell was used as the fictional village of Knapely. Other locations used in the film were Settle (where I was born), also Skipton and Ilkley.
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In which film did Sting make his first appearance | Sting.com > Official Site and Official Fan Club for Sting biography
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Sting Biography
Born 2 October 1951, in Wallsend, north-east England, Gordon Sumner's life started to change the evening a fellow musician in the Phoenix Jazzmen caught sight of his black and yellow striped sweater and decided to re-christen him Sting. Sting paid his early dues playing bass with local outfits The Newcastle Big Band, The Phoenix Jazzmen, Earthrise and Last Exit, the latter of which featured his first efforts at song writing. Last Exit were big in the North East, but their jazz fusion was doomed to fail when punk rock exploded onto the music scene in 1976. Stewart Copeland, drummer with Curved Air, saw Last Exit on a visit to Newcastle and while the music did nothing for him he did recognise the potential and charisma of the bass player. The two hooked up shortly afterwards and within months, Sting had left his teaching job and moved to London.
Seeing punk as flag of convenience, Copeland and Sting - together with Corsican guitarist Henri Padovani - started rehearsing and looking for gigs. Ever the businessman, Copeland took the name The Police figuring it would be good publicity, and the three started gigging round landmark punk venues like The Roxy, Marquee, Vortex and Nashville in London. Replacing Padovani with the virtuoso talents of Andy Summers the band also enrolled Stewart's elder brother Miles as manager, wowing him with a Sting song called 'Roxanne'. Within days Copeland Senior had them a record deal. But the hip London music press saw through The Police's punk camouflage and did little to disguise their contempt, and the band's early releases had no chart success. So The Police did the unthinkable - they went to America.
The early tours are the stuff of legend - bargain flights to the USA courtesy of Freddie Laker's pioneering Skytrain; driving their own van and humping their own equipment from gig to gig; and playing to miniscule audiences at the likes of CBGB's in New York and The Rat Club in Boston. Their tenacity paid off though as they slowly built a loyal following, got some all important air-play, and won over their audiences with a combination of new wave toughness and reggae rhythms.
They certainly made an odd trio: guitarist Summers had a career dating back to the mid-60s, the hyper-kinetic Copeland was a former prog-rocker, and Sting's background was in trad jazz and fusion. The sound the trio made was unique though, and Sting's pin-up looks did them no harm at all. The band returned to the UK to find the reissued 'Roxanne' single charting, and played a sell-out tour of mid-size venues. The momentum had started. The debut album 'Outlandos d'Amour' (Oct 78) delivered three sizeable hits with 'Roxanne', 'Can't Stand Losing You' and 'So Lonely' which in turn led to a headlining slot at the '79 Reading Festival which won the band some fine reviews, but it was with 'Reggatta de Blanc' (Oct 79) that the band stepped up a gear.
Reggatta's first single, 'Message In A Bottle', streaked to number one and the album's success was consolidated further when 'Walking On The Moon' also hit the top slot. The band was big, but about to get even bigger. 1980 saw them undertake a world tour with stops on all continents - including the first rock concerts in Bombay - and the band eventually returned to the UK exhausted, for two final shows in Sting's hometown of Newcastle. Much of this groundbreaking tour was captured on the 'Police Around The World' video and a BBC documentary entitled 'The Police in the East'.
Within weeks, the band were in a Dutch studio recording new material but Sting's stock of pre-Police songs and ideas were wearing out. When 'Zenyatta Mondatta' was released (Oct 80) although it sold well and produced another number one single in 'Don't Stand So Close To Me' and a top five hit with 'De Do Do Do, De Da Da Da' a rethink was required. Sting later admitted that he felt 'Zenyatta' was the band's weakest album but by the end of 1980 the band were undoubtedly the biggest-selling band in the country selling out two shows in a huge marquee on Tooting Bec Common in London.
Changes materialised on 1981's 'Ghost In The Machine', a rich, multilayered album which was augmented not only by Jean Roussel's keyboards and Sting's self taught saxophone playing, but by particularly strong writing contributions from both Copeland and Summers. The album still had the now expected clutch of hit singles with 'Every Little Thing She Does Is Magic' making number one, the bleak 'Invisible Sun' reaching number two (despite a BBC ban being slapped on its video) and 'Spirits In The Material World' also charting, but it was a much darker and complex album than its predecessors and, to many, more satisfying.
During this period Sting took the lead role in Richard Loncraine's big-screen version of Dennis Potter's controversial play "Brimstone and Treacle" as well as in the BBC production "Artemis '81". In the late 70's he had appeared in a couple of movies - a minor part in Chris Petit's "Radio On" and an excellent cameo in Franc Roddam's "Quadrophenia" but "Brimstone and Treacle" was a major role and Sting took up a good deal of screen time opposite Joan Plowright and Denholm Elliot. The Police also contributed music to the movie's soundtrack and indeed Sting had a surprise solo hit with the track 'Spread A Little Happiness'. Also during this period he made his first solo appearances at 'The Secret Policeman Ball' benefits in aid of Amnesty International demonstrating a burgeoning interest in humanitarian causes.
Sting and The Police decamped to Air Studios in Montserrat to begin recording what would be their final studio album, 'Synchronicity', at the turn of 1983. The album was preceded by the release of a new single 'Every Breath You Take' (May 83) which immediately went to number one on both sides of the Atlantic and simply stayed there. Dressed up as a love song, the song was anything but - its sinister theme being one of obsession and surveillance. More than twenty years later, the song is one of the most played records on American radio having clocked more than seven million plays. With such a stand-out track the album couldn't fail and it duly took its rightful place at the top of the world's charts as the band started a spectacular stadium tour of the States, the high spot of which was a sell-out show in New York's Shea Stadium. Further hit singles in the shape of 'Wrapped Around Your Finger', 'King of Pain' and 'Synchronicity II' helped maintain the album's success, but despite the album collecting three Grammies awards, the writing was on the wall for The Police.
The band's tense relationship was slowly breaking down and after the Shea Stadium show Sting told the others that it was time to take a break. The 'Synchronicity' tour finished in March 1984 and the three went their separate ways. Copeland to movie scoring, Summers to guitar duets and jazz, and Sting initially to acting. A lead role in "The Bride" and supporting parts in "Plenty" and "Julia and Julia" followed before Sting picked up a guitar again. And when he did, it was not a bass.
In June 1985, Sting released his first solo album 'The Dream Of The Blue Turtles' and it was a revelation. Featuring the cream of America's young, black jazz musicians - Branford Marsalis, Kenny Kirkland, Omar Hakim and Darryl Jones - the album showed that Sting had lost none of his songwriting ability by being outside of the Police camp. The new material had a more political stance - 'We Work The Black Seam' dealt with the miner's strike, 'Children's Crusade' with drugs, and 'Russians' with the West's demonisation of communism. He even wrote what he termed "an antidote song" to 'Every Breath You Take' in the shape of 'If You Love Somebody Set Them Free'. The album was premiered in a series of shows at Paris's Mogador Theatre - a period captured in Michael Apted's rockumentary "Bring On The Night" - and the band were magnificent. The success of the album, a solo appearance at Live Aid, and a well received world tour were proof that Sting had no need for the safety net of The Police - he had not only a retained a fan base he had started to build another one.
'...Nothing Like The Sun' (Oct 1987) was another strong collection of songs, containing perennial favourites 'Englishman In New York' and 'Fragile'. Sting even got himself banned from Chilean radio thanks to 'They Dance Alone', a haunting song that resulted from his meeting with some of South America's "Mothers of the Disappeared". Released shortly afterwards was a mini-album 'Nada Como El Sol' which featured several of the album's songs in Spanish and Portuguese, and which strengthened his popularity further in Latin America. His new band included Kirkland and Marsalis, Delmar Brown, Jeff Campbell and Tracey Wormworth, with Sting content to sing, dance and play occasional guitar. In mid tour, Sting joined the Amnesty International "Human Rights Now!" tour alongside Bruce Springsteen and Peter Gabriel for several huge fundraising concerts.
The loss of his parents in quick succession had hit Sting hard and one of the world’s most famous songwriters was suffering from writers block. Returning to his childhood memories for inspiration, Sting produced 1991’s 'The Soul Cages'. Depending on your point of view it was either impenetrably dense or his strongest work - only the listener can decide. The album still sold well, the title track collected a Grammy, and the live shows saw a stripped down rock band of Dominic Miller (guitar), Vinnie Colaiuta (drums) and David Sancious (keyboards) with Sting returning to the bass. During the tour a very popular MTV unplugged session was recorded in New York and this was followed by a small acoustic gig at a Wallsend Arts Centre some of which was released on the Acoustic Live In Newcastle set.
Sting and Trudie married in 1992, and bought Lake House in Wiltshire where the writing and recording of 'Ten Summoner's Tales' took place (Mar 1993). As upbeat as 'The Soul Cages' was downbeat, it was a remarkable album, and won universal praise from the critics. The album contained instantly likeable tracks such as 'If I Ever Lose My Faith In You', 'Fields Of Gold', 'Seven Days' and 'Shape of My Heart'. It also hinted at what was to come on later albums with its mix of musical genres and styles. During the inevitable world tour he found time to record a Stateside number one by performing with Bryan Adams and Rod Stewart on 'All For Love' from the "The Three Musketeers" soundtrack and to add another three Grammies to his awards collection. The following year saw the release of the retrospective 'Fields Of Gold - The Very Best of Sting 1984-1994' which included two new tracks 'This Cowboy Song' and 'When We Dance'.
During 1995 Sting was writing and recording songs for a new album, 'Mercury Falling' (Mar 1996) a release which showed an increasing tendency for him to risk commercial success by writing primarily to please himself and his band. Foregoing standard pop and rock fare, he was now writing country tunes such as 'I'm So Happy I Can't Stop Crying', bossa nova such as 'La Belle Dame Sans Regrets', gospel tinged material such as 'Let Your Soul Be Your Pilot' and songs in devilishly difficult time signatures like 'I Hung My Head'.
He was also becoming more involved in contributing songs to movie soundtracks - there had always been a demand for Police songs, but in 1993 he had been approached to write the theme song for "Lethal Weapon 3", and together with Eric Clapton and Michael Kamen he duly complied with 'It's Probably Me'. A reworking of The Police's 'Demolition Man' followed for the film of the same name, as did the recording of several jazz standards for the "Leaving Las Vegas" and "Sabrina" soundtracks. 'Mercury Falling' continued this trend with 'Valparaiso', which was used in the movie "White Squall". Puff Daddy's reworking of 'Every Breath You Take' (in the shape of 'I'll Be Missing You') brought Sting's earlier work to the notice of a new generation, and he and Pras from the Fugees reworked 'Roxanne' in 1997. Further soundtrack contributions to "The Mighty" and the remake of "The Thomas Crown Affair" followed, as did a cameo acting role in the biggest British movie of 1998, "Lock, Stock and Two Smoking Barrels". During this time he was also writing songs for Disney for the soundtrack to the 'The Emperor's New Groove' movie which was released in 2000.
The highly anticipated 'Brand New Day' album (Sep 1999) proved to be Sting's most popular album in terms of sales - in excess of eight million copies world-wide. If 'Mercury Falling' mixed genres, 'Brand New Day' took it a step further - the title track was full of optimism and renewal, a true millennium message. The remarkable, arabesque 'Desert Rose' featured the prince of rai music, Cheb Mami, and brought arabic flavoured music to traditionally conservative US radio. 'Fill Her Up' crossed country with gospel, 'Perfect Love...Gone Wrong' included French rap, and 'Big Lie Small World' was gentle bossa nova. This was undoubtedly one of Sting's finest albums.
The subsequent tour was a staggering success with Sting playing his longest ever tour - close to 300 shows in 45 countries to just under 3 million people. As the tour finished in July with two celebratory show at London's Hyde Park, Sting was already planning his next project. He would take the 'Brand New Day' songs back to their birthplace - Italy - where he would record a live album in front of an audience of fan club members and friends that would see the material reworked and remodelled. Plans for a simultaneous webcast of the concert on September 11 were postponed as a mark of respect for the victims of the heinous terrorist acts in the USA, but the show went ahead and the results can be heard on the compelling 'All This Time' album/DVD. The powerful emotions of that evening can be heard throughout the performance from band and audience alike. Sting not only kept his promise to rework the songs from the 'Brand New Day' album but he also delved deep into his back catalogue producing magical versions of solo favourites like 'All This Time' and 'When We Dance', as well as reworkings of Police classics like 'Roxanne' and 'Don't Stand So Close To Me'.
After the end of the mammoth 'Brand New Day' world tour Sting contributed further songs to a number of movie soundtracks including 'Until...' (from Kate & Leopold) and 'You Will Be My Ain True Love' (from Cold Mountain), with both songs receiving nominations for Golden Globe and Oscar recognition. He also took time out to write a critically acclaimed memoir entitled "Broken Music", which was a fascinating and revealing account of his life from childhood to the first flushes of fame with The Police.
'Sacred Love' (Sep 2003) was accompanied by a sumptuous DVD companion piece recorded in Los Angeles. The subsequent tour which started in January 2004 was a lavish production with backscreens and video incorporated into the show. A tour of small theatres in the USA was followed by a visit to Europe before a return to the US for a summer amphitheatre tour headlining with Annie Lennox. A further visit to Europe was followed by Australasian dates including two shows in India and a Tsunami Benefit concert in Australia which raised an estimate d£1.6m. 2004 also saw Sting recognised as Musicares' Person of the Year, made a Commander of the British Empire (CBE) by Queen Elizabeth II, and at an emotional event back home in Newcastle he was honoured by the Variety Club of Great Britain. He and Mary J. Blige also collected a further Grammy award for 'Whenever I Say Your Name'.
With only a matter of weeks passing since the finish of the 'Sacred Love' tour, Sting was ready for a change. With a new stripped down, rockier sounding four piece band comprising bass, two guitars (Dominic Miller and Shane Fontayne) and drums (Josh Freese) he undertook a six week tour billed as 'Broken Music' playing a career spanning mix of tunes across the US in mainly college venues and cities he has not previously played. Sting also took the opportunity on this tour to visit many colleges as a guest lecturer where he spoke to English classes about the process of writing his memoir and to music classes about songwriting and the music business.
Spring 2006 saw Sting return to his home town where he was awarded an Honorary Doctorate in Music by Newcastle University, and the summer months saw him take the 'Broken Music' tour to Europe where he played in 27 countries in two months with a slightly revised line up of Dominic Miller and Lyle Workman on guitars and Abe Laboriel Jr. on drums. These shows proved as successful with fans and critics alike as the previous Spring's jaunt around the States had done.
As unpredictable as ever, October 2006 saw Sting turn his attentions to a long-standing interest in the work of acclaimed Elizabethan songwriter John Dowland, with the release of 'Songs From The Labyrinth', an album featuring the talents of virtuoso Bosnian lutenist Edin Karamazov. Sting explained, "I'm not a trained singer for this repertoire, but I'm hoping that I can bring some freshness to these songs that perhaps a more experienced singer wouldn't give. For me they are pop songs written around 1600 and I relate to them in that way; beautiful melodies, fantastic lyrics, and great accompaniments." The album was a critical and commercial success topping classical charts across the world with the album outselling all previous Dowland releases in its first week of release. Indeed, despite its release late in the year, the album was the best selling classical album of both 2006 and 2007 on the Billboard end of year chart.
In February 2007, Sting stunned everyone when together with Stewart Copeland and Andy Summers The Police reformed for a performance at the annual Grammy awards, where he announced, "We're The Police and we're back!" At a press conference in Los Angeles' Whisky A Go-Go club the following day the band performed again and confirmed what was now the world's worst kept secret: that they would be starting a world tour. After rehearsals in Italy and Canada the band opened their tour with a final rehearsal performance for fan club members and two further shows at Vancouver's GM Place in May 2007. A heady combination of nostalgia from older fans who saw the band first time round and intrigue from younger ones who only knew the band from their recordings was supported by ecstatic press reviews and shows sold out around the world in record time as more than 2.5 million tickets were sold.
The reformed band proved even more popular than on their 'Synchronicity' tour with sold out shows at many of the most historic and renowned stadiums around the world including: Fenway Park (Boston); Wrigley Field (Chicago); Dodger Stadium (Los Angeles); Twickenham Stadium (London); Stade de France (Paris); Croke Park (Dublin) and River Plate Stadium (Buenos Aires). The Dublin show alone saw the band play to more than 81,000 fans - their largest ever audience. Among the accolades garnered by the tour were "Major Tour of The Year" (Pollstar), as well as "Tour of the Year" and "Top Selling Tour of 2007" (Billboard Magazine). In February 2008 the band announced a third tour swing through North America supported by Elvis Costello and the Imposters, which in addition to their summer tour of festivals and stadiums in Europe would see the band on the road until August 2008.
A handful of concert appearances in mid 2009 disguised the fact that Sting was also recording a new solo album, and naturally, it was not what was expected. Taking the winter as it's over-arching theme, Sting instead recorded a selection of ancient hymns, carols, folk songs and re-recorded a small selection of his own songs with a hugely talented group of musicians including Dominic Miller and Kathryn Tickell. The resulting album 'If On A Winter's Night...' was release in Autumn 2009, and the songs on the album received a world premiere in the magnificent setting of Durham cathedral, in Sting's native northeast England where the two performances were also filmed for a feature length DVD/TV programme. Further shows in New York, Paris and Baden Baden followed before Christmas 2009.
2010 found Sting performing occasional live shows in places like Dubai, Venezuela and Colombia with a core band of Dominic Miller and David Sancious and one of a selection of drummers - Vinnie Colauita, Abe Laboriel Jr and Josh Freese - depending on their respective availability. The main live activity of the year though was the 'Symphonicity' tour with the Royal Philaharmonic Concert Orchestra and a quintet consisting of Dominic Miller, David Cossin, Jo Lawry, Rhai Krija and Ira Coleman. The tour found him performing his most celebrated songs re-imagined for symphonic arrangement, conducted by Steven Mercurio (Pavarotti, Bocelli). The tour played across North America in June and July, arriving in Europe in the autumn and continues in Australasia in 2011. An album of studio recorded tracks, 'Symphonicities', was released in July 2010 with a live CD/DVD recorded at Berlin's O2 World released in late November before the tour headed back to Europe in the summer of 2011 with dates conducted by Sarah Hicks.
The autumn of 2011 saw Sting celebrate his 60th birthday with a star studded concert at New York's Beacon Theatre where artists including Bruce Springsteen, Stevie Wonder and Lady Gaga all performed. An innovative iPad app also accompanied a lavish boxed set retrospective collection entitled 'Sting: 25 Years'. In October 2011 Sting was on tour once again, this time in a stripped down format under the banner of 'Back To Bass'. The string of North American dates were performed with Dominic Miller, his son Rufus Miller, Vinnie Colaiuta, violinist Peter Tickell and vocalist Jo Lawry. In early 2012, Sting held some development performances of his work-in-progress, the musicial play 'The Last Ship' in Newcastle. These were read throughs with local actors and new material was played publicly for the first time. The Back To Bass tour then continued throughout 2012 across Europe and parts of Asia with the addition of keyboardist David Sancious, and revisited North America and Europe through the summer of 2013.
September 2013 saw the release of 'The Last Ship', the first album of original material since 2003's 'Sacred Love'. Inspired by the play of the same name the album explores the central themes of homecoming and self-discovery, drawing upon his memories of growing up in the shadow of the Swan Hunters Shipyard in Wallsend. To coincide with the release Sting performed ten benefit shows featuring the new material at New York's Public Theatre in September/October 2013. 'The Last Ship' had a well-received off-Broadway run in Chicago during summer 2014 and opened on Broadway in late September that year running for over 100 performances. In between these bouts of activity on 'The Last Ship', Sting and Paul Simon found time to undertake an arena tour together across North America in February and March 2014 that saw them performing solo sets and together. These shows were extremely well received critically, and led to further dates in Australia, New Zealand and Europe in 2015. Immediately the tour with Paul Simon finished Sting then performed three sold out Last Ship benefit shows on Tyneside to benefit the Sage Gateshead’s 10th birthday appeal, and performed at a string of outdoor dates and festivals in Europe during summer 2015.
In Summer 2016, Sting and Peter Gabriel undertook the critically acclaimed "Rock, Paper, Scissors" tour - a short 21 date summer tour of North America. The dates saw Sting and Gabriel performing an intriguing set with both bands on stage throughout the performances even performing each other's songs. After a few solo summer European shows took place, Sting announced a new "rock" album '57th & 9th' (named after the location in NYC of the studio where the album was recorded) would be released in November 2016.
As ever, Sting continues to intrigue and surprise...
D&W / Sting.com Copyright 2016
Selected Career Awards
Grammy Awards
1980 'Reggatta De Blanc,' Best Rock Instrumental Performance - The Police
1981 'Don't Stand So Close To Me,' Best Rock Vocal performance by a Duo or Group - The Police
1981 'Behind My Camel,' Best Rock Instrumental Performance - The Police
1984 'Every Breath You Take,' Song Of The Year - Sting
1984 'Every Breath You Take,' Best Pop Performance by a Duo or Group with Vocal - The Police
1984 'Synchronicity II', Best Rock Performance by a Duo or Group with Vocal - The Police
1984 'Brimstone and Treacle', Best Rock Instrumental Performance - Sting
1986 'Bring On The Night', Best Long Form Video - Sting
1986 'Bring on the Night', Best Male Pop Vocal Performance - Sting
1992 'The Soul Cages,' Best Rock Song - Sting
1994 'If Ever I Lose My Faith In You,' Best Male Pop Vocal Performance - Sting
1994 'Ten Summoner's Tales', Best Long Form Video Of The Year - Sting
1994 'Ten Summoner's Tales', Best Engineered Recording - Hugh Padgham
2000 'Brand New Day', Best Pop Album - Sting and Kipper
2000 'Brand New Day', Best Male Pop Vocal Performance - Sting
2001 'She Walks This Earth (Soberana Rosa)' Best Male Pop Vocal Performance - Sting
2004 'Whenever I Say Your Name', Best Pop Collaboration With Vocals - Sting & Mary J. Blige
Selected BMI Awards
1984 'Every Breath You Take,' Song Of The Year - Sting
1985 'Wrapped Around Your Finger,' 'King Of Pain' and 'If You Love Somebody Set Them Free,' Most Performed Songs - Sting
1986 'Fortress Around Your Heart,' Most Performed Song - Sting
1994 'Fields of Gold,' BMI Pop Music Award - Sting
1994 'If I Ever Lose My Faith In You,' BMI Pop Music Award - Sting
1995 'If I Ever Lose My Faith In You,' BMI Most Performed Song Of The Year - Sting
1995 'If I Ever Lose My Faith In You,' BMI Most Performed College Radio Song - Sting
1998 'I'll Be Missing You/Every Breath You Take,' BMI Most Performed Song of the Year - Sting
1998 'Every Breath You Take,' BMI Award for Five Million Radio Plays - Sting
1998 'Fields Of Gold,' BMI Award for Two Million Radio Plays - Sting
2000 'Every Breath You Take,' BMI Award for Five Million Radio Plays - Sting
2000 'If I Ever Lose My Faith In You,' BMI Award for Two Million Radio Plays - Sting
2000 'Spirits In The Material World,' BMI Award for Two Million Radio Plays - Sting
2001 'Brand New Day' BMI Pop Award for 446,191 performances in 2000 - Sting
2001 'Desert Rose' BMI/Robert S. Musel Crystel Award for the highest performing song (828,092 performances) in 2000 - Sting
2002 'Emotional' (recorded by Carl Thomas using a sample of 'Shape of My Heart) Urban Award (275,218 performances in 2001)
2005 'Every Breath You Take,' BMI Award for Eight Million Radio Plays - Sting
2011 'Every Breath You Take,' BMI Songwriters Award for over Ten Million Performances - Sting
2012 'Every Breath You Take,' BMI Songwriters Award for over Eleven Million Performances, 'Don't Stand So Close To Me', BMI Songwriters Award for over Five Million Performances, 'Message In A Bottle', If I Ever Lose My Faith In You' and 'De Do Do Do De Da Da Da', BMI Songwriters Award for over Three Million Performances - Sting
2016 'Every Breath You Take', BMI Songwriters Award for over Thirteen Million Performances - Sting
2016 BMI Icon Award
1982 Best Group - The Police
1985 Outstanding Contribution to British Music - The Police
1991 Best Male Solo Artist - Sting
2002 Outstanding Contribution to British Music - Sting
Golden Globes
2000 Nomination: 'My Funny Friend And Me' - Best Song
2001 Winner: 'Until'- Best Song from Kate & Leopold
2003 Nomination: 'You Will Be My Ain True Love' - Best Song
Oscars
2000 Nomination: 'My Funny Friend And Me' - Best Song
2001 Nomination: 'Until' - Best Song from Kate & Leopold
2003 Nomination: 'You Will Be My Ain True Love' - Best Song from Cold Mountain
Emmy's
2002 Winner: Sting in Tuscany: All This Time - Outstanding Individual Performance in a Variety or Music Program.
2002 Winner: Sting in Tuscany: All This Time - Outstanding Multi-Camera Picture Editing for a Movie, Miniseries, or Special
2004 Winner: A&E In Concert: Sting: Sacred Love: Outstanding Technical Direction, Camerawork, Video For A Miniseries, Movie Or A Special
2004 Winner: A&E In Concert: Sting: Sacred Love: Outstanding Sound Mixing For A Variety Or Music Series Or Special
2011 Winner: A&E Private Sessions: Outstanding Achievement In Sound Mixing - Live Action And Animation
Ivor Novello's
1998 Winner: 'Most Performed Work' for 'I'll Be Missing You/Every Breath You Take'
2002 Winner: 'International Achievement Award'
Cannes Lions International Festival of Creativity
2012 Winner: 'Best Visual Design/Aesthetic' - Sting 25 App
| Quadrophenia |
What are the diamond shaped panes of glass in a leaded window called | Sting | American postcard by Coral-Lee, Rancho Cordova, CA.,… | Flickr
American postcard by Coral-Lee, Rancho Cordova, CA., Personality #131.
British rock artist Sting (1951) is best known as the pop star with the high-pitched, raspy voice and blonde, spiky hair. He made his breakthrough as the singer and bass player for The Police and then launched a successful solo career. Sting occasionally ventured into acting on both film and television. He was memorable as the Mod leader in Quadrophenia (1979) and as Eddie’s father in Lock, Stock and Two Smoking Barrels (1998).
Sting was born Gordon Matthew Thomas Sumner in Wallsend, England, in 1951. He was the eldest of four children born to Audrey Sumner née Cowell, a hairdresser, and Ernest Matthew Sumner, a milkman and engineer. His siblings were Philip, Angela and Anita. Young Gordon would often assist his father with the early-morning milk-delivery rounds, and by age 10 he became ‘obsessed’ with an old Spanish guitar that had been left behind by an emigrating friend of his father. He attended St. Cuthbert's Grammar School in Newcastle upon Tyne. He would often sneak into nightclubs like the Club A Go-Go, where he would watch acts such as Cream and Jimi Hendrix, artists who would later influence his own music. After jobs as a bus conductor, a construction labourer, and a tax officer, he attended Northern Counties College of Education, (later part of Northumbria University) from 1971 to 1974 and qualified as a teacher. He then worked as a schoolteacher at St. Paul's First School in Cramlington for two years. On evenings, weekends, and during breaks from college and from teaching, Sting performed in local jazz bands, played cruise ships, backed strippers in cabarets, and developed a love for the bass guitar. He gained his nickname when he wore a black and gold rugby shirt during a concert. It made him look like a bee, and prompted the nickname ‘Sting’. The nickname stuck. In 1977, Sting moved from Newcastle to London, and soon thereafter he joined Stewart Copeland and Henry Padovani (who was soon replaced by Andy Summers) to form the New Wave band The Police. Between 1978 and 1983, they released five chart-topping albums and won six Grammy Awards. Although their initial sound was punk inspired, The Police soon switched to reggae-tinged rock and minimalist pop. Sting also appeared in some British films. He played Ace Face, the leader of the Mod gang in Quadrophenia (1979, Franc Roddam) starring Phil Daniels. The film, based on the 1973 rock opera by The Who, tells about the rivalry between the Mods and the Rockers in 1960’s England. Mark Deming at AllMovie calls it “intelligent and incisive bit of teen-centric kitchen-sink drama” and writes about Sting: “Equally memorable (is) Sting, who says practically nothing but radiates waves of icy charisma.” His next film Radio On (1979, Christopher Petit) is a black and white road movie, featuring music by Kraftwerk and David Bowie. A DJ (David Beames) drives from London to Bristol to investigate the suicide of his brother, and on his way he meets some odd people including Sting. The pitch-black comedy Brimstone and Treacle (1982, Richard Loncraine) was based on a television play by Dennis Potter. Sting co-starred as a mysterious young stranger who dramatically changes the lives of a middle-aged middle-class couple (Denholm Elliot and Joan Plowright) in a North London suburb whose daughter has been totally dependent upon them after a catastrophic accident. In 1983, the last album of The Police, Synchronicity, was released. It included their most successful song, Every Breath You Take. The song, which after waking up in the middle of the night from a dream, is officially the most requested radio song of all time. While never formally breaking up, after Synchronicity the group agreed to concentrate on solo projects.
In 1981, Sting made his first live solo appearance, performing on all four nights of the fourth Amnesty International benefit The Secret Policeman's Other Ball at the invitation of producer Martin Lewis. He performed solo versions of Roxanne and Message in a Bottle. He also led The Secret Police, an all-star band including Eric Clapton, Jeff Beck, Phil Collins, Bob Geldof and Midge Ure on his own arrangement of Bob Dylan's I Shall Be Released. His performances were featured prominently in the album and film of the show and drew critical attention to his work. Sting's participation in The Secret Policeman's Other Ball was the beginning of his growing involvement in raising money and consciousness for political and social causes. In 1982 he released a solo single, Spread a Little Happiness from the film version of the Dennis Potter television play Brimstone and Treacle. The song was a re-interpretation of a song from the 1920’s musical Mr. Cinders by Vivian Ellis, and was a surprise Top 20 hit in the UK. He also co-starred in the science fiction film Dune (1984, David Lynch). With a budget of over 40 million dollars, Dune required 80 sets built on 16 sound stages and a total crew of 1700. The film was not well received by critics and performed poorly at the box-office. His following film was The Bride (1985, Franc Roddam), an adaptation of Mary Shelley's Frankenstein. Sting starred as Baron Charles Frankenstein and Jennifer Beals played a woman he creates in the same fashion as his infamous monster. Both films flopped and damaged Sting’s prospects as major film star. A minor success was the Meryl Streep vehicle Plenty (1985, Fred Schepisi), in which Sting had only a supporting part. His first solo album, The Dream of the Blue Turtles (1985), included the hit singles If You Love Somebody Set Them Free and Russians. The album reached Triple Platinum and would garner Sting a Grammy nomination for Album of the Year. He performed with Dire Straits at the Live Aid Concert at Wembley Stadium. Prior to the Live Aid concert, in November 1984 Sting performed Do They Know It's Christmas? with Band Aid for the relief of poverty in Africa. In 1987, Sting released ...Nothing Like the Sun, including the hit songs Fragile, Englishman in New York, and Be Still My Beating Heart. It eventually went Double Platinum. In 1988, he featured in the role of the soldier on an album of Igor Stravinsky's The Soldier's Tale with the London Sinfonietta conducted by Kent Nagano. It also featured Vanessa Redgrave and Sir Ian McKellen. On screen he appeared in the atmospheric thriller Stormy Monday (1988, Mike Figgis), co-starring with Sean Bean, Tommy Lee Jones, and Melanie Griffith. He also co-starred in the Italian drama film Giulia e Giulia/Julia and Julia (1987, Peter Del Monte) with Kathleen Turner and Gabriel Byrne. This film, presented at the Venice Film Festival in 1987, was the first feature shot using the Sony HDVS wideband analogue High-definition video technique and then transferred to 35 mm film
Sting’s 1991 album The Soul Cages included the Top 10 song All This Time, and the Grammy-winning The Soul Cages. The album eventually went Platinum. The following year, he married film producer Trudie Styler. In 1993, he released the album Ten Summoner's Tales, which peaked at number two in the UK and US Album Charts, and went triple platinum in just over a year. A hit single on the album was If I Ever Lose My Faith in You, which earned Sting his second Grammy Award. In 1993, he released a cover of his own Police song Demolition Man from the Ghost in the Machine album for the film Demolition Man (1993, Marco Brambilla). Together with Bryan Adams and Rod Stewart, Sting performed the chart-topping song All for Love for the film The Three Musketeers (1993, Stephen Herek). The song stayed at the top of the U.S. charts for five weeks and went Platinum. In 1995 he played a bisexual butler in the British film The Grotesque (1995, John-Paul Davidson) with Alan Bates, Lena Headey and Theresa Russell. His nude scenes were the highlights of that film, according to an IMDb reviewer. His 1996 album, Mercury Falling debuted strongly with the single Let Your Soul Be Your Pilot, but it dropped quickly on the charts. Sting was also recording music for the upcoming Disney film Kingdom of the Sun, which went on to be reworked into The Emperor's New Groove (2000, Mark Dindal). The film went through drastic overhauls and plot changes, many of which were documented by his wife, Trudie Styler. She captured the moment he was called by Disney who then informed him that his songs would not be used in the final film. The story was put into a final product: The Sweatbox, which premiered at the Toronto Film Festival. Disney currently holds the rights to the film and will not grant its release. More successful was his work on the British crime film Lock, Stock and Two Smoking Barrels (1998, Guy Ritchie). He played the father of a self-confident young card sharp (Nick Moran) who loses half a million pounds to a powerful crime lord in a card game. He and his friends have one week to come up with the cash. Laura Abraham at AllMovie: “a work of artistic originality as well as an accurate portrayal of life as an Eastender. A rabid, farcical look at gangsters in East End London, it contains mayhem at the center of every scene and gains additional intensity from the slow-motion technique Ritchie employs in many of his death sequences.” The film brought Guy Ritchie international acclaim and introduced former footballer Vinnie Jones, and former street merchant Jason Statham to worldwide cinema audiences. In 1999, Sting’s album Brand New Day included the Top 40 hits Brand New Day and Desert Rose. The album went Triple Platinum and won two Grammy Awards.
In 2002 Sting won a Golden Globe Award for his song Until... from the film Kate and Leopold. It was also nominated for Academy Award for Best Song. At the 2002 Brit Awards, he received the prize for Outstanding Contribution to Music. Later that year he was inducted into the Songwriters Hall of Fame, was awarded the CBE (Commander of the Order of the British Empire), and won an Emmy Award for his A&E special, Sting in Tuscany... All This Time. In 2003 he released Sacred Love. He and Mary J. Blige won a Grammy for their album duet, Whenever I Say Your Name. The album did not have the hit singles like his previous releases. However, the album did reach platinum status. His autobiography Broken Music (2003) was published in October. In 2006, he released an album, to mixed reviews, entitled Songs from the Labyrinth featuring the music of English Renaissance composer John Dowland and accompaniment from Bosnian lute player Edin Karamazov. In 2007, he reunited with the other members of The Police as the introductory act for the 2007 Grammy Awards, singing Roxanne. Subsequently they announced The Police Reunion Tour. The Police toured for more than a year, beginning with North America and eventually crossing over to Europe, South America, Australia & New Zealand and Japan. The last concert was at Madison Square Garden on 7 August 2008, during which his three daughters appeared with him onstage. In 2009 he released a new solo album If on a Winter's Night... In the cinema he was seen in several film as himself. He had a cameos in the mockumentaries Brüno (2009, Larry Charles) starring Sacha Baron Cohen as the gay Austrian fashion journalist Brüno, and Do It Again (2010, Robert Patton-Spruill) which follows Boston Globe reporter Geoff Edgers on his quest to reunite British rock band The Kinks. He also gave his voice to the animation feature Bee Movie (2007, Steve Hickner, Simon J. Smith). During his career Sting has received 16 Grammy Awards, three Brit Awards, a Golden Globe, an Emmy Award, and several Oscar nominations for Best Original Song. Sting was married twice, first to actress Frances Tomelty and since 1992 to Trudie Styler. He has six children, two with Tomelty (singer Joseph Sumner (1976) and actress Fuschia Sumner (1982) and four with Styler (Mickey Sumner (1984), Jake Sumner (1985), Coco Sumner (1990) and Giacomo Sumner (1995). Sting owns a Jacobian castle in Wiltshire, a place in London, an apartment in New York, a house on the beach in Malibu, California, and a Renaissance Florentine Villa in Tuscany, Italy.
Sources: Hal Erickson (AllMovie), Mark Deming (AllMovie), Laura Abraham (AllMovie), Dan Fineberg (IMDb), Wikipedia and IMDb.
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Of which common mineral is rock crystal a variety | ROCK CRYSTAL, the colorless variety of quartz
SPECIMENS
Rock Crystal is the name given to all clear colorless quartz. It is widely used as a popular ornamental stone and is also used as a gemstone . Although it is one of the least expensive gemstones, cut rock crystal has been used as imitation diamonds . Rock crystal lacks the fire, color (of course) and the rarity to be ranked as a fine precious gemstone. None-the-less, rock crystal is in wide use as a gemstone due to its beauty, affordability, availability, and ease of cutting.
The most common use for rock crystal is in ornamental carvings. A well known ornamental carving for rock crystal is the crystal ball of fortune telling fame. While rock crystal is common it is hard to find large crystals of quartz with the clarity and size required for the crystal balls that most of us associate with fortune tellers. Rock crystal is used for many ornamental carvings from spheres (crystal balls) to pyramids to obelisks to figurines to eggs to bowls to wands. There are also many fine chandeliers that are outfitted with rock crystal ornaments.
Rock crystal can have the colorless clarity of pure water, unlike ordinary window glass which is a pale green. Yet the most common flaws - internal fractures - result in veils and colorful refractions that lend beauty to an otherwise ordinary object.
Rock crystal is an alternate and traditional birthstone for the month of April. Quartz is often associated with balance, clarity, and energy.
Many people prefer uncut clusters of rock crystal. These natural treasures look like crystal cities of fantasy stories. The long slender clear prisms of quartz projecting upward from a common base are true mineralogical wonders that can be admired by all. They cost of good clusters of rock crystal is quite affordable and comes from sources around the world. The best rock crystal sources are in the famous Hot Springs area of Arkansas, USA; Cumberland, England; St. Gotthard, Switzerland; Brazil and Madagascar. Large individual crystals of quartz have been found in Brazil, the largest weighs over 44 tons.
Rock crystal often has inclusions of other minerals and these inclusions sometimes produce popular varieties of ornamental stone. Golden rutile inclusions produce a unique stone aptly named rutilated quartz that has a very hair-like look. Another apply named stone is called tourmalinated quartz and contains intricately crossing needles of black schorl tourmaline trapped in the clear crystal.
Phantoms are a result of inclusions which occur when other minerals such as chlorite , hematite or even milky quartz form as a crust on the surface of the crystals during a hiatus in the crystal's growth. The crystal then grows out and around the encrusting growth, encasing it inside. But since the thin encrustations formed over a crystal complete with crystal faces it appears that there is a crystal inside the crystal. The encrustations are often incomplete or diffuse and appear ghostly, hence the name phantom.
Rock crystal is only one of several quartz varieties. Other varieties that form macroscopic (large enough to see) crystals are as follows:
Amethyst is the purple gemstone variety.
Citrine is a yellow to orange gemstone variety that is rare in nature but is often created by heating Amethyst.
Milky Quartz is the cloudy white variety.
Prasiolite is the leek-green variety.
Rose quartz is a pink to reddish pink variety.
Smoky quartz is the brown to gray variety.
Amethyst Galleries'
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What was the largest concentration camp formed by the Nazis in World War 11 | Visionlearning | Earth Science | The Silicate Minerals
The Silicate Minerals
cleavage : breakage in crystal structure of certain minerals along planes where atomic bonds are weakest
crust : the outermost layer of Earth; the surface layer of a planet
tetrahedron : a figure with four triangular planes; a triangular pyramid
Glossary Terms
The mineral quartz (SiO2) is found in all rock types and in all parts of the world. It occurs as sand grains in sedimentary rocks, as crystals in both igneous and metamorphic rocks, and in veins that cut through all rock types, sometimes bearing gold or other precious metals. It is so common on Earth's surface that until the late 1700s it was referred to simply as "rock crystal." Today, quartz is what most people picture when they think of the word "crystal."
Quartz falls into a group of minerals called the silicates, all of which contain the elements silicon and oxygen in some proportion. Silicates are by far the most common minerals in Earth's crust and mantle , making up 95% of the crust and 97% of the mantle by most estimates. Silicates have a wide variety of physical properties, despite the fact that they often have very similar chemical formulas . At first glance, for example, the formulas for quartz (SiO2) and olivine ((Fe,Mg)2SiO4) appear fairly similar; these seemingly minor differences, however, reflect very different underlying crystal structures and, therefore, very different physical properties. Among other differences, quartz melts at about 600° C while olivine remains solid to temperatures of nearly twice that; quartz is generally clear and colorless, whereas olivine received its name from its olive green color.
The variety and abundance of the silicate minerals is a result of the nature of the silicon atom , and even more specifically, the versatility and stability of silicon when it bonds with oxygen. In fact, pure silicon was not isolated until 1822, when the Swedish chemist Jöns Jakob Berzelius (see the Biography link in our Resources section) finally succeeded in separating silicon from its most common compound , the silicate anion (SiO4)4-. This anion takes the shape of a tetrahedron , with an Si4+ ion at the center and four O2- ions at the corners (see Figure 1); thus, the molecular anion has a net charge of -4.
Figure 1: Three ways of drawing the silica tetrahedron: a) At left, a ball & stick model, showing the silicon cation in orange surrounded by 4 oxygen anions in blue; b) At center, a space filling model; c) At right, a geometric shorthand.
The Si-O bonds within this tetrahedral structure are partially ionic and partially covalent , and they are very strong. Silica tetrahedra bond with each other and with a variety of cations in many different ways to form the silicate minerals . Despite the fact that there are many hundreds of silicate minerals, only about 25 are truly common. Therefore, by understanding how these silica tetrahedra form minerals, you will be able to name and identify 95% of the rocks you encounter on Earth's surface .
Seeing the structure of the silicates
Early mineralogists grouped minerals according to physical properties, which spread the silicates across many groups because they have very different properties. By the early 1800s, however, Berzelius had begun classifying minerals based on their chemical composition rather than on their physical properties, defining groups such as the oxides and sulfides – and, of course, the silicates. At the time, Berzelius was able to determine the absolute proportions of elements within a mineral, but he could not see the internal arrangement of the atoms of those elements in their crystalline structure.
A detailed view of the internal arrangement of atoms within minerals would have to wait over 100 years for the development of X-ray diffraction (XRD) by Max von Laue, and its application to determine atomic distances by the father-son team of William Henry Bragg and William Lawrence Bragg a few years later (see their biographies in our Resources section). In the process of XRD, X-rays are aimed at a crystal . Electrons in the atoms within the crystal interact with the X-rays and cause them to undergo diffraction. In the same way that light can be diffracted by a grate or card (see our Light I: Particle or Wave? module for more information on this topic), X-rays are diffracted by the crystal and a 2-dimensional pattern of constructive and destructive interference bands results. This pattern can be used to determine the distance between atoms within the crystal structure according to Bragg's Law . The Braggs' work opened up a new world of mineralogy, and they were awarded a Nobel Prize in 1915 for their work determining the crystal structures of NaCl, ZnS, and diamond. XRD revealed that even minerals with similar chemical formulas could have very different crystal structures, strongly influencing those minerals' chemical and physical properties.
As scientists created XRD images of the atomic structure of minerals, they were better able to understand the nature of the bonds between atoms in the silicate and other crystals. Within a silica tetrahedron , any single Si-O bond requires half of the available bonding electrons of the O2- ion, meaning that each O2- may bond with a second ion, including another Si4+ ion. The result of this is that the silica tetrahedra can polymerize, or form chain-like compounds , by sharing an oxygen atom with a neighboring silica tetrahedron. The silicates are, in fact, subdivided based on the shape and bonding pattern of these polymers , because the shape influences the external crystal form, the hardness and cleavage of the mineral, the melting temperature, and the resistance to weathering . These different atomic structures produce recognizable and consistent physical properties, so it is useful to understand the structures at an atomic level in order to identify and classify the silicate minerals. Identifying minerals in a rock may seem like an arcane exercise, but it is only by identifying minerals that we begin to understand the history of a given rock.
The most common silicate minerals fall into four types of structures, described in more detail below: isolated tetrahedra, chains of silica tetrahedra, sheets of tetrahedra, and a framework of interconnected tetrahedra. The link below opens a page in a new window, which contains 3-dimensional versions of these different structures. You can manipulate and compare the structures as you read about them.
Comprehension Checkpoint
The silica tetrahedron is made up of
a.a silicon atom surrounded by four oxygen atoms.
b.an oxygen atom surrounded by four silicon atoms.
Isolated tetrahedra: Olivine
The simplest atomic structure involves individual silica anions and metal cations , usually iron (Fe) and magnesium (Mg), both of which exist most commonly as ions with charge of +2. Therefore, it takes two atoms of Fe2+ or Mg2+ (or one of each) to balance the -4 charge of the silica anion. Olivine (see Figures 2a and 2b below) is the most common silicate of this type, and it makes up most of the mantle . Because these minerals contain a relatively high proportion of iron and magnesium, they tend to be both dense and dark-colored. Because the tetrahedra are not polymerized, there are no consistent planes of internal atomic weakness, so they also have no cleavage . Garnet is another common mineral with this structure.
Figure 2a: Depiction of a single silicate tetrahedron.
Figure 2b: A picture of olivine (the green crystals), an example of a silicate structure composed of isolated tetrahedrons, with a vein of basalt (the gray material).
Chains of tetrahedra: Pyroxenes and amphiboles
When silicate anions polymerize, they share an oxygen atom with a neighboring tetrahedron . Commonly, each tetrahedron will share two of its oxygen atoms, forming long chain structures. These chains still have a net negative charge , however, and the chains bond to metal cations like Fe2+, Mg2+, and Ca2+ to balance the negative charge. These metal cations commonly bond to multiple chains, forming bridges between the chains. Single-chain silicates include a common group called the pyroxenes, which are generally dark-colored (see Figures 3a and 3b). Because the bonds within the tetrahedra are strong, planes of atomic weakness do not cross the chains; instead, pyroxenes have two cleavage planes parallel to the chains and at nearly right angles to each other.
Figure 3a: A schematic diagram of the single chain silica structure. Where two tetrahedra touch, they share an oxygen ion.
Figure 3b: Pyroxene is one of the dominant minerals in this sample of gabbro. It is the dark mineral and can be hard to recognize.
Double chains form when every other tetrahedron in a single chain shares a third oxygen ion with an adjoining chain (see Figure 4a). Like single chains, the double chains still maintain a net negative charge and bond to cations that can form bridges between multiple double chains.
Figure 4a: A schematic diagram of the double chain silicate structure.
Double chain silicates, called amphiboles, host a wider variety of cations , including Fe2+, Mg2+, Ca2+, Al3+, and Na+, and have a wide variety of colors. The most common amphibole is hornblende, a black mineral found in igneous rocks like granite and andesite (see Figures 4b and 4c). Amphiboles tend to form prismatic crystals with two cleavage planes at 120 degrees to each other.
Figure 4b: Individual hornblende crystals where the characteristic cleavage can be seen.
Figure 4c: Hornblende is the dark mineral in this rock.
Pyroxenes and amphiboles can be difficult to distinguish from one another, as they are both dark-colored, blocky minerals . A careful examination of the angle between cleavage planes, described above, is required to identify them.
Comprehension Checkpoint
The best way to tell single-chain silicate minerals from double-chain silicate minerals is by examining their
a.color.
Quartz has no cleavage because
a.its framework structure has no natural weaknesses.
b.it is identical in structure to feldspar.
Silicates as a natural resource
Though we generally think of coal or oil when discussing natural resources , silicate minerals are a natural resource we can't live without on our planet, and not just because of our increasing reliance on computers. Without quartz , there would be no glass. Without the clay minerals, we would have no ceramics or pottery. We use silicate minerals in the manufacture of many building materials, including bricks and concrete. The weathering of silicate minerals on the surface of Earth produces the soils in which we grow our foods and the sand on our beaches. The properties of the minerals that are important to us are based on the versatility of the silicate anion in combination with other elements .
Summary
Understanding the structure of silicate minerals makes it possible to identify 95% of the rocks on Earth. This module covers the structure of silicates, the most common minerals in the Earth's crust. The module explains the significance of the silica tetrahedron and describes the variety of shapes it takes. X-ray diffraction is discussed in relation to understanding the atomic structure of minerals.
Key Concepts
Silicate minerals are the most common of Earth's minerals and include quartz, feldspar, mica, amphibole, pyroxene, and olivine.
Silica tetrahedra, made up of silicon and oxygen, form chains, sheets, and frameworks, and bond with other cations to form silicate minerals.
X-ray diffraction (XRD) allows scientists to determine the crystal structure of minerals.
The physical properties of silicate minerals are determined largely by the crystal structure.
NGSS
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In World War 11 R.A.F. slang what were cookies | Slang terms at the Front - The British Library
Slang terms at the Front
Julian Walker explores the growth of slang used by soldiers in the trenches from describing food to alternate names for allies and enemies.
Food
The limited diet of the British soldier in the front line included Tickler’s Plum and Apple Jam, known as ‘pozzy’ (possibly from a South African word for ‘preserved food’), ‘biscuit’, a hard-baked bread that had seen service for many years in Britain’s armies and navies, and ‘bully beef’, whose name may have come from the French boeuf bouillé (boiled beef) or possibly from the picture of a bull’s head on many tin designs. ‘Gippo’, stew or thick gravy, probably derived from a term used in the 17th and 18th centuries to denote a kitchen servant. Rum was delivered to the front in jars labelled SRD, interpreted as ‘seldom reaches destination’.
Available behind the lines in French bars were ‘Bombardier Fritz’ (pommes de terre frites – chips) with ‘oofs’ and ‘pang’, and ‘plonk’ (vin blanc – white wine).
Experiences common to European armies at the time – poor food and the logistics of transport – provided similar terms for poor quality butter or margarine: ‘axlegrease’ and the German Wagenschmiere (wagongrease).
Soldiers grew adept at getting hold of food by various means; terms included ‘mumping’, ‘winning’, ‘cadging’, ‘humming’, ‘making’, ‘boning’, ‘souveniring’ and ‘hot-stuffing’. Some of these terms were invented at the time while others dated back centuries.
Cook book for the trenches
Cookbook for soldiers in the trenches published in 1915 giving simple recipes that could be made with few ingredients.
Free from known copyright restrictions
Materiel
Many of the terms for weapons and artillery were remarkably similar on both sides of no man’s land, indicating a similarity of attitude, that the soldier had two enemies, the opposing forces and the war itself. Germans and British used the same terms for the German stick-grenade – a potato-masher – both sides had a ‘Black Maria’, and both sides used a German name for an aeroplane – a ‘Taube’.
Some of these terms became indelibly associated with the war: ‘whizz-bangs’ speaks explicitly of the soldier’s experience of knowing how to identify a particular kind of incoming shell, and what action might be worth taking. ‘Jack Johnson’, referencing the black heavyweight champion boxer, was for a shell which created a large amount of black smoke. ‘Moaning Minnie’ referred to the German trench mortar or Minenwerfer, the term carrying overtones of familiarity and humour.
Names for troops: ‘Tommy’ and ‘Foot Slogger’
Documentation of ‘Tommy Atkins’, the archetypical name for the British soldier, dates back to 1815. ‘Tommy’ became immortalised in the first of Rudyard Kipling’s Barrack Room Ballads, published in 1892:
O it's Tommy this, an' Tommy that, an' “Tommy, go away”;
But it's “Thank you, Mister Atkins," when the band begins to play,
The band begins to play, my boys, the band begins to play,
O it's “Thank you, Mr. Atkins," when the band begins to play.
The name ‘Tommy’ was used universally throughout the First World War, by both sides. Some correspondence to The Times in 1914 indicates that not everyone felt well-disposed towards the name. ‘An Ensign of 1848’ wrote on 23 October: ‘May I ... suggest that the time has now come ... to put a period to the use of the nickname ‘Tommies’? ... To hear these British soldiers referred to in depreciatory patronage as ‘Tommies’ by those who stay at home ... is unseemly and exasperating.’ Three days later another reader wrote that if you were to ask ‘a company of Garrison Artillery what they think of the name and of the verses in which it was first enshrined the reply was startling and anything but complimentary to the author of the verses.’ It is possible that this was a matter of opinion which differed between individuals, regiments, platoons, and any groupings of soldiers. Certainly there are clear indications of its being used by soldiers: the trench paper The Salient for Christmas 1915 advertises The Buzzer, the paper of the 49th (West Riding) Division, ‘written by Tommies for Tommies’. But many ‘Tommies’ preferred the terms PBI (poor bloody infantry) and ‘something to hang things on’, referring to the amount of kit they had to carry.
Tommy's diary. Chronicle of a fallen English man
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‘Foot-slogger’ – ‘Foot slogging over Belgian ways’ was noted in the article The Route March, in the 5th Gloucester Gazette 5 May 1915 – was originally ‘foot-wabler’ or foot-wobbler’ in Grose’s The Vulgar Tongue (1785), a term of contempt for the infantryman much used by the cavalry. Related names were ‘gravel-grinder’, and ‘mud-crusher’. There were similar terms in French and German, German terms being particularly graphic – Dreckfresser (mud-glutton), Kilometerfresser (kilometre-glutton), Fusslatscher (foot-shuffler), Lakenpatscher (mud-crusher). According to Partridge only the Germans were resigned to the term Kanonenfutter, ‘cannon-fodder’. [1] German soldiers also called themselves Schweissfussindianer – ‘Indians with sweaty feet’ – which had an interesting counterpart in a term for British soldiers: 1000 Worte Front-Deutsch (1925) states that after ‘Tommy’ the main German epithet for British soldiers was Fussballindianer – ‘football Indians’.
Allies and enemies
A healthy cynicism typifies the self-parody to be found in the extended ‘alternative abbreviations’ of English, such as Rob All My Comrades (RAMC, Royal Army Medical Corps) or Rotten Fiddling About (RFA, Royal Field Artillery). It had counterparts in the German Fährt Alles Kaput (Everything goes kaput) for FAK (Freiwilliges Automobil Korps, the Volunteer Automobile Corps), or Mord-Gesellschaft Klub (Murder Company Club) for MGK (Maschinen-Gewehr Kompagnie or Machine-gun Company).
For the British soldier there were several terms used to describe the soldier opposing him. Turkish soldiers were referred to as ‘Jacko’, ‘Jacky’, ‘Johnny Turk’ or simply ‘Abdul’, while Austrians, if encountered, qualified for ‘Fritz’. ‘Johnny Bulgar’ was the enemy faced in Salonika. The Portuguese were known as ‘Pork and Cheese’ and ‘Tony’, but more often as ‘Pork and Beans’, the name of a meal soldiers at the Front recognised all too well. ‘Sammy’ was used for American soldiers, who often called themselves ‘guys’; Italians were referred to as ‘Macaroni.’
The term poilu was used widely for the French soldier both amongst the French, and occasionally by their British and American allies – French soldiers themselves preferred les hommes or les bonhommes, according to Brophy and Partridge. Meaning ‘hairy’, poilu is supposed to have originated in a story by Honoré de Balzac, Le Médecin de Campagne (1834), in which a group of French soldiers are required for a deed requiring particular courage. In this story only 40 soldiers in one regiment are deemed to be assez poilu, hairy enough.
Reports of the ruthlessness of the German army in China in 1900 refer to the use of the ‘Hun’ by the German Emperor as a symbolic ideal of military force, and thus the word was in place to be applied in 1914, especially in association with concepts such as ‘atrocities’ . ‘Who’s afraid of a few dashed Huns?’ shouted Francis Grenfell, just before his death in 1915 during the Second Battle of Ypres.
‘The Hun’ and ‘the Boche’ (or ‘Bosche’) stayed in use throughout the war, though Fraser and Gibbons claimed that only the Royal Flying Corps used ‘Hun’ regularly. [2] ‘The boche’ or ‘boches’ (or ‘bosch/bosches’), with or without a capital B, was a French word, which arrived through contact with French forces in 1914, and is said to have derived from French slang caboche, meaning ‘rascal’ or ‘German’, or from Alboche, a variant on Alleman. A writer in the Western Daily Press, 15 October 1915, claimed that les Alboches developed into les sales Boches (‘the dirty Boches’), which provided the word Boches.
Digger dialects: slang phrases used by Australian soldiers
Dictionary compiled in 1919 of slang used by Australian troops. The book is called Digger Dialects after the colloquial name for Australian soldiers.
The British also used ‘Alleyman’ adopted from the French word for German, Allemand:
'I got up toot sweet and off I ran
And nearly stopped a bullet from an Alleyman'. [3]
‘Fritz’ was used throughout the war. From 1917 it was the only term used by Corporal FR Ingrey, in his diary, while the variation ‘Fritzies’ was a popular term among American soldiers. [4]
By 1916 the term ‘Jerry’ was in general use. Though the Daily Express had quoted the word on 3 March 1916, on 12 September 1916 it was clearly necessary to explain it further: ‘“Jerries” – that is the “official” Irish designation of the enemy.’ By 1918 it was used frequently, as in ‘Jerry had a machine-gun on us’ [5] . The term carried more familiarity and weariness than hate; in Kipling’s A Madonna of the Trenches (1923), portraying something of the reality of being shelled, the enemy is ‘Jerry’ rather than ‘the Boche’.
From 1916 the term ‘German’ was common. Battery Flashes by ‘Wagger’ (CW Langley) 1916, reports the use of ‘Germings’ for Germans, while the diary of Lieutenant AB Scott uses ‘Hun’ in 1916, ‘Boches’ and ‘Huns’ until Spring 1918, but ‘Germans’ from Summer 1918. Among American soldiers the term ‘Heinie’, from Heinz (Heinrich), was common. According to Eric Partridge, the Germans had their own names for specific branches of the armed forces: Ernst or Ernest for artillerymen, Fritz or Otto for infantryman, and Franz for an airman. [6] The helmet finally adopted by the German infantry reinforced the use of the term ‘squareheads’, which had been in use to describe German soldiers since at least 1906. On 9 October 1914 The Manchester Guardian in a discussion on German national characteristics stated that ‘It is the shortness of the German head that gets him the nickname “squarehead” in England and America and “Têtecarrée” in France. Germans themselves, by the way, say that it is the Austrian Germans who are the “squareheads”.’ But the correspondent dismissed the generalisation as unhelpful.
Footnotes
[1] Eric Partridge, Words, Words, Words (New York: Books for Libraries Press, 1933).
[2] Edward Fraser and John Gibbons, Soldier and Sailor Words and Phrases (Detroit: Gale Research Company, 1925).
[3] Song collected by Pioneer R Walker, quoted in F T Nettleinghame, More Tommy’s Tunes, (London: Macdonald, 1918).
[4] R H Kiernan, Little Brother Goes Soldiering (London: Constable & Co, 1930).
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Who was the chief of the S.S. during World War 11 | British pilots relied on German sea rescue service during Battle of Britain - Telegraph
World War Two
British pilots relied on German sea rescue service during Battle of Britain
RAF pilots shot down over the Channel during the Battle of Britain had to rely on German search and rescue services to save them from drowning, new research has unveiled.
An estimated 80 per cent of downed pilots died over the sea whereas the rate dropped to 50 per cent over land Photo: PA
By Thomas Harding, Defence Correspondent
9:00AM BST 31 Aug 2010
The problem became so severe that British aircraft were ordered to try to avoid travelling over the sea because too many being drowned, it has emerged.
Amid the 70th anniversary commemorations this summer it can be disclosed that at least 200 pilots died “needlessly” in 1940 after bailing out over water.
The discovery came to light as a result of research into a new account of the battle by the military historian, Dr Richard North.
Once they hit the water there was very little chance of survival with only the occasional flier being picked up by a passing destroyer or fishing boat.
The German service, that had been set up in 1935, became so effective that RAF chiefs ordered fighters to shoot down the Luftwaffe Dornier 24 seaplane that were unarmed and painted in white with a large red cross. However, it is thought that the Germans might have been using the aircraft for illicit reconnaissance missions.
“This was one of the most shameful and disgraceful episodes of the entire war,” said Dr North, author of ‘The Many’ to be published next year.
“For an RAF airman to be shot down over the sea was an almost certain death sentence if the German rescue services were not close at hand.
“Many a good fighter pilot was lost who would have been invaluable in the days that followed.”
An estimated 80 per cent of downed pilots died over the sea whereas the rate dropped to 50 per cent over land. On Aug 8 it is believed 15 out of 18 airmen who bailed out were lost at sea.
Frustrated at the poor rescue effort a New Zealand pilot, Flt Lt RF Aitken, “scrounged” a Walrus flying boat from the Fleet Air Arm and saved 35 British and German airmen over the summer.
Air chiefs had assumed that the high volume of shipping in British coastal waters meant that downed airmen would be spotted and recovered.
But by August 19, Air Vice Marshal Sir Keith Park, who commanded the fighter group in the south east, ordered his flight controllers not to vector pilots over the sea because “too many were getting drowned”.
The critical shortage of pilots came very close to costing the British the campaign and it was only when the dogfights were fought over land did the tide begin to turn.
It was not until 22 August when an emergency meeting was held under the chairmanship of Air Marshal Sir Arthur “Bomber” Harris to explore the shortcomings of air sea rescue provision. Only in late 1941 did the Air Sea Rescue Directorate become functional and by the end of the war the RAF went from 18 rescue launches to 600 plus squadrons of dedicated aircraft.
On the day that celebrated Winston Churchill’s speech on “the few” on Saturday the RAF were once again without a full-time search and rescue service with its Nimrod reconnaissance aircraft mothballed to save cash.
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Who was the first British monarch to attend an F.A. Cup Final | The FA Cup | FA Cup Final History Online | Results & Scores
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The voices of history gather and the appeal of history is imaginative. Imagination craves to behold the past. Consider all that is implicit in that single word 'past', the more so when its wings are folded around such an historic cavalcade of names as the amateurs of the Wanderers, Old Etonians, Royal Engineers and Oxford University, to be succeeded at the birth of professionalism by the likes of Blackburn Rovers, Aston Villa, Preston North End, Newcastle United, Manchester United, Tottenham Hotspur and the rest. Now we stand in the purple dignity of their collective shadow and, applauding, turn back to that past so that we may 'roam' in a crowded mist and hear lost voices and see lost looks'.
The Football Association 'Challenge Cup'. That is its proud title, but to the world it is known simply as 'The Cup'. How profound has been its influence on the world game.
There is a charm about this great competition since it is the most democratic of contests. The giants cannot disport themselves in their own world; they must be ready to face the dwarfs of lower spheres and very often they fall with a resounding crash. This is the intriguing David and Goliath character of the competition, here lies its fascination. It was C. W. Alcock, Secretary of the F.A. from 1870 to 1895 who launched the idea of the Cup. Educated at Harrow School, he had taken part there in the Cock House Competition, a system of House matches based on the knock-out principle. The F.A. Cup, indeed, was the adaptation on a national scale of school days so that in October 1871 fifteen teams formed an initial entry. History took a deep breath and prepared for the plunge.
1871: it is mid-Victorian England - the age of Gladstone and Disraeli, which saw the beginnings of social and industrial reform; the age of the horse and carriage; of the top-hat and cloth cap; of extravagant beards and mutton chop whiskers; of Dickens; which brought the curtailment of long working hours and, importantly, the unique social creation, the Saturday half-holiday. It was this that did as much as anything to help popularise football with the community.
The magic of the Cup, too - soon affectionately known as 'the little tin idol' - spread rapidly. By 1882, a mere decade after its start, the entries had grown from 15 to 84; by 1885, when professionalism was legalised, 130 clubs set out in search of the prize. The oak tree had begun to take shape from the acorn. The Cup Final has had three historic homes. First, it was the Kennington Oval from 1872 to 1892, with the exception of its second year. Since, initially, it was meant to be a challenge cup the winner of the previous season was exempt until the final with a choice of ground. The Wanderers, as holders, in 1873 chose Lillie Bridge for the climax, a site now occupied by railway sidings at West Brompton near to Stamford Bridge. After that year, however, the challenge round was abandoned and the holders, rightly, had to take their chance against the whole field.
In 1893 the scene changed to The Crystal Palace where, apart from five replays at the turn of the century, it stayed until 1914. After the first World War there followed three brief visits to Chelsea's Stamford Bridge before the remarkable birth of Wembley in 1923. And there it stayed until 2000 but with a difference. The whole rim of this world famous stadium, with its lush Cumberland turf, was enclosed with a roof as protection against the elements: once, at the start, the final was no all ticket affair which led to the initial 1923 invasion by a multitude estimated at 200,000 covering the pitch itself like a swarm of insects and holding up the kick-off for three quarters of an hour while His Majesty King George V stood patiently watching the remarkable scene from the royal box. Once upon a time, too, the teams used to emerge into the arena from the west end of the stadium, now they enter from the east underneath the giant electric scoreboard. Life moves on.
It may be of some interest to record that in 1876 the Druids became the first Welsh side to enter the Cup, an event which brought a distant echo in 1927 when Cardiff City became the first and only side ever to take the trophy out of England. It must be added, also, that during the formative years there came challengers from Scotland in the persons of Queen's Park - the Glasgow amateurs, Third Lanark, Rangers, Heart of Midlothian, Renton, Cowlairs and Partick Thistle, while Ireland sent Cliftonville from Belfast. In 1885, indeed, when Queen's Park, Glasgow, drew with Nottingham Forest at Derby in the semi-final round, the F.A. directed the replay to be held at the Merchiston Castle ground in Edinburgh - the only time a semi-final tie has been played out of England. Nottingham Forest , in fact, alone of all clubs hold the unique distinction of having played F.A. cup-ties in England, Scotland, Wales and Ireland.
The first major turning point of the years came in 1882 when the Old Etonians beat Blackburn Rovers in the final. So delighted at the outcome was the Etonian captain, Hon. A. F. Kinnaird, of the red beard and long white trousers, soon to be an Earl and President of the Football Association, that he jumped for joy and celebrated the victory by standing on his head in front of the Oval Pavilion. But little did he know that was the end of the epoch. It was the last triumph of the true blue amateurs of the south as the curtain fell on a golden age. The following year the 'little tin idol' went north for the first time when the artisans of Blackburn Olympic beat the Etonian Establishment 1-0.
What a home coming Olympic were given. Cheering crowds and brass bands marked the triumphal route as the team, with Warburton holding the Cup aloft, were driven through the city of Blackburn in a wagonette drawn by six horses. Somebody in the crowd shouted: "isn't that t'Coop? Why, its like a tea kettle"'. Warburton's reply was to the point: "Ey, lad. But it's very welcome to Lancashire. It'll ne'er go back to Lunnon".
Nor did it. On the night of September 11, 1895, the 'little tin idol' ceased to exist. Won by Aston Villa that season, it was stolen while on display in the shop window of William Shillcock, football and football boot manufacturer, of Newton Row, Birmingham. it was never found. The F.A. replaced it with an exact replica and so came into existence the second cup. However, the trophy to be seen gleaming in the Royal Box this afternoon is actually the third in the long history of the competition. Presented in 1911 by the F.A. and more handsome in design than its predecessors, it was the work of Messrs Fattorini and Sons, silversmiths of Bradford. By an odd coincidence the first to win it were Bradford City on the only occasion this Yorkshire town has been involved in a Cup Final. Events move in a mysterious way!
Flicking through the pages of history it can be seen that the nineteenth century drew to a close with the midlands, east and west, showing its power. Here were Wolverhampton Wanderers, Aston Villa (twice), County and Nottingham Forest collecting the prize, with West Bromwich Albion, Wolves again, and Derby County (twice) being runners-up between 1893 and 1899. That Wolves' victory of 1893 was their first success and to mark it there stands to this day in Wolverhampton a memorial.
A speculative builder, purchasing the Dudley Road ground (the home of the club before its move to Molineux), built on the site several rows of houses and called them Fallowfield Terrace. Fallowfield was the stadium of the Manchester Athletic Club where the final was played temporarily, following the refusal of the Surrey County Cricket Club any more to permit football on the Kennington Oval Pitch. Surmounting the gate-posts of each house of that terrace - each one of which is named after a member of that Wolves' team - there stands a replica of the Cup in stone. The birth of the twentieth century brought something fresh. The year 1901 saw Tottenham Hotspur at last bring back the Cup to the south for the first time in 20 years and they did so as members of the Southern League, a unique distinction which is unlikely ever to be equalled again. Beyond that, too, The Crystal Palace ground itself at Sydenham created a world record with a crowd of 110,820. Never before had such an attendance gathered for a match anywhere.
Every available inch of space was filled on the great Notts banks and in the stands. Those less fortunate or more daring, left Mother Earth and took to the fringes of trees nesting in the branches like so many rooks. There was scarcely a solitary soul left in North London and Tottenham itself that day resembled Goldsmith's deserted village.
One remarkable milestone on the long and winding road of events was the dramatic experiences of Newcastle United at The Crystal Palace. Between 1905 and 1911 they reached the final five times, plus one semi-final, in seven seasons. During that spell, too, they became League champions on three occasions. The classiest team in the land, the Crystal Palace put a jinx on them. They never lifted the cup there once, though in 1910 they did succeed at last against Barnsley but in a replay at Everton after a 1-1 draw at The Palace. Curiously, however, Wembley itself put the record straight. The scales were balanced when the song of the Blaydon Races swept the trophy to the north-east five times as Newcastle triumphed in 1924, '32, '51, '52 and '55. In 1914 a new mark was made when King George V visited Crystal Palace to become the first reigning monarch to attend the Cup Final. Liverpool played Burnley and as a gesture to the County Palatine the King wore a red rose in his button hole.
A special high water mark came in 1913 when Aston Villa beat Sunderland 1-0. It was their fifth victory in the competition, equalling the record five wins in the nineteenth century of the Wanderers and Blackburn Rovers. Also it was the only occasion so far that the sides standing first and second in the League have contested the final. Sunderland , in fact, won the League so it was a fair division of honours. The crowd, too, provided a new world record of 120,081.
The year 1923 saw the dramatic birth of Wembley. With invading hordes slowly pushed back to form a human Bolton Wanderers beat West Ham United. There might have been a panic, but there was not. The first Wembley final, indeed, came to the very brink of a disaster, only British humour and a merciful providence saving the day. The match itself seemed the least important part of an extravagant afternoon. At the end a fiery Irishman with utter astonishment, remarked: "To fink that not a pistol went off."
Most memorable of any climax so far played at Wembley stand the 'Matthews final' of 1953. That was surely the master's finest hour as Blackpool pulled back in the closing 20 minutes from 1-3 down to win 4-3 in the dying seconds. At the end Matthews was chaired with his captain Harry Johnston - a unique honour and as each held the cup aloft to a cheering populace the sun glinted and danced on the silver baubles.
Watching and playing football games is now the chosen past time of many countries both in reality and with simulation based games like Fifa . Today the apotheosis of the British game is the Cup Final , it is a day of carnival when a whole nation is joined as one. This is the golden coin that was thrown into the pond of 1871. A Cup tie fought to the death may be prolonged almost to eternity, but not quite. One of the two must go at last. There must inevitably be tragedy and if this is a truism it is none the less tragic. There may be much known in defeat, but defeat it is and one day in springtime only one winner remains.
There lies it's magic.
Take a look at the Wembley National Stadium for more visuals and information on this fantastic venue where the FA Cup Final is held every year.
Our Thanks to Getty Images
We personally thank Getty Images for allowing us to embed some of their fantastic FA Cup photos into our match reports, they really do help bring back vivid and exciting memories to fans of both teams in each cup final.
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Where did Prince Charles marry Diana | 86 Surprising Facts About Queen Elizabeth II - Diamond Jubilee: Queen Elizabeth II of England - TIME
86 Surprising Facts About Queen Elizabeth II
By Anoosh ChakelianWednesday, May 23, 2012
Sean Dempsey / Reuters
1. She speaks fluent French and often uses the language for audiences and state visits. She does not require an interpreter.
2. The Queen has received over 3.5 million items of correspondence during her reign.
3. Since 1952, she has conferred over 404,500 honors and awards.
4. Elizabeth has personally held 610 investitures. An investiture is the ceremony in which an honor is bestowed on someone for their good services; the recognitions are published twice a year, in the Queen's Birthday Honors and New Year's Honors lists.
5. Queen Elizabeth II is Britain's 40th monarch since William the Conqueror was crowned.
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6. In 2002, at 76, Elizabeth became the oldest monarch to celebrate a Golden Jubilee. The youngest was James I (James VI of Scotland), at age 51.
7. About 1.5 million people have attended garden parties at Buckingham Palace or the Palace of Holyroodhouse in Scotland since Elizabeth has been on the throne.
8. Over the course of her reign, she has given regular Tuesday-evening audiences to 12 British Prime Ministers: Winston Churchill, 195155; Sir Anthony Eden, 195557; Harold Macmillan, 195763; Sir Alec Douglas-Home, 196364; Harold Wilson, 196470 and 197476; Edward Heath, 197074; James Callaghan, 197679; Margaret Thatcher, 197990; John Major, 199097; Tony Blair, 19972007; Gordon Brown, 20072010; and David Cameron, 2010-present.
9. There have been 12 U.S. Presidents during her reign.
10. Tony Blair is the first Prime Minister to have been born during her reign. He was born in early May 1953, a month before her coronation.
11. The Queen and her husband, the Duke of Edinburgh, introduced small, informal luncheon parties at Buckingham Palace to meet distinguished people from all professions, trades and vocations. The first was held on May 11, 1956, and the tradition continues to this day. There are usually six to eight guests and two members of the royal household in attendance.
12. Elizabeth is patron of more than 600 charities and organizations.
13. In the past 60 years, the Queen has undertaken 261 official overseas visits, including 96 state visits, to 116 different countries.
14. In 2005, she claimed ownership of 88 cygnets (young swans) on the River Thames. They are looked after by a swan marker. The first royal swan keeper was appointed around the 12th century.
15. Technically, the Queen still owns the sturgeons, whales and dolphins in the waters around the U.K. A statute from 1324, during the reign of King Edward II, states, "Also the King shall have ... whales and sturgeons taken in the sea or elsewhere within the realm." This statute is still valid today, and sturgeons, porpoises, whales and dolphins are recognized as "fishes royal": when they are captured within 3 miles (about 5 km) of U.K. shores or wash ashore, they may be claimed on behalf of the Crown. Generally, when brought into port, a sturgeon is sold in the usual way, and the purchaser, as a gesture of loyalty, requests the honor of its being accepted by Elizabeth.
(PHOTOS: Extraordinary Images of the Queen from the National Portrait Gallery)
16. In the summer of 2005, she opened the first children's trail in the Buckingham Palace garden for its seasonal opening.
17. The Queen joined Facebook in November 2010, with a page called the British Monarchy, which features royal news, photos, videos and speeches. However, it is not possible to poke the royal family. She joined Twitter in July 2009, with teams at Buckingham Palace tweeting daily updates. None of the royals themselves tweet. The page follows only one other Twitter account: Clarence House, the royal home of the Prince of Wales.
18. To mark the 50th anniversary of the Queen's first televised festive address, a YouTube channel for the royal family, called the Royal Channel, was launched in December 2007. At the time, the palace hoped it would make her annual speech "more accessible to younger people and those in other countries."
19. Elizabeth was the first British monarch to celebrate her diamond wedding anniversary.
20. The Queen is the only person in Britain who can drive without a license or number plate on her state car.
21. Many of Elizabeth's official tours were undertaken on the royal yacht Britannia. It was launched by the Queen on April 16, 1953, and was commissioned for service on Jan. 7, 1954. It was decommissioned in December 1997. During that time, Britannia traveled more than 1 million miles (1.6 million km) on royal and official duties.
22. Britannia was first used by Elizabeth when she embarked from Tobruk, Libya, with the Duke of Edinburgh on May 1, 1954, for the final stage of their Commonwealth tour returning to the Pool of London. The last time Elizabeth was onboard for an official visit was on Aug. 9, 1997, for a visit to Arran, Scotland.
23. Elizabeth has visited Australia 16 times, Canada 22 times, Jamaica six times and New Zealand 10 times.
24. Since her accession to the throne in 1952, she has visited Edinburgh nearly every year, taking up residence in the Palace of Holyroodhouse during Holyrood Week, when the Queen and her husband undertake a variety of engagements in Scotland to celebrate the country's heritage.
25. During her reign, the Queen has received many unusual gifts, including a variety of live animals. The more unusual ones have been placed in the care of the London Zoo among them jaguars and sloths from Brazil and two black beavers from Canada. There have also been gifts of pineapples, eggs, a box of snail shells, a grove of maple trees and 15 lb. (7 kg) of prawns.
26. Elizabeth has sent more than 175,000 telegrams to centenarians in the U.K. and the Commonwealth.
27. She has sent more than 540,000 telegrams to couples in the U.K. and the Commonwealth celebrating their diamond wedding anniversary.
28. Her real birthday is April 21, but it is celebrated officially in June.
29. She has attended 35 Royal Variety Performances.
30. In an average year, the Queen hosts more than 50,000 people at banquets, lunches, dinners, receptions and garden parties at Buckingham Palace.
31. There have been six Roman Catholic Popes during the Queen's reign (Pius XII, John XXIII, Paul VI, John Paul I, John Paul II and Benedict XVI).
32. She has launched 23 ships in her lifetime. The first was the H.M.S. Vanguard, which she launched as Princess Elizabeth on Nov. 30, 1944, in Clydebank, Scotland. Her first launch as Queen was of the Britannia, also from Clydebank.
33. The Queen and the Duke of Edinburgh have sent over 37,500 Christmas cards during her reign.
34. She has given out approximately 90,000 Christmas puddings to staff, continuing the custom of King George V and King George VI. In addition, the Queen gives her entire staff gifts at Christmastime.
35. Every year she sends Christmas trees to Westminster Abbey, Wellington Barracks, St. Paul's Cathedral in London, St. Giles' Cathedral in Edinburgh, the Canongate Kirk in Edinburgh, Crathie Kirk and local schools and churches in the Sandringham area of England.
(PHOTOS: Highlights of Queen Elizabeth's 60 Years on the Throne)
36. Elizabeth learned to drive in 1945, when she joined the women's branch of the British army. Both she and Winston Churchill's daughter were members of the group, which was called the Auxiliary Territorial Service.
37. She was a Girl Guide (1937), a Scouting movement for girls and a Sea Ranger (1943), a section of the Girl Guides focused on sailing.
38. As Princess Elizabeth, she traveled in the London Underground subway system for the first time in May 1939, accompanied by her governess Marion Crawford and her sister Princess Margaret.
39. The Queen is a keen photographer and enjoys taking pictures of her family. The Duke of York is also a photography buff and has taken a number of photographs of Elizabeth, including an official photograph for Her Majesty's Golden Jubilee in 2002.
40. The Queen was born in a private home at 17 Bruton St., London, on April 21, 1926. (The house was owned by the Queen's first cousins.) She was baptized on May 29, 1926, in the private chapel at Buckingham Palace and was confirmed on March 28, 1942, in the private chapel at Windsor Castle.
41. With the birth of Prince Andrew in 1960, Elizabeth became the first reigning sovereign to have a child since Queen Victoria, who had her youngest child, Princess Beatrice, in 1857.
42. Elizabeth has 30 godchildren.
43. The first soccer match the Queen attended was the 1953 FA Cup final.
44. She has taken the royal salute from her Household Cavalry mounted troops known as horse guards in every Trooping the Color ceremony since the start of her reign, with the exception of 1955, when a national rail strike forced the cancellation of the parade. Trooping the Color is a ceremony performed by British and Commonwealth regiments to celebrate the Queen's official birthday.
45. The Queen has sat for 129 official portraits during her reign, two of which were with the Duke of Edinburgh. The most recent portrait was by Isobel Peachey and was unveiled in September 2010. Elizabeth was just 7 years old when she sat for her first portrait in 1933, which was commissioned by her mother and painted by the Hungarian artist Philip Alexius de Laszlo.
46. In 2003, she sat for her first and only hologram portrait, which is made up of more than 10,000 images of the Queen layered over one another, giving it a 3-D effect.
47. The first royal walkabout took place during the Queen's visit with Prince Philip to Australia and New Zealand in 1970. The practice was introduced to allow them to meet a greater number of people, not just officials and dignitaries.
48. In 1969, the first television film about the family life of the royals was made; it was shown on the eve of the investiture of Charles as Prince of Wales.
49. An important innovation during her reign was the opening in 1962 of a new gallery at Buckingham Palace to display items from the royal collection. The brainchild of the Duke of Edinburgh, the Queen's Gallery occupied the palace's bomb-damaged private chapel. It was the first time that parts of the palace had been opened to the general public.
50. The only time the Queen has had to interrupt an overseas tour was in 1974, during a tour of Australia and Indonesia. She was called back from Australia when a general election was announced suddenly. The Duke of Edinburgh continued the program in Australia, and Elizabeth rejoined the tour in Indonesia.
51. She has opened Parliament every year except 1959 and 1963, when she was expecting her children Prince Andrew and Prince Edward, respectively.
52. She went on her first state visit as Princess Elizabeth to South Africa with her mother and father, then King and Queen, from February to May 1947. The tour included Zimbabwe, Bechuanaland, Swaziland and Basutoland (now Lesotho). The Princess celebrated her 21st birthday in Cape Town. Her first state visit as Queen was to Kenya: her father King George VI died, and she acceded the throne during the tour, which had to be abandoned.
53. Her first Commonwealth tour began on Nov. 24, 1953, and included visits to Bermuda, Jamaica, Panama, Fiji, Tonga, New Zealand, Australia, the Cocos Islands, Ceylon, Aden, Uganda, Libya, Malta and Gibraltar. The total distance covered was 43,618 miles (70,196 km).
54. In 1986, the Queen became the first British monarch to visit China.
55. She has made a Christmas broadcast to the Commonwealth every year of her reign except 1969, when a repeat of the film Royal Family was shown and a written message from the Queen issued. In 1953, she made her first Christmas broadcast from overseas, broadcasting live from New Zealand. Her first televised broadcast was in 1957, made live. Her first prerecorded broadcast took place in 1960, allowing transmission around the world.
56. She sent a message of congratulations to Apollo 11 astronauts for the first moon landing on July 21, 1969. The message was microfilmed and deposited on the moon in a metal container.
57. The Queen has met at Buckingham Palace the first man in space, Russian major Yuri Gagarin; the first woman in space, Russian cosmonaut Valentina Tereshkova; and the first men on the moon, American astronauts Neil Armstrong and Edwin "Buzz" Aldrin, as well as their Apollo 11 colleague Michael Collins.
58. She sent her first e-mail in 1976, from a British army base.
59. There have been six Archbishops of Canterbury during her reign: Geoffrey Fisher, Michael Ramsey, Donald Coggan, Robert Runcie, George Carey and Rowan Williams.
60. History was made in 1982 when Pope John Paul II visited Britain; he was the first Pope to do so in 450 years. Elizabeth, titular head of the Church of England, received him at Buckingham Palace.
61. She visited a mosque in the U.K. for the first time in July 2002, in Scunthorpe, Lincolnshire. f
62. The Queen has attended 56 royal Maundy services (religious services on the day preceding Good Friday to honor the service of elderly people in their communities and the church) in 43 cathedrals during her reign. A total of 6,710 people have received Maundy money, coins minted especially for the occasion, in recognition of their service. Elizabeth has missed only four services two for official tours and two for the births of Prince Andrew and Prince Edward.
63. Elizabeth has owned more than 30 corgis during her reign, starting with Susan, who was a present for her 18th birthday in 1944. A good proportion of these have been direct descendants from Susan. Elizabeth currently has five corgis: Emma, Linnet, Monty, Holly and Willow.
64. Elizabeth introduced a new breed of dog known as the dorgi when one of her corgis was mated with a dachshund named Pipkin that belonged to Princess Margaret. Elizabeth currently has four dorgis: Cider, Berry, Candy and Vulcan. As well as corgis and dorgis, the Queen also breeds and trains Labradors and cocker spaniels at Sandringham House. A special Sandringham strain of black Labrador was founded in 1911.
65. She takes a keen interest in horses and racing. Her first pony, a Shetland called Peggy, was given to her by her grandfather King George V when she was 4 years old. Elizabeth continues to ride at Sandringham, Balmoral and Windsor. The Queen also takes interest in horse breeding. Horses bred at the royal studs over the past 200 years have won virtually every major race in Britain. Elizabeth has about 25 horses in training each season.
66. Her racing colors consist of a purple body with gold braiding, scarlet sleeves and a black velvet cap with gold fringe.
67. She continues the royals' long association with racing pigeons, which began in 1886 when King Leopold II of Belgium made a gift of racing pigeons to the British royal family. In 1990, one of Elizabeth's birds took part in the Pau race, coming first in the Section 5th Open of the important international pigeon race, and was subsequently named Sandringham Lightning. In recognition of her interest in the sport, the Queen was named a patron of a number of racing societies, including the Royal Pigeon Racing Association.
68. The Queen and the Duke of Edinburgh were married on Nov. 20, 1947, in Westminster Abbey. Her wedding dress was designed by Sir Norman Hartnell and was woven at Winterthur Silks Limited, Dunfermline, in the Canmore factory, with silk that had come from Chinese silkworms at Lullingstone Castle.
69. Her dressmakers over the years have included Sir Hardy Amies, Sir Norman Hartnell, Karl-Ludwig Couture and Maureen Rose. Her milliners have been Frederick Fox, Philip Somerville and Marie O'Regan.
70. Her wedding ring was made from a nugget of Welsh gold that came from the Clogau St. David's mine near Dolgellau. Her official wedding cake was made by McVitie and Price Ltd., using ingredients given as a wedding gift by Australian Girl Guides.
71. The Queen has an extensive collection of jewelry, most of which are crown jewels, some inherited and some gifts, including the largest pink diamond in the world. Some of her well-known pieces include a brooch of diamonds forming a spray of wattle that was presented by the Australian government in 1954 and a necklace of large square-cut aquamarines and diamonds with earrings, given as a gift in her coronation year by the ambassador of Brazil, which Elizabeth wore on her French state visit in 2004.
72. Elizabeth has laid a wreath at the Cenotaph Britain's iconic war memorial that commemorates the dead in both world wars on Remembrance Sunday every year of her reign, except in 1959, 1961, 1963, 1968, 1983 and 1999, when she was either pregnant or overseas on an official visit.
73. She has visited the sets of a number of popular British soap operas, including Coronation Street, EastEnders and Emmerdale.
74. In 1997, Buckingham Palace's first official website was launched.
75. In 1998, Elizabeth introduced theme days to promote and celebrate aspects of British culture. The first theme day was City Day, focusing on financial institutions. Other themes have included Publishing, Broadcasting, Tourism, Emergency Services, Maritime, Music, Young Achievers, British Design and Pioneers.
76. In June 2002, to celebrate her Golden Jubilee, the Queen hosted the first public concerts in the garden of Buckingham Palace. She attended both the classical and pop concerts. The Party at the Palace show was one of the most-watched pop concerts in history, attracting about 200 million viewers from all over the world.
77. She is the first member of the royal family to be awarded a gold disc from the recording industry: 100,000 copies of the Party at the Palace CD, produced by EMI, were sold within its first week of release.
78. She hosted Buckingham Palace's first women-only event, "Women of Achievement," in March 2004.
79. In November 2004, Elizabeth invited the cast of Les Misérables in the West End to perform for then French President Jacques Chirac at Windsor Castle. It was the first time the cast of a West End musical had performed at a royal residence.
80. As a young girl, Elizabeth acted in a number of pantomimes during World War II, including playing Prince Florizel in Cinderella in 1941. The productions took place every year in the Waterloo Chamber at Windsor Castle.
81. She once demoted a footman for giving her corgis whiskey.
82. She is supposedly the only British monarch in history properly trained to change a spark plug, as she undertook a car-maintenance course during World War II.
83. She collected clothing coupons for her wedding dress, true to the spirit of postwar austerity.
84. The Queen issued a writ against the Sun newspaper after it published the full text of her 1992 broadcast two days before its transmission. She later accepted an apology and a £200,000 donation to charity.
85. Only three other world heads of state have celebrated a Diamond Jubilee during Elizabeth's reign: King Bhumibol Adulyadej of Thailand celebrated 60 years on the throne in 2006; the former Sultan of Johor (now part of Malaysia) celebrated his in 1955; and Emperor Hirohito of Japan celebrated his in 1986.
86. The last and only other British monarch to celebrate her Diamond Jubilee was Queen Victoria in 1897, at the age of 77. At 86, Queen Elizabeth will be the oldest monarch to celebrate this occasion.
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How many of William the Conqueror's sons became king of England | BBC - iWonder - How did William the Bastard become William the Conqueror?
How did William the Bastard become William the Conqueror?
1035
Presented byProfessor Robert BartlettPresenter and historian
From a French cradle to the English crown
In 1028, an unmarried French woman bore a son to the Duke of Normandy. People taunted the boy with the nickname ‘William the Bastard’. Yet he not only became a formidable Norman ruler: he became one of England's most brutal and influential kings.
From the Battle of Hastings to the Domesday Book, William was responsible for truly extraordinary events in England's history. Find out how a brutal childhood, some lucky breaks and a festering angry grudge shaped the man who changed Britain forever.
1035
A bloody awful childhood
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Robert Bartlett describes the tumultuous early years of Duke William's rule. Clip from The Normans (BBC Two, 2010).
William is eight years old when his father goes on a pilgrimage to Jerusalem. The duke’s nobles swear allegiance to William, should he fail to return.
Sure enough, the duke soon falls ill and dies. William inherits the duchy but Normandy is quickly plunged into civil war. The young duke finds himself under constant threat of deposition by powerful rivals. This means William witnesses extreme brutality from an early age – his steward, Osbern, has his throat cut by a Norman rebel while sleeping in William's bedchamber.
Plots were hatched and rebellions, and all the duchy was ablaze with fire.
William of Jumièges, describing the chaotic early years of William's rule
1047
When Harold met William
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William looks on as Harold swears a sacred oath to support his claim to the throne.
King Edward's right-hand man was Harold, an earl and member of the Godwinson family, a powerful Anglo-Saxon dynasty.
In 1064, Harold embarks on a voyage to France but is shipwrecked and captured by the Count of Ponthieu. William seizes his opportunity to gain the support of another powerful English noble – he orders the count, an old rival, to release Harold and has him brought to Normandy. According to the Bayeux Tapestry, Harold joins William on a military campaign in Brittany. Harold then swears to help William secure the English throne after Edward's death, before making a swift exit back to England.
The Battle of Hastings
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Robert Bartlett describes how the fateful battle of 1066 unfolded. Clip from The Normans (BBC Two, 2010).
William arrives on the Sussex coast while King Harold is in the north of England, fighting Viking invaders at the Battle of Stamford Bridge.
Harold marches his troops 200 miles south to meet the Norman invaders in Hastings. Although his men are tired, the battle is closely fought: at various points, both leaders are feared dead. It’s brutal and bloody – thousands are slaughtered. At dusk, the Normans finally overcome the English and Harold is killed when an arrow lodges in his eye. Legend says he was so mutilated only his lover could identify him by 'secret marks' on his body. William is crowned in Westminster Abbey on Christmas Day.
I have taken England with both my hands.
William, setting foot on English soil in 1066
1069
Slaughter and starvation in northern England
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The campaign of destruction and oppression came to be known as the Norman Yoke.
To cement his kingship, William creates a new Norman aristocracy. Castles are built to protect the new nobles and flaunt their power.
Yet the north continues to cause William problems. After a series of rebellions, he decides to force it into submission and unite England through a campaign of terror and brutality. He lays waste to English villages and destroys farmlands, robbing agricultural communities of their livelihoods. When famine sets in there are tales of people eating dogs, cats and even human flesh to survive. With 100,000 dead, it will be decades before the north recovers from such systematic devastation.
He cut down many people and destroyed homes and land. Nowhere else had he shown such cruelty... God will punish him.
Orderic Vitalis, describing the Harrying of the North
1070s
England goes Norman
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Find out how the Normans transformed the English language. Clip from The Normans (BBC Two, 2010).
William's ruthless leadership has achieved some stability in England. Emboldened, he explores territory beyond his kingdom's borders.
He builds castles along the Welsh border and in 1072, reaches a truce with Scotland’s King Malcom III who agrees to recognise William as his lord. In 1075, he quashes the last serious revolt by English nobles and marriages between French-speaking Normans and Anglo-Saxons become common, beginning a melding of cultures still evident in the English language of today. Words including onion, pork, beef and mushroom derive from the French nobility.
Domesday Book
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Robert Bartlett on what Britain's oldest surviving public document tells us about life in Norman England. Clip from The Normans (BBC Two, 2010).
William’s next achievement was an unparalleled undertaking in medieval history – a vast survey of all the land and holdings in England.
An incredible display of Norman efficiency, the country-wide survey was finished in six months. It records the transfer of power from the old Anglo-Saxon elite to the Normans - now only 5% of land was in English hands. His motives are unclear, but it’s thought Domesday was a way of legitimising William’s kingship while also enabling him to collect taxes more effectively in order to fund his wars. Whatever its purpose, nothing of its kind and scale would be produced again until the 19th Century.
William dies
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Much of the last portion of William's life is spent back in Normandy, hunting and indulging his generous appetite.
In 1087 William is riding through the plundered town of Mantes when his large stomach is thrown against his saddle. The injury proves fatal. At his funeral, his stomach explodes: the priest rushes the funeral rites to escape the stench. Despite this undignified end, William's legacy endures – the English language is transformed, the Domesday Book completed and power shifted from Northern to Western Europe. It is another 300 years before an English-speaking king is crowned in Westminster Abbey.
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Who was the third wife of Henry V111 | BBC ON THIS DAY | 9 | 1087: William 'the Conqueror' dies
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1087: William 'the Conqueror' dies
King William of England has died, five weeks after being seriously injured at the Battle of Mantes in France.
The King was fighting a counter-offensive against the French in July 1087 when he fell against the pommel of his saddle and badly damaged his intestines.
The 59-year-old Duke of Normandy was taken to his Duchy's capital Rouen after the accident, but was unable to recover from his injuries.
Many of his knights have already rushed to protect their property, fearing opportunistic attacks from King Phillip of France or a break-down of order in the region.
Born in 1028, William was the illegitimate son of Duke Robert I of Normandy and a young woman called Herleve, the daughter of a Falaise tanner.
In his youth he was known as "William the bastard", but was recognised as the family's heir on his father's death in 1035 and so inherited the Duchy of Normandy.
His claim to the English throne was based on the assertion it had been promised to him in 1051 by his distant cousin Edward the Confessor - a promise that Harold, Duke of Wessex, had sworn to uphold, he said.
When Wessex was crowned King of England in January 1066, William accused him of being a usurper and assembled an invasion force.
He landed on English soil in September 1066. By 14 October - after a close-fought battle at Senlac, near Hastings - Harold was dead and William became king.
At his coronation, the Duke promised to uphold existing laws and customs in England.
His reign was characterised by peace and order, but this was often imposed using violence and cruelty which made him deeply unpopular with many of his subjects.
His replacement of the traditional ruling class with a foreign aristocracy also caused much resentment among the English nobility.
King William's lasting memorial is likely to be his "Domesday" survey - a huge investigation into the wealth of the kingdom commissioned in 1085 and completed just two years later - and the first of its kind in this country.
He will be succeeded in England by his second son William Rufus. His eldest son Robert was denied the throne after falling out with his father, but will be made Duke of Normandy after a deathbed concession.
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What is the chemical symbol for sodium | Sodium»the essentials [WebElements Periodic Table]
CAS Registry ID : 7440-23-5
The picture above shows the colour arising from adding common salt (NaCl) to a burning mixture of potassium chlorate and sucrose.
The chemistry of sodium is dominated by electron loss to form Na+. Cartoon by Nick D Kim ( [Science and Ink] , used by permission).
Sodium: historical information
Sodium was discovered by Sir Humphrey Davy in 1807 at England. Origin of name : from the English word "soda" (the origin of the symbol Na comes from the Latin word "natrium").
Until the 18th century no distinction was made between potassium and sodium. This was because early chemists did not recognise that "vegetable alkali" (K2CO3, potassium carbonate, coming from deposits in the earth) and "mineral alkali" (Na2CO3, sodium carbonate, derived from wood ashes) are distinct from each other. Eventually a distinction was made.
Sodium was first isolated in 1807 by Sir Humphry Davy, who made it by the electrolysis of very dry molten sodium hydroxide, NaOH. Sodium collected at the cathode. Davy isolated potassium by a similar procedure, also in 1807. Shortly after, Thenard and Gay-Lussac isolated sodium by reducing sodium hydroxide with iron metal at high temperatures.
Sodium is one of the elements which has an alchemical symbol, shown below (alchemy is an ancient pursuit concerned with, for instance, the transformation of other metals into gold).
alt="alchemical symbol of sodium">
Sometime prior to the autumn of 1803, the Englishman John Dalton was able to explain the results of some of his studies by assuming that matter is composed of atoms and that all samples of any given compound consist of the same combination of these atoms. Dalton also noted that in series of compounds, the ratios of the masses of the second element that combine with a given weight of the first element can be reduced to small whole numbers (the law of multiple proportions). This was further evidence for atoms. Dalton's theory of atoms was published by Thomas Thomson in the 3rd edition of his System of Chemistry in 1807 and in a paper about strontium oxalates published in the Philosophical Transactions. Dalton published these ideas himself in the following year in the New System of Chemical Philosophy. The symbol used by Dalton for sodium is shown below. [See History of Chemistry, Sir Edward Thorpe, volume 1, Watts & Co, London, 1914.]
Sodium around us
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Sodium is a vital element. The human diet must contain a sensible amount of sodium. The sodium cation is the main extracellular (outside cells) cation in animals and is important for nerve function in animals.
The importance of sodium as salt in the diet was recognized well before sodium itself was understood to be an element. This recognition formed the basis of trading of salt deposits lining the Dead Sea in biblical times by the Romans. Prolonged sweating results in sodium ion loss in sweat and it is most important that the sodium ion is replaced through proper diet.
Sodium is never found as the free element ("native") in nature as it is so reactive. Sodium is the sixth most abundant element in the earth's crust at about 2.6 - 3.0%. The most common mineral is rock salt (sodium chloride, NaCl, or halite), but it occurs in many other minerals including sodium borate (borax), sodium carbonate (soda), sodium nitrate (Chile saltpetre). and sodium sulphate (thenardite). In those species, however, it is the anions that are the reason for mining.
Sodium is present in some abundance in the sun and other stars andclearly identifiable by the sodium D lines which are very prominent in the solar spectrum and those of other stars.
Abundances for sodium in a number of different environments. More abundance data »
Location
Second ionisation energy : 4562 kJ mol‑1
Isolation
Isolation : sodium would not normally be made in the laboratory as it is so readily available commercially. All syntheses require an electrolytic step as it is so difficult to add an electron to the poorly electronegative sodium ion Na+.
Sodium is present as salt (sodium chloride, NaCl) in huge quantities in underground deposits (salt mines) and seawater and other natural waters. It is easily recovered as a solid by drying.
Sodium chloride has a high melting point (> 800°C) meaning that it sould be expensive to melt it in order to carry out the electrolysis. However a mixture of NaCl (40%) and calcium chloride, CaCl2 (60%) melts at about 580°C and so much less energy and so expense is required for the electrolysis.
cathode: Na+(l) + e- → Na (l)
anode: Cl-(l) → 1/2Cl2 (g) + e-
The electrolysis is carried out as a melt in a "Downs cell". In practice, the electrolysis process produces calcium metal as well but this is solidified in a collection pipe and returned back to the melt.
Sodium isotopes
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What date is St. Swithin's Day | Chemical Elements.com - Sodium (Na)
Contains an "Introduction to Tungsten", among other things
If you know of any other links for Sodium, please let me know
Bentor, Yinon. Chemical Element.com - Sodium.
<http://www.chemicalelements.com/elements/na.html>.
For more information about citing online sources, please visit the MLA's Website .
This page was created by Yinon Bentor.
Use of this web site is restricted by this site's license agreement .
Copyright © 1996-2012 Yinon Bentor. All Rights Reserved.
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Who had a No 1 in the 70's with Knowing Me Knowing You | Abba - Knowing Me, Knowing You - YouTube
Abba - Knowing Me, Knowing You
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Uploaded on Oct 7, 2009
Music video by Abba performing Knowing Me, Knowing You. (C) 1976 Polar Music International AB
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Which one hit wonder took Oh Lori to number 8 in 1977 | ABBA LYRICS
ABBA Lyrics
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ABBA Bio
ABBA was a pop music group formed in Sweden in 1972. The band consisted of Anni-Frid Lyngstad, Björn Ulvaeus, Benny Andersson and Agnetha Faltskog. They topped the charts worldwide from the mid-1970s to the early 1980s. The name "ABBA" is an acronym formed from the first letters of each of the group members' given names (Agnetha, Björn, Benny, Anni-Frid), and the group took this name officially in late 1973. The group's name is officially trademarked with the first "B" reversed.
ABBA gained international popularity employing catchy song hooks, simple lyrics, and a Wall of Sound achieved by overdubbing the female singers' voices in multiple harmonies. As their popularity grew, they were sought after to tour Europe, Australia, and North America, drawing crowds of ardent fans, notably in Australia. Touring became a contentious issue, being particularly unpopular with Faltskog, but they continued to release studio albums to great commercial success. At the height of their popularity, however, both marriages of the band members failed, and the relationship changes were reflected in their music, as they produced more thoughtful lyrics with different compositions.
Source: http://en.wikipedia.org/wiki/Abba
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What was Britain's first Eurovision Song Contest entry | Eurovision song contest 2015: the United Kingdom's best and worst moments
By Ellie Walker-Arnott
Saturday 23 May 2015 at 7:00AM
Every year since the mid 1950s, we've turned on our tellies to watch the Eurovision's unique blend of euro-pop, disappearing skirts and smoke machines.
But for Britain the annual talent contest has been something of a rollercoaster ride. We've had ups and downs, wins... and years peppered by those pesky 'nil points'.
This year - the 60th anniversary of the singing contest - the nation rests all their Eurovision hopes and dreams on unknown musical duo Electro Velvet and their song Still In Love With You. We'll have to wait until later this evening to find out whether their performance be a hit or a miss, but in the meantime, let's look back at the UK's triumphs and our, erm, embarrassingly bad flops...
Sing, Little Birdie by Pearl Carr and Teddy Johnson (1959)
Wholesome, smiley duo Pearl and Teddy were the UK's first success story, taking second place for their perky rendition of Sing, Little Birdie (you can watch it below, just hold out through the preamble). The contest was a whole different ball game back then. There was no lycra or face paint and they seem to have replaced the strobe lighting and arena stage with a much more refined orchestra and revolving entrance...
Puppet on a String by Sandie Shaw (1967)
Woop! Our first ever winner. Sandie won a very respectable 47 points for this catchy tune. Nowadays the Eurovision props team would have a field day with a song like this. Fairground rides, hundreds of dancers pretending to a puppets, Sandie would probably the lowered down on an elaborate puppet's string...
Boom Bang-a-Bang by Lulu (1969)
Just two years later and we get another winner. The UK were on fire during the 60s when it came to catchy Euro pop sensations! This time, lovely Lulu sung her heart out for the British public. We've gone all Technicolor too, but no Eurovision-style theatrics to be spied just yet. The strange spiky statue behind her could be a hint of things to come though...
Power To All Our Friends by Cliff Richard (1973)
He may have only come third, but old Cliff deserves some recognition for services to Eurovision. This wasn't his first time representing our green and pleasant land either. He also performed Congratulations in 1968 and came second place.
There's handy subtitles on this video, so you can sing along if you fancy. Plus there are some ethnic drums in the background. A modern day Eurovision must-have.
Save Your Kisses for Me by Brotherhood of Man (1976)
This Seventies' quartet came out on top in 1976, bringing home the UK's third win. There are more subtitles on this video too - we're half way to putting on a Eurovision karaoke here at RT.com.
It might be worth trying to learn those slick dance moves too. Pretty sure they'd still go down a storm nowadays...
Bad Old Days by Co-Co (1978)
Wow. Suddenly Eurovision has transformed into the tack-tastic competition we know and love. The orchestra is sat on a strange white contraption, someone is sporting clown makeup and these spangly outfits are really something special. I'm fairly sure one of those women is wearing a gold superhero costume with a white cape. Nice.
Sadly though, Co-co's wacky wardrobe choices (do you ever need a bow tie when you're not wearing a shirt?) weren't enough. You could say this was the UK's first Eurovision failure. Coming in at 11th, Bad Old Days was the UK's lowest score since the beginning of the competition.
Making Your Mind Up by Bucks Fizz (1981)
Fast forward to 1981 and Britain are back on top. This time thanks to Bucks Fizz who remain Eurovision icons to this day for their very clever disappearing skirts.
Band member Cheryl Baker was also in Co-Co but thankfully, this catchy number was much more popular with the voters. If you're not sure which one Cheryl is, just look for the only band member not sporting a shaggy blonde mullet.
Coincidentally, the lady in yellow recently tried to reboot her singing career on BBC1's The Voice. Unfortunately, she failed to get past the first round.
Only The Light by Rikki (1987)
This fairly unremarkable tune from Glaswegian singer Richard Peebles fared poorly at the 1987 Eurovision, coming in at a very disappointing 13 and becoming the worst UK entry in the history of the contest. Even some super-speedy backing dancers didn't manage to distract voters from Rikki's tuneless rendition. And to add insult to injury the single then failed to make it into the UK singles chart top 75...
The good news is, you can hear Terry Wogan's dulcet tones at the beginning. It's like a lovely Eurovision-shaped comfort blanket.
Better the Devil You Know by Sonia (1993)
Classic Eurovision here. Plus you'll all be glad to see they've cracked out the strobe lighting. Sonia came in second in 1993 with a very respectable 164 points for this upbeat ditty. Very good.
Ooh Ahh… Just a Little Bit by Gina G (1996)
She may have only come in eighth place, but can we call Gina G's Ooh Ahh... Just a Little Bit a Eurovision failure? We're not so sure. It didn't get us the Eurovision trophy but the world would be a worse place without the catchy disco classic (probably).
Plus, Ooh Aaah... Just a Little Bit made it to number one in the UK singles chart (no Eurovision entry has managed that since) and was also nominated for a best dance recording at the Grammys. If that's not success, we don't know what is.
Love Shine a Light by Katrina and the Waves (1997)
And here we have it. The UK's last win at the Eurovision Song Contest. A whole 16 years ago. Time we turned that around, eh? (No pressure, Electro Velvet.)
Katrina and the Waves' groovy power ballad went down a storm with the European voting public. The world peace themed song was awarded an unprecedented 227 points and was given the maximum of 12 points by ten of the voting countries. It's the kind of Eurovision success story us Brits can only dream of nowadays...
Cry Baby by Jemini (2003)
From the triumph of a Eurovision win to the UK's biggest failure....
It's a running joke that Britain has failed to make the grade in Eurovision's recent competitions. But one terrible year (2003 to be exact) the dreaded thing actually happened. BRITAIN GOT NO POINTS. That's right, nothing. Zilch. Nada. NIL POINTS.
Since Eurovision revised the rules in 1999, allowing countries to perform songs not in their official language, it's been a tough road for the UK. But we refuse to offer any excuses for Jemini. The song, the wooden dancing, the completely out of tune vocals are all awful. There's no doubt about it.
Flying the Flag (For You) by Scooch (2007)
We had high hopes for Scooch, as Terry wisely remarks in the opening voice over. Their perky expressions and gimmicky song was just the thing to win over Europe and end our run of disappointment... or so we thought.
Sadly the aeroplane attendants failed to charm and we wound up in 22nd place with a measly 19 points.
It’s My Time by Jade Ewen (2009)
Jade Ewen's emotional song, co-written and accompanied by musical mogul Andrew Lloyd Webber, saw our Eurovision luck turn around. Coming in fifth, sentimental hit It's My Time is our biggest success of recent years.
Jade has since gone on to be a member of girl band Sugarbabes and compete in ITV's diving competition Splash! Oh, the dizzying heights of celebrity...
I Can by Blue (2011)
Put four former heartthrobs and European chart favourites into the Eurovision Song Contest and you're guaranteed success, yeah?
Well, it turns out, no. They may have sang the words "I know, I can. I know I can" but they shouldn't have been so sure of themselves.
Blue's bland 2011 entry wasn't a total failure though, they did come in 11th with a very decent 100 points. We just had such high hopes for the foursome... Maybe those semi-naked images of the aging pop stars at the start put off voters?
The Eurovision Song Contest is on tonight at 8:00pm on BBC1
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What was Glenn Miller's given first christian name | BBC launches open selection for 2015 British entry | News | Eurovision Song Contest
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BBC launches open selection for 2015 British entry
Molly Smitten-Downes represented the United Kingdom in 2014. Seen here at her press conference in Copenhagen. Photo: Sander Hesterman (EBU)
Published
6 Oct 2014 at 23:27
Written by
Topics BBC Introducing Guy Freeman BBC United Kingdom 2015 news National Selection Molly Smitten-Downes
About Electro Velvet
Electro Velvet is a musical duo consisting of Alex Larke and Bianca Nicholas. They will represent the UK in the 60th Eurovision Song Contest, performing Still In Love With You, an up tempo electro-swing song penned by David Mindel and Adrian Bax White.
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Writing a blog on the BBC Eurovision website, Executive Producer and Head of Delegation for the United Kingdom, Guy Freeman, has launched a revamped selection process for 2015, by announcing that publically submitted entries will be accepted for the first time since 2008.
For the first time since 2008, the BBC is opening for general song submissions for the United Kingdom's Eurovision Song Contest entry.
In his blog on the BBC Eurovision website , UK Head of Delegation, Guy Freeman, explained that whilst also continuing to engage directly with record companies for next year's entry, the BBC would also "like to provide as many routes into the selection process as possible".
This also includes once again engaging with the BBC Introducing programme, which supports young artists by giving them a platform for their material. It was also the vehicle used to select Molly Smitten-Downes, who represented the United Kingdom at the 2014 Eurovision Song Contest in Copenhagen back in May with her song Children Of The Universe.
See Molly performing at this year's Grand Final in Copenhagen:
Watch this video on YouTube
In an article on the BBC News website , Guy Freeman ruled out giving the British public a say in choosing the 2015 entry saying that a panel of experts "will have the final say on which song and artist will be the UK's 2015 entry".
Making reference to Conchita Wurst, who won this year's contest for Austria with the song Rise Like A Phoenix, Guy Freeman emphasised that "alongside finding a brilliant song, we have to find a brilliant performer to interpret it, believe in it and connect with the thousands of fans at the event and the millions watching on TV. That person or group must also be able to handle the massive amount of media interest which becomes a whirlwind around the contest. It’s a big challenge but an amazing opportunity too!".
In the spirit of achieving an all-round entry, the BBC will only accept video recordings of potential entries. Guy explained that "the video doesn’t have to be professionally shot and the audio production can be a demo – but it must be performed by the artist who you believe could perform it in Vienna, if it was selected". He also stated that songs will not be accepted without an artist, nor will artists be able to apply without a song. The deadline for the submission of entries is the 7th of November. All entrants will be notified whether or not they have been shortlisted by the 21st of November at the latest.
For full details on how to apply, visit Guy's blog on the BBC Eurovision website .
The 2015 Eurovision Song Contest will take place at the Wiener Stadthalle in Vienna Austria on the 19th, 21st and 23rd of May.
Do you think this new approach could produce a winner?
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Which Australian city has a cricket ground called The Oval | Adelaide Oval, South Australia – Australia’s Stadiums - Tourism Australia
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Adelaide Oval has been called one of the most picturesque Test cricket grounds in the world.
The Adelaide Oval is located between Adelaide and North Adelaide, less than one and a quarter miles (two kilometres) from the city centre. The ground is mostly used for cricket and Australian Rules Football , but also hosts Rugby League, Rugby League and Soccer, as well as larger performances and concerts.
Around 16 sports have been played at one time or another at Adelaide Oval, including archery, athletics, baseball, cycling, gridiron, highland games, hockey, lacrosse, tennis, and quoits. It was the venue for two matches of the historic 2003 Rugby World Cup.
Adelaide Oval's rich history dates back to 1871, when the South Australian Cricket Association was formed. The first Test Cricket match was played at the oval in 1884 between Australia and England.
Adelaide Oval has been called one of the most picturesque Test cricket grounds in the world, with the northern view featuring St Peter's Cathedral rising behind an elegant Edwardian scoreboard and giant Moreton Bay fig trees which were planted in the 1890s. The grassed mounds at each end, called ‘The Hills', were created in 1898 from earth carted from the banks of the Torrens River.
The maximum crowd at a cricket game at Adelaide Oval was 50,962, during the Bodyline Test in 1932. It was during this game that Sir Donald Bradman scored the highest score ever in Test Cricket at the ground.
Today, the Adelaide Oval hosts some of the most exciting events on the cricketing calendar, including the annual Australia Day One Day International on 26 January; and every four years, one of the five Ashes test matches against England, usually held in early December.
The largest crowd ever was recorded at the 1965 SANFL Grand Final between the Port Adelaide and Sturt Football Clubs, when more than 62,000 fans packed the stadium to cheer on their teams.
Adelaide Oval has also hosted major concerts during its time, with some of the most famous acts including KISS; Madonna; Paul McCartney; the late Michael Jackson; Billy Joel and Elton John. In 1978, the ground hosted the first concert by David Bowie in the Southern Hemisphere. It was also the first large scale outdoor concert he had ever played.
A large-scale redevelopment of Adelaide Oval commenced in 2011, which will increase the stadium's capacity to 53,500. The atmosphere inside the new stadium will be something to savour. With a high quality audio system and three giant replay screens around the ground, fans won't miss any of the action. A new international standard indoor cricket centre will also be located within the complex.
As well as the South Australian Redbacks and Adelaide Strikers cricket teams; it will become the home of both the Adelaide and Port Adelaide AFL clubs from 2014. Tours of Adelaide Oval are scheduled to recommence from November 2013.
Centrally located on War Memorial Drive and nestled in the northern city parklands of Pennington Gardens and Creswell Gardens, the Adelaide Oval is within walking distance of the Adelaide city centre . It is also fully serviced by all modes of public transport.
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The Adelaide Oval remains one of cricket's most picturesque Test venues despite recent developments to increase the capacity and upgrade the facilities. Its position, situated amid gardens and trees and with the spire of St Peter's Cathedral as a backdrop, gives it a quintessentially English feel.
The ground opened in 1873 amid bitter local disputes over boundaries and money, and in its early years the pitches were often dreadful. Things gradually improved, although Adelaide's tendency to attract controversy remained. In 1884-85 it staged its first Test, but that was dogged by arguments with the English tourists over appearance money and who would umpire. In 1932-33, the Bodyline affair reached its nadir at The Oval when Bill Woodfull and Bert Oldfield were struck, and on the third day mounted police patrolled to keep the 50, 962 spectators in order. But these days the pitches are true and disputes rarer.
The ground has hosted many sports other than cricket - the biggest attendance there was 62,543 to watch the 1965 SANFL final between Port Adelaide and Sturt - as well as concerts.
The ground is a true oval, which makes straight sixes a rarity but ones square of the wicket more common. The western public and members grandstands and the famous scoreboard are all items listed on the City of Adelaide Heritage Register, and two news stands finished in 2003 have raised the capacity to 34,000 (for football) and 32,000 for cricket.
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Which Scottish League football team is nicknamed The Wasps | Fine goalkeeping performance secures point for Wasps | Is Scott Bain the future Scotland Number 1? - YouTube
Fine goalkeeping performance secures point for Wasps | Is Scott Bain the future Scotland Number 1?
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Published on Oct 15, 2013
It was honours even in the local derby at Recreation Park as Alloa notched up their third clean sheet in a row to stay just a point behind the Bairns in the table.
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| Alloa |
In which sport did Simon Terry win Olympic bronze in Barcelona | Alloa Athletic 1-0 Hibernian - BBC Sport
Alloa Athletic 1-0 Hibernian
Relegation-bound Alloa Athletic dealt a blow to Hibernian's hopes of overtaking Falkirk in the Scottish Championship.
Michael Duffy's first-half strike gave the Wasps their first home league win of the season.
Paul Hanlon and David Gray could not convert headed chances as Hibs pressed for parity.
Hibs, who have played two games in hand, now trail the second-placed Bairns by six points ahead of their meeting on Tuesday.
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Interviews: Jack Ross and Alan Stubbs
Duffy, on loan from Celtic, saw his effort on the stroke of half-time awarded after the ball bounced down off the crossbar - his second goal of the season.
It was enough to secure a first victory in 13 games, dating back to 12 January, and pile on the misery for Alan Stubbs' side, who have won just once in seven matches.
The visitors created a number of openings in the first half but Alloa keeper Scott Gallacher saved from James Keatings while Jason Cummings fired wide.
Anthony Stokes shot wide and then headed off target as Hibs searched for the opening goal.
After the break, Hanlon headed wide, Fraser Fyvie flashed an effort just past a post and Gray nodded astray as Hibs pressed.
Stokes then had an effort palmed away by Gallacher before Mark Oxley saved well from Duffy.
41 Gallacher Substituted for Crawford at 25'minutes
2 McAusland
16 Flannigan Booked at 69mins
23 Megginson
27 Crawford Substituted for McManus at 75'minutes
Substitutes
19 Keatings Substituted for Boyle at 62'minutes
35 Cummings Substituted for Dagnall at 75'minutesBooked at 86mins
28 Stokes
| i don't know |
Which eastern capital is served by Queen Alia airport | Amman Queen Alia International Airport - QAIA Airport
Amman Queen Alia International Airport
Travel Guide
Welcome to Amman Queen Alia International Airport - Amman Airport (AMM)
Use this website to quickly find the most important information about Amman Queen Alia International Airport: Flights (Departures, Arrivals), Parking, Car Rentals, Hotels near the airport and other information about QAIA airport. Plan your travel to Amman Airport with the information provided in this site. Check Amman Travel Guide at Bautrip for more information about Amman.
Amman Queen Alia International Airport (IATA: AMM, ICAO: OJAI) (Matar al-Malikah 'Alya' Ad-Dowaly) is located in Zizya area, 20 miles (30km) south of Amman, the capital city of Jordan. It is the home hub of Royal Jordanian Airlines, the national flag carrier, and Jordan Aviation, Royal Falcon and Royal Wings as well.
In March of 2013 the old terminal closed and the new terminal opened. It was awarded by Airport Council international as the best airport in Middle East in 2014.
Queen Alia International Airport
(IATA: AMM) is the biggest airport in Jordan
The airport is located 30 kilometres south of Amman
Amman Airport served 7 Million passengers in 2015
There is only one terminal, which was opened in March 2013
Amman airport is the largest one in Jordan and is being used for approximately 40 airlines from around the world being Royal Jordanian airline the busiest one with over 45 destinations worldwide.
In 2015, 7,095,685 passengers used the Airport. The number of passengers is growing each year, and the traffic has doubled in the last ten years.
Terminal
QAIA Airport or Amman Airport has one unique terminal, serving the 7 million passengers per year, and being able to handle up to 12 million passengers.
The terminal was opened in March 2013 in order to give a better experience to passengers and giving a capacity of 9 million passengers. From 2014 to 2016 an expansion was made, increasing the capacity up to 12 million passengers.
The terminal is divided in three levels.
- Prayer Rooms
Terminal Levels
- Arrival Level 1: It holds the arrivals area and the baggage claim area and a duty free shop.
There is also the public area with retail shops, services (such as Banks, Prayer Room) and restaurants.
- Departure Level 2: Divides travelers between Jordanian passengers (E gates) and International passengers. There are not many facilities in this level.
- Departure Level 3: It has the passport control, access to departures gates and a lot of different services. It has the duty free area, several restaurants and bars, some retail shops, a pharmacy, a kids play area, a prayer area or departure gates among others.
QAIA Airport in numbers
- One terminal expanded in 2016 with a total capacity of 12 million passengers.
- Hub for 4 airlines: Royal Jordanian Airlines, Royal Wings, Jordan Aviation and Royal Falcon.
- 2 runways
- More than 40 airlines (passenger, charter and cargo)
- 6,000 square metres of retail space.
- Estimated investment of USD 750 million in the construction of the new terminal (2013). Currently expansion with estimated cost of USD 100 million.
Transportation
There are currently three options:
- Taxi: With fixed and public rates.
- Bus Express: Called Sariyah Airport Express Bus, it runs to Amman every 30-60' during 24 hours/day.
- Local buses: to three main stations: Tabarbour, Abdali and JEET.
- Car Hire / Car Rental: Check prices and options here
There is a project in study to connect QAIA Airport with Amman by rail.
| Amman |
Which American state capital is served by William B Hartsfield airport | Amman – Travel guide at Wikivoyage
Understand[ edit ]
A city built of white stone, Amman's growth has skyrocketed since it was made the capital of Trans-Jordan in the early 1920s, but especially after the 1948 and 1967 wars with Israel when hundreds of thousands of Palestinian refugees settled there. Another wave arrived after the second Iraq war, with Iraqi refugees forming the majority of newcomers.
Ammonite watchtower
Its history, however, goes back many millennia. The settlement mentioned in the Bible as Rabbath Ammon was the capital of the Ammonites, which later fell to the Assyrians. It was dominated briefly by the Nabataeans before it became a great Roman trade center and was renamed Philadelphia. After the Islamic conquests, Amman became part of the Islamic Empire, until the Ottomans were forced out by the Allies, with the help of the Hashemites, who formed a monarchy that continues to rule until the present.
Today, West Amman is a lively, modern city. The eastern part of the city, where the majority of Amman's residents live, is predominantly the residential area of the working class and is much older than the west. While possessing few sites itself, Amman makes a comfortable base from which to explore the northwestern parts of the country.
Amman is a very diverse city. Palestinian, Iraqi, Circassian, Armenian,and many other ethnic groups reside in Amman. Amman never stops growing.
Despite the common assertion that most Jordanians understand English, that knowledge is quite limited. Charmingly, the most commonly known English phrase seems to be "Welcome to Jordan". The only non-Arabic language used in signposting is English, and you will find "Tourist Police" near the major monuments. It never hurts to know a few useful phrases and come prepared with a translation book, or to have the names and addresses of places you are going written in Arabic for use with a taxi driver.
Remember if you're traveling during the holy month of Ramadan , it is almost impossible to buy food from sunrise to sundown even for tourists. Big shopping malls like City Mall don't let food stores like McDonald's, Sunset and Starbucks sell food during these hours.
By plane[ edit ]
Most travelers to Amman (and to Jordan) will arrive via Queen Alia International Airport. Very occasionally, regional or charter flights use Marka Airport, centrally located in east Amman a few km beyond the railway station.
Visa[ edit ]
For most western visitors, entry visas to Jordan can be purchased at the airport, if not already obtained from a Jordanian consulate overseas. The price of visa is JOD40, payable in Jordanian Dinars only; at the immigration line you will pay for the visa at the first counter, and then pass through to the second counter to receive the stamp. Note that there will be a sign informing you that payment is also available by credit card; this is inaccurate and you will be sent away to obtain hard currency. Money exchange is available before passport control and a single ATM (doesn't take MasterCard), more ATMs are available after customs. This ATM might charge you an additional fee to your regular bank fees (up to JOD5), so it is advisable to already have the JOD40 exchanged back home.
If you have the Jordan Pass (JOD70-80) bought already online before arrival, the JOD40 are waived. For the Jordan Pass, you need to stay at least 4 days in the country, otherwise you will have to pay the JOD40 at the border when leaving Jordan.
Early arrival[ edit ]
If you have an early arrival flight and don't really want to pay a full day hotel for just 4 or 5 h staying there, you can wait in the baggage claim hall at the airport. There are some 50 seats or so available - not too comfortable but acceptable.
Taxi[ edit ]
Taxi transportation from the airport to Amman should cost around JOD20. Airport taxi fares are fixed. Note that the fare is only fixed from airport to city, taxi driver might try to secure a ride from you from the city back to the airport, often with a massive inflated price. It is not hard to get a ride from city to airport for JOD20. If the driver is trying to charge more, make your stand and say no.
Bus[ edit ]
The Airport Express bus runs around the clock every 30/60 minutes between 6:30 and 0:00, and costs JOD2.5. It leaves from a marked bus stop outside Terminal 2 only. The trip from the airport to Tabarbour bus station in Amman, with a stop at the 7th Circle (after 20-30 min), usually takes from 45 minutes to an hour. The route is: QAIA - 7th Circle - Six Circle - Fifth Circle - Fourth Circle - Housing Bank Complex - North Bus Station.
Note that from the 7th circle the bus will turn east and go another several of 100 m towards the center (probably until the 4th circle) - get off when it turns north again. It is then possible to catch a taxi (JOD1-1.5) from the bus stop to your hotel but beware of taxis drivers trying to rip off the newly arrived traveler. Or just walk the last 1-2 km
For additional information: http://sariyahexpress.com/en/content/airport-express
Post/Mail[ edit ]
Please note than there is only one post office and no postbox in the airport, located in arrivals hall of Terminal 1 near the Lost and Found office. If closed, you can put your letters/postcards under the curtain.
By bus[ edit ]
Note that the Abdali bus station is now closed. The new bus station is called 31.994708 35.919719 1 Tabarbour Bus Station and is in the North fringes of Amman. Most of the buses to the Allenby/King Hussein Bridge and the various cities ('Ajloun, Jerash , Irbid ) in Northern Jordan arrive here.
Coming from the south ( Kerak , Madaba , airport, etc.), most buses will go through the 31.959436 35.857587 2 7th circle and even a little further into town from there.
From the bus station/stop, you can take a taxi to the city center. As a guide, it NEVER costs more than JOD2 on the meter from the bus station to most places in town, so either go by the meter, or pay a maximum of JOD2. From Trababour to downtown, take Serviis (A sedan car that works like a bus) #6 to the 31.953615 35.945861 3 Raghadan Tourist Service Station (Raghadan Al Seyaha), which is located right next to the Colosseum. NOTE: There are 2 Raghadan stations in Amman, the one near the Roman Theater (which is relevant to most tourists) is Raghadan Al Seyaha, make sure you tell the taxi driver this otherwise you will wind up at the wrong Raghadan station and will have to catch another serviis back!
In the late afternoon, when everyone is trying to get into the city, it can be difficult to get a taxi to the city, especially long the busy highway downtown.
There are numerous buses pulling into the city of Amman operated by JETT (Jordan Express Tourist Transport). The JETT bus to/from the Palestinian border bridge costs JOD7.5 and takes about 1 hour.
There are two operators (on of them called Challenge) each providing two daily services from Damascus (Sumariya-Terminal) into Amman for SYP500 (SYP50 student discount). Times tend to change a bit, but they leave around 7:30, 8:30, 14:30 and 15:30. The tour takes typically about 4 to 5 h, but can be longer depending on border formalities. The Challenge buses still arrive in Abdali.
By train[ edit ]
Train operator in Jordan: HJR (Hedjaz Jordan Railway) [1] check seat61 [2] for details. Since about 2005, scheduled services within Jordan and to Damascus have, sadly, been suspended. They are unlikely to resume. Train excursions run occasionally, as do local services to Zarqa. Neither operate more often than once per week, if at all. Amman's tiny, charming railway station (Mahatta) with its museum is worth a look even if you do not (or cannot) take a train.
By taxi[ edit ]
A taxi to/from the Palestinian border crossing bridge can cost JOD25 and takes one hour, depending on which of the three border crossing points you use.
By taxi[ edit ]
Yellow and grey taxis are readily available and can be easily found anywhere in Amman. Just hail them in the street as Jordanians do. Taxis for Amman will have a green logo on the driver and passenger doors. The grey ones have an advertisement on top of the car. Resist hailing cabs with another color logo; these cabs are based in other cities and it is illegal for them to pick up fares in Amman. White taxis are shared, and the driver can pick up other fares along the way, which can lead to confusion.
Taxis in Amman are required by law to use meters and most drivers will reset the meter as soon as a fare is picked up. Most trips within Amman should be under JOD2, and even a ride from one end of town to the other should not cost more than JOD5. Taxis are not required to use meters after midnight and drivers often expect double the normal fare for late night trips.
Beware of drivers offering to give you a short ride "for free" as a "Welcome to Jordan", especially if you're walking between the Citadel and the Roman Theater; they will then offer to wait for you to take you to your next stop, and will use the "free" ride as an excuse not to start the meter. They will then charge you exorbitantly when you arrive at your next stop. Also, be wary of the private cars posing as taxis around the bus stands/stations. They will offer their services asking you to pay as much as you want but later on insist on pocketing more money from you. In case you get one, insist paying the standard price which should not be more than JOD2, anything more is a rip-off.
The base rate for the taxi meter was changed in 2007 from 150 fils (JOD0.150) to 250 fils (JOD0.250) due to the rising oil prices, however, not all taxis have replaced their old meters with new ones, and when a taxi is using an old meter, it is legitimate for the driver to ask you for 10 extra piasters (100 fils) on top of the quoted meter fare. Make sure though that you note the initial fare as soon as the driver turns the meter on in order not to have the driver ask you for "the 10 piasters" when he has a new meter. Drivers are not normally tipped, instead the fare is simply rounded up to the nearest 5 or 10 piasters. It should be noted that many drivers do not carry much change, so exact change should be given when possible.
If a driver is pretending he has no change, it is likely that he just wants to keep it, so that you'll have to pay more. If you mind this, ask the driver to find a nearby shop and get change or get the change yourself from a shop or (if you don't mind being rude) look into their money box to find the change yourself.
The going, negotiated rate for a taxi from Amman to the airport is JOD20 or more, although some drivers can be talked down to JOD15 or even JOD10 (which would be close to the metered rate). All taxis are allowed to take passengers to the airport; only special Airport Taxis may take passengers from the airport into town.
If you are visiting the Citadel, call it al'Aqal. The driver may try to convince you that the Roman theater is nicer so that he can drop you off there at the bottom of the hill. It's best to be dropped off at the Citadel and walk down the hill to the Roman theater.
By car rental[ edit ]
There are several car rental companies located in Jordan some will even give you a driver for free if you book a car rental with them. Some of these are Hertz , Sixt Rental Cars , National [3] , and many more.
By bus[ edit ]
Big, municipal buses serve many parts of Amman. They are used by low-income workers, working-class youth and foreign workers, but are perfectly safe. As of January 2011, the fare was 380 fils. Pay the exact fare (or overpay); bus drivers have no change! You can also load a bus fare cash card with a few JOD and swipe the card past a reader as you enter the bus, but places to buy and recharge the card are rare. Most buses are numbered; some display their destination in Arabic only. Bus no. 26 conveniently travels between the old town (Balad) and the 7th Circle along Zahran Street. No. 27 goes from the old town towards the posh Abdoun neighbourhood. No. 43 passes near Shmeisani (as does no. 46) and continues along Mecca Street towards Mecca Mall. Many bus stops are marked by bus shelters, but buses also drop passengers at unmarked spots wherever it is safe to stop. Private minibuses shadow the municipal buses. They do not display route numbers, but a conductor usually shouts out their destination.
By bicycle[ edit ]
Bike tours are a good way to see the local scenery and meet local cyclists. There are a couple of bicycling tour firms in Amman.
Tareef cycling club [4] was founded in 1982 and developed into an active group in August 2007 by a former Jordanian National Team cyclist. They provide fun active weekend cycling and hiking trips, supporting all levels of fitness all around Jordan. [5] offers tours and weekly trips to the Jordan Valley and Dead Sea.
Roman theater in Amman
Umayyad Palace
Although the capital of a diverse kingdom, Amman is not what one would call "packed" with things to see, making it a great gateway to explorations further afield. Even so, the city does hold a few items of historical and cultural interest (allow maximum 2 days to see them).
31.954532 35.934901 1 Amman Citadel (جبل القلعة, Jabal al-Qal'a) (If you don't want to go the whole way back to the entrance when geting out, try the southern end of the fence at the very west of the citadel complex). A national historic site at the center of downtown Amman. Its history represents significant civilizations that stretched across continents and prospered for centuries, as one empire gave rise to the next. Settlement at the Citadel extends over 7,000 years. JOD3.
31.954185 35.934279 2 Jordan Archaeological Museum (Located at the citadel). The museum hosts a small but interesting collection of antiquities from all over Jordan. Fragments of the Dead Sea Scrolls which used to be housed here are now being transferred to the new National Museum of Jordan.
31.953839 35.934932 3 Temple of Herakles (Located at the citadel). Roman period remains
31.955457 35.934177 4 Umayyad Palace (Located at the citadel). Situated in the northern portion of the Citadel. Offers a great view of Amman.
Byzantine Church (Located at the citadel). Dating to the 5th-6th centuries
31.951581 35.939309 5 Roman Theater. Built during the reign of Antonius Pius, 138-161AD, this impressive theater could seat up to 6,000 people. Next to it are a folklore museum and a popular culture museum which the entrance fee also covers. Next to it is the Odeon theater, a smaller theater built at the same time. JOD2.
31.950430 35.936099 6 Roman Nymphaeum. A partly-preserved Roman fountain.
31.953592 35.930486 7 Darat al Funun (The Khalid Shoman Foundation). The 'small house of the arts' in Jabal el Weibdeh, overlooking the heart of Amman, is housed in three adjacent villas from the 1920s (and the remains of a sixth-century Byzantine church built over a Roman Temple), it has a permanent collection and also holds changing exhibitions. In the same area there are other small art galleries and the Jordan National Gallery of Fine Arts. (updated Jan 2017)
31.949586 35.925919 8 Rainbow Street. Located near the 1st Circle in Jabal Amman, this is an interesting area to walk around and explore, it is named after the old Rainbow Cinema which is now out of use, but the area has been recently experiencing a revival with many of the old houses being restored and put into use, in the area there are some cafes and bars including Books@cafe and Wild Jordan both with great views, a Hammam, the Royal Film Commission which sometimes holds outdoor screenings on its patio and some interesting small shops. Across the street from the British Council on Rainbow St., there is the refreshing Turtle Green Tea Bar where everything is in English and you can borrow a laptop to access the internet while enjoying your snack.
31.957977 35.915086 9 Jordan National Gallery of Fine Arts.
31.960175 35.915038 10 Al Bishara Greek Orthodox Church.
31.960912 35.912822 11 King Abdullah I Mosque. Impressive new mosque, with a church opposite. Both together give an interesting view. JOD5.
31.957778 35.904722 12 Ammonite Watchtower (Rujm Al-Malfouf). A circular watchtower built by the Ammonite kingdom some time between 500-1000 BC.
(updated Jan 2017)
Do[ edit ]
It is highly advisable to see the sunset from the view point near the Citadel. But pay also your attention to the time of the muezzin call. If you listen to it from the view point, where the whole city lies before you, you get the unforgettable acoustic impression.
Due to accelerated growth the past several decades, the styles of living differs considerably as one travels from east to west throughout Amman. Visitors desiring a more exotic and traditional experience should explore "Old Amman", the central downtown, or 31.950181 35.934615 1 Balad, which features numerous souqs, shops, and street vendors. Also known as the Souq with traditional sights and smells of the spice market, and shop for authentic souvenirs. Take a walk through the narrow alleyways and corners and negotiate (haggle) the price with friendly vendors. A maze of streets with everything from a fruit market to spices, souvenirs, clothes, hardware. Drink a cool glass of Sugar Cane juice, watch the talented young men make artistic sand designs inside the glass bottles, go and smoke a shisha (hubbly bubbly) in any of the numerous street cafes. Enjoy some tasty falafel in the famous Hashem cafe, enjoy a mansaf dish at Jerusalem restaurant or a nice slice of tasty Kanafe from Habibeh sweets. Busy crowded streets with the real taste of Jordan.
Abdali, a section of downtown Amman, is being transformed into a modern center for tourists and natives alike. The plan includes a broad pedestrian boulevard where visitors can shop, eat, or do numerous other activities. New office buildings and residential hi-rises are being constructed. "New Abdali" should have been completed by 2010, but was still a large construction site as of early 2011.
The cultural scene in Amman has seen some increased activities, notably cultural centers and clubs such as Makan House, Al Balad Theater, the Amman Filmmakers Cooperative, Remall, and Zara gallery. Around the 1st of September the Jordan Short Film Festival takes place.
Buy[ edit ]
Wakalat Street
If it's shopping you're after, then the pedestrian 31.957118 35.860740 1 "Sharia'a Al Wakalat" (Brands Street) offers a wide selection of international brand names to choose from. Furthermore, there are the 31.980525 35.837928 2 City Mall, currently Jordan's biggest shopping mall, the older and huge 31.977447 35.843481 3 Mecca Mall aimed at women (walking distance from City Mall), the 31.941529 35.880641 4 Abdoun Mall (also aimed at women), the 31.958640 35.869306 5 Park Plaza, and 31.955336 35.866190 6 Baraka Mall, for those seeking indulgence and the odd $500 to spare - all designer names. – all large shopping centers scattered across Amman.
Amman has numerous antique dealers littered throughout the city. Those located in the western parts of the city will most likely be serviced by those with a competent grasp of the English language, but you run the risk of the items being a bit overpriced.
clothes market at bus station
Some interesting, original souvenir items that one may consider taking home are:
a keffiyeh, the traditional checkered headpiece of Jordanian men
an antique brass tea/coffee pot, distinctly Middle Eastern with its artistic etching and curved spout
olive wood carvings of various objects or figures can be purchase nearly everywhere
hand-crafted Jordanian daggers
hand-made Bedouin-style embroidered clothing
Also Rainbow Street is populated with small antique stores, clothing, restaurants, sheesha tea shops and the well-known Falafel al-Quds, reputedly the "best" Falafel in the Middle East (some Saudi's even financed the opening of one in Saudi Arabia). Further down the street you will find a small park that overlooks the city. Further still on a side street, during the warmer months, is a side-walk flea market. At the end of this street and down some stairs you will find Wild Jordan.
Learn[ edit ]
There are numerous universities one can study in. Irbid, Madaba, and Aqaba also hold many educational institutes for foreigners. Jordan's universities are world-renowned and respected for their hospitality and methods of instruction.
31.986251 35.835984 1 Modern Montessori School (MMS). Privately owned school which offers the International Baccalaureate (IB). The school is known for its headmistress Ms. Randa Hasan who has been with the school for generations. It is also known for its theatre arts department which has put on many great musicals such as Phantom of the Opera, West Side Story, Alice in Wonderland, Rent, and The Wizard of Oz.
31.986930 35.847263 2 New English School (NES). Privately owned school which offers the British Examination System known as International General Certificate of Secondary Education (IGCSE) which consists of O-Levels and A-Levels. The school is best known for its headmaster Mr. Nabil who has been with the school for generations. It is also known for its outdoor football pitch the best for seven-a-side games.
31.887649 35.875074 3 International Leaders Academy (ILA). Privately owned school which offers the British Examination System. The school is best known for its headmaster Mr. Almanasrah who been refurbishing the whole school. It is also known for its Technology, GYM, Theatre and swimming pools.
Eat[ edit ]
Amman features many different styles of restaurants, from traditional Middle Eastern fare to more familiar Western fast food and franchises. Prices range from ultra-cheap to moderate, depending on one's taste buds. For those on a budget, Arabic food is very affordable and can be obtained everywhere.
Arabic food generally consists of several general basic groups. Meat dishes will generally consist of lamb or chicken; beef is more rare and pork is never offered. Shwarma, which is cooked lamb meat with a special sauce rolled in piece of flat bread, is a local favorite. Rice and flat bread are typical sides to any meal. Jordan's specialty, mansaf, is a delicious lamb and rice meal, typically eaten with one's hands. Arabs serve plenty of cucumbers and tomatoes, many times accompanied by a plain white yoghurt condiment. Another favorite is chick pea-based foods such as falafel, hummus, and fuul. One of Amman's most famous local foods restaurant is Hashem, located in down-town Amman and you can have a lunch or dinner there for no more than JOD1.5 which is very low compared to other restaurants in Amman. This restaurant is one of the favourites of the Royal family and you will see a lot of photographs of the Royal family of Jordan dining at this restaurant. Nearby, there is Habeebah, which serves traditional east Mediterranean sweets such as baklava, but is most famous for serving a traditional dessert known as knafeh nabelseyyeh in reference to its origin from the Palestinian city of Nablus.
And even if you can afford the above-mentioned, do not forget the good surprises coming from the countless shawarma outlets and other very cheap places.
Shawermat Reem (at the 2nd Circle). The allegedly best shawerma in Amman is found in this street-side kiosk. It is very famous and there are even lines at 2AM It is a must to eat from this place and is very cheap.
Lebnani snack. This is a great place to eat Middle Eastern sandwiches, delicious ice cream and cocktails.
La Maison Verte. An impressive French restaurant, with excellent food and excellent ambience. A must go to place. Moderate to pricey, but it's worth it; the atmosphere alone is worth it, it's quite fancy yet very cozy. Their house specialities include "Entrecote", various steaks and a variety of sea food.
Levant (Jabal Amman, 3rd Circle Behind Le Royal Hotel), ☎ +962 6 46 28 948 . A very comfortable restaurant with excellent service, excellent English and excellent food. They serve "gourmet" Arabic food, which means fresh local ingredients in surprising and delicious combinations. For more information you can view their website.
Cantaloupe, 10 Rainbow Street, 1 Juqa Street, ☎ +962 7777 333 33 . A fairly trendy restaurant and cocktail bar with terrace impressively overlooking the city. Salads and fish are good, steaks are excellent. Regional and local wines are remarkably good. Service is excellent and unobtrusive. A little loud as the evening progresses.
Fakhr al Din , 40 Taha Hussein, St Jabal (when going from 1st to 2nd circle, turn right after the Iraqi embassy. Following that, turn right at the end of this street, go past the lot on your left and then turn left again. "Fakhr al Din" is written in Arabic on the wall of last building on the block (فخر الدين)), ☎ +962 6 4652399 . A real classical of Amman's Lebanese-oriented restaurant. Quite pricey but worth it, especially if you're in the terrace on a warm evening. For local wine, try their "Gerasa" red wine. Reservation highly advised. Great place, but beware of waiters who deliver unordered food to your table. Don't accept anything you don't order. JOD15-30 for a complete meal.
Kan Zaman (It's a bit difficult to get there as it is around 10 km south of Amman. On the highway to the airport, you'll see a sign. Leave the highway, go under the bridge and follow the small road.). Impressive medieval castle on a hilltop turned into a beautiful restaurant. The place is worth the visit. The food is pretty basic but ok. Ask for their local "Kan Zaman" red wine. Hopefully, the prices are not proportional to the size of the hall.
Noodasia (It's located on Abdoun Circle, in front of the Big Fellow pub.). Nothing to do with Arabic food though, as the menu handles the whole map of Asia, from Thailand to China, through Japan (good sushis) and Indonesia. Nice place, excellent service and good food for the money, but no alcohol served.
Popeyes. The best fast food restaurant in Amman. It serves the best fried chicken "cajun our way". But what makes it different than other fried chicken restaurants is its lovely mashed potatoes served with hot gravy sauce, makes you want to swim in it. Also they serve a creamy cushiony baked biscuits.
Books@Cafe - a beautiful old house turned into the then-first bookstore/internet/cafe. Opened in the year 2000 and a hot spot ever since. This cafe is on Rainbow street overlooking all of the old city (Balad) and has two wonderful terraces with the best views in Amman. Boasting a very funky interior in contrast with the classical exterior, this café offers lite fare, water pipes (argheeleh), wine, beer and the best pizza in Amman. Free wireless network and three Internet terminals. A must see.
Grappa (around the corner from Fakhr Al Din, close to 2nd circle), ☎ +962 463 8212 , e-mail: [email protected] . Restaurant and lounge bar with great steaks and good wine. JOD10 for mains.
Hashem (Near the post office at King Faisal Street, where most of the budget hotels are located. You can ask most of the locals for directions to this cheap and famous local eatery.). During meal times, the place is swarming with locals, who are there to eat a cheap and good meal of falafel, hummus and bread. JOD1.5 per person (for falafel, hummus, bread and tea).
Ameer (Located right across from the Hussien Mosque in the old city (Balad).). Best place in Amman for falafel sandwiches. The sandwiches are cheap and delicious, 30 piasters. Ask for "shuta" (pronounced, shut-a, with the "a" as in "about", shuta means hot sauce) if you like it spicy. The falafel sandwiches come with French fries in them, tomatoes, parsley, onion, and some hummus. You can also ask for a "batata" sandwich (French fry sandwich), it is AMAZING! I always get one falafel sandwich and one bataba sandwich. It's the best!
Drink[ edit ]
For the coffee lover, Amman's Starbucks locations (Swefieh, Abdoun, Taj Mall, City Mall, Mecca Mall) offer various mugs, tumblers, and to-go cups with distinctive Jordanian and Middle Eastern flair.
Those who crave gourmet coffee have a number of choices along Rainbow St. off of First Circle in Jabal Amman with other shops sprinkled throughout the city.
Alcoholic beverages (beer, wine, liquor, etc.), can be purchased in liquor stores across the city. Most are distinguishable by an advertisement for Amstel or some like beverage outside. There are also bars up and down Rainbow St. in Jabal Amman and throughout Abdoun. Drinking age is 18 but some bars/cafes might card you and admit 21+ customers only.
Jordan's national beer is aptly called Petra beer, and there are many liquor shops and kiosks around Amman where you can find it. There are two types: 'black' and 'red', which have 8% and 10% alcohol percentage respectively. The red is usually slightly more expensive than the black, but you should expect to pay JOD2-2.5 for a 500 ml (18 imp fl oz; 17 US fl oz) can at a shop. You will often find that bars prefer Amstel and other international brands and do not have Petra beer available.
For night clubs and bars visit the cosmopolitan West Amman where many Western and American franchises operate here. The nightlife in Amman is not as vibrant as other Middle Eastern cities like Beirut or Tel Aviv, however, there are a few clubs and bars in Amman.
31.959185 35.917745 1 Picadelli Pub (Piccadilly Pop) (At Abdali Bus Station). Friendly place that serves alcohol, food, and complimentary snacks JOD3 for beer and wine.
31.949441 35.930832 2 La Calle (Located on Rainbow street). This multi-level bar is known for its half-price happy hour specials.
new and old downtown
31.952259 35.930714 3 Jafra Café (Right across from the post office on King Faisal Street (near Hashems). It is upstairs from the DVD store of the same name.). A great spot right in the heart of the downtown area. It has an old, rustic feel to it with more young locals than tourists. They have a great selection of nargileh (water pipe) and the entire menu is reasonably priced. Expect to pay about JOD10 for dinner, including an appetizer, kebab, fresh juice and nargileh. Live music starts at 9PM most night. There is another one near Paris circle in Jebel Al Webdeh
31.958266 35.921468 4 Maestro Bar. Jazz and Pub. But there have been complaints about their entry policy.
Living in Amman, the main places people spend time during the evenings are hookah shops.
31.973047 35.883996 5 Al-Mawardi (Al-Mawardi Coffee and Hooka Cafe), 15, Siqilya St. (South of Al-Rabia circle), ☎ +962 6 5532010 . Coffee shop with traditional hookah, a wide selection of coffee and beverages. Offers Backgammon boards but no card games. JOD5 for a coffee and hookah.
Sleep[ edit ]
Amman has the full range of accommodation options from very basic 1 star accommodation to luxurious 5 star facilities.
Budget[ edit ]
31.952099 35.931989 1 Cliff Hostel (In one of the alleys in the souq nearby the central post office. There's a small and old sign.). An option for low budget travelers. In the winter it can get very chilly, make sure that you ask for more blankets. Sometimes they heat your room if you ask for that. JOD2 for mattresses on the terrace, JOD4 dorm, JOD0.5 for shower.
31.953011 35.932929 2 Farah Hotel , ☎ +962 64651 443 , e-mail: [email protected] . Check-out: From JOD4 for a dorm. Good backpacker option, has common area with satellite TV & movies, organises tours & very friendly English speaking staff.
31.951787 35.937440 3 Jordan Tower Hotel (next to Roman Amphitheatre), ☎ +962-6-4614161 , e-mail: [email protected] . Shared trips at reasonable rates to all tourist sites. Dorm rooms male & female - 2, 3 & 4 bedded rooms some with ensuite bathroom and air conditioning and satellite tv. Friendly English-speaking staff. Cheap light snacks and airport pick ups. From JOD9 incl breakfast and free WiFi.
31.960391 35.918083 4 Sun Rise Hotel (Abdali station, King Hussein Street), e-mail: [email protected] . One star hotel with good location near Abdali station. Safe area, near Capitol Police Center. TV, free internet, free WiFi and air cond or fan in the room; rooms are very basic, those in the back are colder. Dorm from JOD3.50, different rooms available from JOD8 to JOD20 (depending on the mood of the manager, so take care).
31.951643 35.928304 5 Sydney Hotel (Prince Mohammad St, Downtown), ☎ +962 6 4641122 , e-mail: [email protected] . Nice people, clean and safe. JOD10 for a single, JOD14 for a double. Breakfast is JOD2.
31.952057 35.931636 6 Normas Hotel (King Faisal St. - in front of Hashem Restaurant, Downtown), ☎ +962 6 465 1 465 , e-mail: [email protected] . Super friendly and helpful, clean and safe. JOD10 for a single, JOD12 for a double..
31.949507 35.917273 7 Zidian Hotel. WiFi, hot shower, great view from the rooms on the back side. Single from JOD15.
31.951155 35.933849 8 Palace Hotel, King Faisal St, Downtown, ☎ +962 6 4624326 , e-mail: [email protected] . JOD30 (with shower & satellite TV), JOD18 (shared facilities) for a double with breakfast included..
31.957365 35.918823 9 Canary Hotel (on Jebel Amman near the Jett Bus Station). JOD30 for a double.
Abbasi Palace Hotel, Saqf Al Sail / Quraysh st (Downtown), ☎ +962 6 4611686 , e-mail: [email protected] . Check-out: 12.00. Clean and well-run. Good staff, knowledgeable and helpful. Price includes breakfast. Free WiFi and internet. Free tea. JOD6 for a dorm, incl. breakfast (June 2011).
Al-Harmin Hotel. JOD7 for double.
Amman Castle Hotel. Seems to be more catered to males and locals JOD4.5 for a double.
Mid-range[ edit ]
31.997190 35.883748 10 Al Fanar Palace Hotel , Queen Rania Al Abdullah Street (North of city centre and West of Sports City), ☎ +962 6 5100 400 . Standard hotel with reasonable facilities. WiFi in reception (JOD3/hour). Indoor swimming pool, restaurant (but no bar). You can easily take a taxi down the road to the Regency Palace if you want a bar. Taxi cost is less than JOD1. Hot water can be a problem. JOD60.
31.964055 35.913299 11 Beirut International, King Hussein Street (Near the Abdil bus station). Check-out: noon. Good location, nice big rooms, including middle eastern breakfast. JOD70, but you can get a discount.
31.978127 35.902089 12 Beity Rose Suites Hotel , Ibn Hayyan Street (Near the Specialty Hospital), ☎ +962 6 5663706 , fax: +962 6 5663703, e-mail: [email protected] . Check-in: 14:00, check-out: noon. Located in the progressive district of Shmeisani, next to the Royal Cultural Centre and the Amman Stock Market. Friendly hotel in an attractive setting. from JOD85.
31.962517 35.882766 13 Crystal Suites Hotel , Al Kindi Street (Fifth Circle), ☎ +962 6 5692672 , e-mail: [email protected] . Check-out: noon. Nice suites hotel in a prestigious area opposite to the Four Seasons and Sheraton, comfortable for short and long stays, mainly one and two bedroom suites, some studios JOD50 with breakfast.
31.980387 35.893298 14 Gardenia Hotel , Abdulhameed Sharaf Street (near Safeway), ☎ +962 6 5667790 , e-mail: gardeniahotel.index.com.jo . Check-out: noon. Friendly hotel in nice and very quiet neighbourhood JOD45 with breakfast.
31.955952 35.931460 15 New Park Hotel, King Hussein Str (opposite the old court), e-mail: [email protected] . Two-star hotel offering rooms with en-suite bathrooms, satellite TV, air-con, and central heating.
Splurge[ edit ]
31.958867 35.876406 16 Bristol Hotel (near to 5th Circle). Very good hotel if you can put up with the ever present smell of cigarette smoke (even in the non smoking rooms). Wireless internet works well.
Stay safe[ edit ]
Compared with other capital cities, Amman is a very safe place to visit. Jordanian police and the military maintain a tight grip on law and order. Personal safety is high in Amman - it is safe to walk anywhere in the city at any time of day or night. Serious crime is extremely rare. In 2005, some major hotels were targeted by bombers (connected with the conflict in Iraq). Security measures at all major hotels were increased as a result.
Respect[ edit ]
Jordan is a majority Muslim country with a large Christian population too. Jordanian people are mostly very welcoming to any foreign visitors. Women should wear fairly conservative clothing if visiting religious sites.
While Jordan is a generally free and tolerant country, avoid discussing sensitive topics with casual acquaintances or strangers, such as the Israeli-Palestinian conflict or making negative comments about the Jordanian royal family.
Embassies[ edit ]
Australia , Embassy of the Commonwealth of Australia. Visitors address: 3 Yousef Abu Shahhout, Deir Ghbar, Amman. Postal address: P.O. Box 35201, Amman 11180, ☎ +962 6 580-7000 , fax: +962 6 5807001, e-mail: [email protected] [email protected] [email protected] . MULTIPLE-EMAIL
Go next[ edit ]
The bus stop at the 7th circle is less than 100m south of the circle. This stop serves the airport, Madaba (JOD0.75), Kerak and others. The small yellow "airport express" labeled bus is easily recognized and the driver will also stop on other places if you wave at him. To reach the 7th circle from downtown take bus 41 or any headed to Wadi As-Seir and ask to be dropped of at Dawaar As-Saabe'a (7th circle). Many buses going by the 7th circle also take a turn at the 4th circle coming from Trababour Bus Station.
The Trababour Bus Station serves all destinations to the north and to the western border. To get there from downtown, take Serviis (A sedan car that works like a bus) #6 from Raghadan Tourist Service Station (Raghadan Al Seyaha) which is located right next to the Colosseum. The Trababour Bus Station is the last stop on the Serviis' route.
Many budget hotels like Palace or Farah organize day tours for about JOD16-18 which seems a sensible price, but they do not include entrance fees which could be important. These tours are open to people who don't sleep at the hotel. Classical tours are Jerash/Ajlun/Um Qais, Madaba/Mount Nebo/Baptism site/Dead sea, and Castles.
Wadi al-Seer — A region to the west of Amman, it is a small valley leading down towards the Dead Sea . Nearby is the al-Bassa Springs, the source of the valley's river. Above the spring is the al-Deir monastery. It's a 20 minute climb up to the monastery. To reach Wadi al-Seer, head to the minibus station on al-Quds Street, just south of al-Husseini Mosque.
Iraq Al-Amir — 15 km from Wadi al-Seer, the 31.917080 35.751076 13 Caves of The Prince, close to 31.912821 35.751980 14 Al Qasr, are located southeast of Amman and are great for a day tour. JOD1.
Madaba — Just 45 min away and well known for its various mosaic sites. JOD0.75 by bus from the 7th circle.
Jerash (and Ajlun (Ajloun) Castle) — An ancient Roman City. Besides Petra and Wadi Rum, the most famous site in Jordan. 1 h, JOD0.75 from Trababour Bus Station. Get off right before the Hippodrome, 1 km before the bus station, and enter down the side road through the museum. A private taxi from Amman can be hired for JOD8-10 JD one-way. Expect to pay as much as JOD40 for a return trip and taxi driver staying on site while you look around. Ajlun Castle is only a short side trip from Jerash, either by bus from the junction south of the Hippodrome or by Taxi.
Um Qais — A town north, close to the ruins of the ancient Gadara. Best reached by (rental) car or taxi.
Dead Sea — Mt. Nebo (JOD1) and Jesus' Baptism Site (Al-Maghtas) on the Jordan River are essentially on the way, so consider them as well if you have your own car or taxi. The Dead Sea Amman City Resort is about JOD20 with free showers and swimming pools, but no lockers, towels or mud. Taxi services for travel to the Dead Sea can be purchased for the day JOD20 if you hail a cab from down town, down town hotels charge JOD35 for the same service. There are a handful of bus lines that also run from Amman on a daily basis. Bus from Mujaharin bus station to Rame costs JOD1. A taxi from Rame to Amman Tourist Beach JOD4 or less. JETT offers a daily shuttle from Amman (7th circle) to the Dead Sea and back for JOD7 oneway.
Petra — The most famous site in Jordan. JETT buses, both ordinary and all-inclusive guided tour, connect via the fast (but boring) Desert Highway. It is easy to take the bus from Amman. It leaves from the JETT bus office close to Abdali station and in 3.5 h you'll get to the bus station not even 5 minutes from the entrance of Petra. At 17:00 the JETT bus takes off again to go back to Amman. The price is JOD10 for one way. Time tables of the JETT Bus: http://www.jett.com.jo/SubPage.aspx?PageId=230 For a cheaper option, go via Ma'an (JOD7) into Wadi Musa (JOD0.5) (town of Petra). For JOD75 or less (depending on how much you haggle) you may be able to get a private taxi from Amman to Petra and back, including the driver waiting around for 6 h.
Allenby Bridge / Israel — The JETT bus to the Palestinian border bridge costs JOD7.5 and takes about 1 h. A taxi to the Palestinian border crossing bridge can cost JOD25 and takes one hour, depending on which of the three border crossing points you use. Keep in mind that though the Allenby Bridge crosses from Jordan to the West Bank , the checkpoint on the western side is operated by Israel , and plan your travel documents accordingly. Once at the border crossing, you must switch to another bus to cross over the bridge, pass through the checkpoint, then hire a shared taxi from the border. Expect travel from Amman to the old city of Jerusalem to take at least 3 h.
Syria — There are two operators (on of them called Challenge) each providing two daily services to Damascus (Sumariya-Terminal) from Amman for SYP500 (SYP50 student discount). The tour takes typically about 4 to 5 h, but can be longer depending on border formalities.
This city travel guide to Amman is a usable article. It has information on how to get there and on restaurants and hotels. An adventurous person could use this article, but please feel free to improve it by editing the page .
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Kranebitten airport is in which European country | Cheap Flights to Kranebitten (INN) - Search Flights to Kranebitten from Cheapflights.com
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Innsbruck Airport is nestled in the Tyrolean Alps, close to the picturesque town of Innsbruck. Innsbruck Airport is well known to skiers and is the gateway to Western Austria’s popular slopes and ski resorts.
The airport has a decent selection of shops, including duty-free, and a range of restaurants and other amenities. With just one terminal, it’s an easy airport to navigate and the views of the mountains from the building are the perfect start (or end) to a holiday in the Alps.
Most airlines with flights to Innsbruck Airport offer seasonal services as the region is a popular winter holiday destination. Flights from cities across Europe are quite easy to find and many low-cost carriers offer cheap flights to Innsbruck Airport.
The terminal building is modest, but also perfectly sized for passengers eager to leave the airport and start their holiday in the scenic Austrian Alps.
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Which capital city is served by Hellinikon Airport | Attractive airport infrastructure deals in Latin America. Part 2 - Mexico City Airport at Texcoco | CAPA - Centre for Aviation
Attractive airport infrastructure deals in Latin America. Part 2 - Mexico City Airport at Texcoco
CAPA > Aviation Analysis > Attractive airport infrastructure deals in Latin America. Part 2 - Mexico City Airport at Texcoco
6-Mar-2015
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Of all the big new airport projects throughout the world ( Beijing , Chengdu , Istanbul, Sydney , Manila , Berlin etc) it is the one at Mexico City that it eliciting the greatest excitement. The international director of the Mitre Corporation, a US research organisation, referred to it as “probably the most advanced modern airport project worldwide,” pointing to its capability to handle simultaneous traffic flows off multiple runways. More mundanely but of at least equal importance it will relieve the transport bottleneck that threatens Mexico’s economy.
The history of the attempts to secure a new airport in Mexico City have been well documented by CAPA over the years, involving as they have economic uncertainty, environmental concern, political intrigue and even riots. A previous plan for a new airport in the same region was scrapped in the early 2000s following intense protests.
The inertia stood in contrast to the successful privatisations of many of Mexico’s other main airports in three main groups, Mexico City’s Benito Juarez International remaining under the control of the state operator ASA. (The city’s Toluca Airport though was part-privatised).
Technically advanced multi-runway to relieve national transport bottleneck
As recently as Jul-2013 Mexico's President Enrique Pena Nieto had made no commitment for a new Mexico City airport in announcing the country's “Programme for Investment in Transport and Communications Infrastructure 2013-2018.”
What seems to have swung opinion in its favour is when the Juarez International Airport announced new slot restrictions effective Oct-2013, capping operations during peak times at 58 per hour and prioritising commercial aviation, while announcing that operations “exceeded the maximum number that can be served per hour” on “more than 52 occasions” in 2012. The management claimed this compromised competitiveness, the Mexican tourist industry, which contributes 3.4% to Mexico's GDP , and security .
Even as 2014 dawned though the Mexican government was seemingly unable to decide whether or not to build a new airport for Mexico City (probably at Texcoco in the northwest of the urban region but possibly somewhere else), somehow to squeeze even more use out of Juarez International Airport, the second busiest in Latin America and capacity constrained until the pips squeak, or to expand Toluca Airport, which, frankly, had quite a lot going for it. Expanding Juarez Airport even involved a proposal for extending the two runways and applying mixed mode operations, which is one of the remaining short-listed proposals for London Heathrow Airport , while another alternative to Texcoco was Tizayuca, outside the Mexico City boundaries. Yet another proposal called for the capital region to avail itself of all of the infrastructure in the region, including airports at Toluca, Cuernavaca , Puebla and Queretaro . Ironically, as a consequence of the final decision any, or all, of those airports might now even close.
At that time the government was expected to take the lead in the project but it was known that it had attracted the interest of private sector investors such as one of the Macquarie investment funds.
Eventually, in Sep-2014 and after many false dawns, a decision was taken. It was confirmed by President Enrique Pena Nieto that a new Mexico City International Airport would be constructed adjacent to Juarez International. It would have capacity for 120 million passengers per annum and feature six runways upon completion of its second phase, quadrupling Juarez's capacity. Mr Pena Nieto noted that the airport would be one of the biggest infrastructure projects ever undertaken in Mexico. The price tag was given as MXN120 billion (USD9.1 billion). That tag has risen over the past six months to MXP169 billion (USD11.3 billion) but that might be a conservative figure. US engineering firm Parsons, which has had an involvement with the project since mid-2014 ventured that it might end up costing MXN662 billion (USD50.3 billion) in total construction, operating and maintenance costs by 2069, when the final phase is expected to be complete.
In Feb-2015 IATA signed an agreement with Mexico’s Secretariat of Communications and Transportation (SCT) to support the development of the airport. As part of the agreement IATA will provide supervision and advice on technical and operational aspects of the project as well as best-practice guidance on airspace and slot management. This is not an unusual development; IATA frequently undertakes such a role and is possibly best remembered for its impact on the Bangkok Suvarnabhumi airport project in 2005-6.
Grupo Aeroportuario de la Ciudad de México ( Airport Group of Mexico City ) has been given the concession to build, manage and operate the new airport. The agreement is valid for 50 years from the beginning of operations. Grupo Aeroportuario de la Ciudad de México owns the existing Juarez International Airport. It is a branch of government with private financing.
The government sees the value of (and need for) the private sector to play its part
Project funding, most of it in the period 2014-20 will come from public and private sources in the ratio 58%:42%.
The government initially insisted it would remain in state hands upon completion, the project being financed through a combination of current cash flow and bonds and the initial construction work being financed by excess cash flows from the operation of Juarez International Airport, which will the government believed would be sufficient to cover initial costs. The issuance of 30-year bonds has also been under consideration to finance later phases of the project though specific financing programmes would be created to fund different elements of the project. With the private sector so heavily involved in Mexico (GAP, OMA , ASUR , OHL etc) it was difficult to imagine they would not be involved with this huge project as well even despite the fact it has always been the intention to operate ASA out-with the clutches of the private sector.
While up to MXP33 million (USD2 million) has already been made available for 2015 from the public sector to fund initial works there is little clarity so far as to who the private sector participants are, or will be, or what the precise timescale is for them to come onboard. However, it is understood that the publicly listed operator GAP ( Grupo Aeroportuario del Pacifico ), which has 12 airports, anchored on Guadalajara , is raising MXP15 million (USD1 million) in the first instance to invest in the project while ICA (Empresas ICA S.A.B de C.V), which holds a majority stake in the publicly listed Grupo Aeroportuario del Centro Norte (OMA), will also participate having already abandoned a consortium with nine other companies to do so on its own terms.
Mexican law is strict on how the private sector can participate in the first stage of this enterprise.
The government’s advice for any prospective foreign investors, suppliers or construction sub-contractors is simple: network with Mexican companies and Mexican-led consortiums on the basis of technical experience and/or financial strength and devise a PR strategy that majors on transparency and public information regulation. Source: Presentation by the Central Citizen and Consumer Council. (See later for the importance of ‘transparency’).
Even so, and while by Oct-2014 30 Mexican companies such as Grupo ICA, Grupo Corso, Coconal, Gia, La Peninsular, Marhnos, Teya and Tredeco had expressed interest in bidding for the new airport tender, international contractors were expected to enter the bidding war.
This is how the funding will be allocated as it comes in.
Lake Texcoco draining budget required to ensure it is not a floating airport
75% goes to the fundamental airport infrastructure with 3% allocated to ‘social works,’ which could embrace anything from an environmental clean-up to noise insulation. There is a bigger budget (10%) for a separate environmental project, which is the completion of draining activities and land stabilisation of the old Lake Texcoco. Design, Engineering and Project Management accounts for the remaining 12%.
Allocation of expenditure ( MXP million)
Source: Mexican Federal Government
Budget Spending by Year MXP
Source: Mexican Federal Government
So budget expenditure peaks in the period 2015-2018.
Technical details of the project are as follows.
In stage 1, the existing Juarez Airport, which has two runways with non-simultaneous operations and 32 million ppa, is to be replaced with one having three 4000-5000m runways with simultaneous operations to handle 550,000 movements each year and up to 50 million passengers. Stage 1 operations will be from 2020 to 2028.
Other highlights include:
A 555,000sqm single terminal building with 95 gates "enclosed within a continuous lightweight gridshell, embracing walls and roof in a single, flowing form, evocative of flight" and designed for Mexico City's “challenging” soil conditions;
No internal trains or underground tunnels;
Designed to be the “world's most sustainable airport” and only airport in the world certified LEED Platinum, with design works featuring rainwater collection, daylight direction and temperatures to be maintained with almost 100% outside air, leaving "little or no" need for additional heating or air conditioning;
Built on a “monumental scale” with three times the span of conventional airports and a maximum internal span of 170m;
No ducts or pipes in roofing allowing “environmental skin” to be revealed, terminal instead serviced from beneath.
In stage 2, a further three runways are added (there is no word yet as to whether simultaneous operations will be possible on all six) to handle one million movements each year and up to 120 million ppa, which would put this airport on par with the very biggest being built or designed presently, such as Dubai World Central , Istanbul Grand and Beijing Daxing. This stage is a protracted one, through to 2069 at current estimates, which is the longest completion date of any airport project the CAPA Construction and Cap Ex Database is currently aware of.
Cargo and logistics are expected to play a central role
The airport could become the largest logistics hub in Latin America with 1.2 million tonnes per annum of cargo being handled by 2030, although this would depend on logistics services developing alongside the infrastructure. Guadalajara Airport is currently the only Mexican airport with cold storage facilities and therefore the only airport with the ability to handle ‘produce’ exports in the country.
The architectural project has been handed to a consortium of Norman Foster Associates and Fernando Romero, a Mexican architect with offices in Mexico City and New York.
Foster, the architect behind London Stansted Airport ’s “reinvention” of the conventional terminal in the 1990s, is reported to have said that Texcoco “breaks with that model for the first time”. The airport “pioneers a new concept for a large-span, single airport enclosure, which should achieve new levels of efficiency and flexibility… and its design provides for the most flexible enclosure possible to accommodate internal change and an increase in capacity”.
This architectural project is organised in five phases.
The first is the fundamental acquisition of land, 4,300 hectares (44sq km), which is in government ownership, so should in theory not be an issue. But while the existing Juarez airport is within the boundaries of Mexico City the new one, despite its proximity (5 km), is in the State of Mexico. This state of affairs also has implications for the provision of public transport links.
The planning and design phase (2) involves dialogue with airlines, customs agents, commercial companies and civil engineering organisations.
Phase 3 is the appointment of a Chief Engineer and Project Manager and the initiation of studies into airspace utilisation, arrival and departure routes , and runway/taxiway/apron utilisation.
Phase 4 is the preparation of an environmental impact report and Phase 5 the commencement of construction works.
The Infrastructure Planning contract was won by Netherlands Airport Consultants (NACO) together with Royal HaskoningDHV and the Mexican engineering consultancies SACMAG de Mexico SA de CV and TADCO Constructora. Collectively they are responsible for the runways, taxiways, navigational aids and associated facilities. The contract was won with a bid of MXP1,252 million (USD83.6 million), based on the lowest price principle. There were four bidders.
This is NACO’s second big assignment for this airport after winning the design for the airport’s passenger terminal with Foster & Partners and FR-EE in 2014. NACO will be designing three runways capable of accommodating the A380 . Airbus expects Mexico City to see an increasing number of A380 services over the next 20 years (assuming, of course, that aircraft continues in production), while both Lufthansa and Air France have expressed interest in deploying the type to the Mexican capital.
A Master Plan will be prepared by the end of 1Q2015. 35 bids are expected for this part of the project as in the table below.
Master Plan
Source: Central Citizen and Consumer Council
Transparency is critical to the success of the deal
The government has allocated time and energy to assuage fears about potential corruption, clearly mindful of allegations that have been made from time to time in Latin America concerning privatisation activities in different parts of the continent.
Questions have already been asked in the Mexican media about best practices in both public and private sectors and how they apply in this instance.
And separately, in Nov-2014, Mexico's Federal Institute for Access to Information and Data Protection (IFAI) requested the Airport Group in Mexico City (CMAG) provide information regarding the airport project, having received a complaint from the Mexico City Government, citing the airport group was withholding information from the city about the project. The City had requested the airport group to deliver information on environmental impact measures, scheduling, stages of construction, method of recruitment as well as its overall project plan.
One of the ways in which the government has tackled the subject is through the appointment by the President of a new Secretary in charge both of the regulation of bids and government procurement activities. This ‘Minister of Public Function’ as he is known is a civil servant with in-depth knowledge of procedural transparency. Furthermore the government has agreed transparency policies with the OECD . Other public agencies and ‘Transparency Mexico,’ the agency that oversees Mexico’s 2014 transparency reforms are involved. (In 2013 Mexico scored just 34 out of 100 in Transparency International's tables).
Now an antitrust agency is involved in the definition of bidding terms and design.
The government is at pains to point out though that the relationship between the new airport and ‘national airlines’ (i.e. Aeromexico ) is as yet undefined.
Cutbacks on other transport projects spawn lingering doubts about Texcoco
The sharp drop in GDP growth in 2013-14 is a major cause of budgetary cutbacks that were announced in Jan-2015 by the government. At the moment the main casualties in the transport sector are railway projects at Queretaro (MXP40 million) and the ‘Transpeninsular’ line (MXP22 million). The government insists the airport project will proceed as planned. However, such cutbacks may well mean that the envisaged rail connection between the downtown/central business district and the new airport is at best put on hold. It is uncertain just how important that is in a country that is so enamoured with the private motor vehicle and the bus.
Concern is being shown in the government however with regard to the negative effects of the new airport on others at Toluca, Cuernavaca, Puebla, and Queretaro. Traffic is expected to diminish considerably at these facilities, putting at risk the infrastructures and the stakeholders alike.
The new airport's construction is reported to be supported by a majority of the capital's population, and the greatest preference for the future of the current Juarez Airport site is for it to become an ecological green space, according to surveys. Its use as a convention centre or national tourism centre is also possible though the examples of Berlin Templehof and Athens Hellinikon airports suggest that parks and green spaces do often win out in these cases.
Rising costs, declining public revenues and environmental issues are all lingering issues
Mindful of the claim that the airport will proceed “as planned” there are still a number of factors that could yet affect it adversely. Two of them are rising costs and falling revenues. Already the price tag is more than double the MXP80 billion (USD6 billion) estimate by the Secretary of Transport and Communications, Gerardo Ruiz Esparza, only a year ago.
See related report: Aviation and oil prices: potentially a negative for airport capital expenditure. Time for PPPs?
Mexico, the world’s 10th largest oil producer, is one of many countries where cutbacks in state infrastructure spending may have to made if there is a consistent reduction in oil prices over a protracted period of time. There is plenty of fiscal ammunition for remaining opponents of the airport to use.
Secondly, and in common with so many other new airport undertakings around the world, there are environmental issues to contend with, despite the insistence it will be the world’s ‘most sustainable airport’. In Apr-2014 the National Water Commission (Conagua) expressed opposition to the prospect of expanding Juarez International Airport on federal lands east of the facility over Lake Texcoco, due to the risk of “catastrophic flooding” which could “jeopardise the safety of airport users” as the region is constitutionally designated as a flood zone. It was this issue specifically that prompted the suggestion of Tizayuca, in neighbouring Hidalgo State, as an alternative and more suitable alternative for environmental reasons. The allocation of 10% of initial financing to hydraulic works recognises the potential impact of this environmental issue.
Moreover, the same organisation has warned that an airport at Texcoco would be “ecological suicide and a threat to urban development,” citing a 1995 study by the National Autonomous University of Mexico which said construction on the site would have “significantly adverse” environmental impacts and would threaten 120 native bird species with extinction. The government response was to promise that the airport will “contribute to the restoration of the surrounding area via rehabilitation of surrounding lands and construction of lagoons that will harvest rain water to avoid flooding”. Six man-made lakes will also be constructed.
Airline prospects good in the long run
As for the country’s airlines, and demand for them, prospects are generally positive despite the bankruptcy of Mexicana de Aviacion and the poor performance last year of Grupo Aeromexico , which made both operating and net profits in FY2014 but experienced declines of -30% and -27.5% respectively as increased costs outstripped revenues. (That should change for the better if the oil price continues to be low). Aeromexico remains bullish about prospects, having ordered more than 100 aircraft including B737 MAX 8s and B787 -9s just over two years ago. As of 16-Feb-2015 Aeromexico has 66 aircraft in service and 71 on order according to the CAPA fleet database. The delivery schedule is outlined below.
Aeromexico projected delivery dates for aircraft hulls on order purchased from OEMs and leased from lessors’ new aircraft order pipelines as at 16-Feb-2015
Source: CAPA Fleet Database
Aircraft operated by subsidiaries/associates of the main carrier may be listed separately.
Firm orders include those placed directly by the operator and by lessors assigned to the operator, from 16-Feb-2015 onwards.
Aeromexico’s competitors are all LCCs and some of those, too, have substantial aircraft orders, such as Volaris , which has 46 A320s on order, and Viva Aerobus , which has 52 of the same type on order, more than double its present fleet size, both these airlines reviving after two tough years
Airbus judges that Mexico will require 634 new aircraft over the next 20 years to meet demand which is expected to grow by 4.9% per annum and that it will become the main destination in Latin America after Brazil . The increase in demand will be driven by a growing middle class that will increase consumer and tourism spending. However, congestion and lack of adequate airport infrastructure may hold it back. The new Mexico City airport will help counter concern over infrastructure.
In 2014 international passenger air traffic rose by 6.1%. That statistic was skewed at either end by a 13% rise in the Middle East but just 3.1% in North America . Latin America’s growth rate was 5.8%, the same as Asia’s and 1.1 percentage points above capacity growth in the region while average load factor topped 80%.
It can be expected that, allowing for replacement and retirement, the total national fleet should reach over 350 within the next ten years. This represents the considerable and growing optimism within the industry for the next few years. Indeed if air travel in Mexico were to reach global average for an economy of the size of Mexico the number of trips per capita could rise by a factor of nearly four.
So airline prospects are good both regionally and locally.
Any potential investor considering the merits of the Mexico City airport will take into account the performance of the Juarez airport. Selecting the same criteria as those used for Santiago, they are:
Source: CAPA - Centre for Aviation and OAG
Mexico City Juarez International Airport capacity seats, per week, by carrier (16-Feb-2015 to 22-Feb-2015)
Source: CAPA - Centre for Aviation and OAG
Mexico City Juarez International Airport international capacity, seats by region (16-Feb-2015 to 22-Feb-2015)
Source: CAPA - Centre for Aviation and OAG
Mexico City Juarez International Airport capacity seats share by carrier type (16-Feb-2015 to 22-Feb-2015)
Source: CAPA - Centre for Aviation and OAG
Mexico City Juarez International Airport capacity seats share by alliance (16-Feb-2015 to 22-Feb-2015)
Source: CAPA - Centre for Aviation and OAG
Mexico City Juarez International Airport movements by hour for typical day (Monday) (16-Feb-2015 to 22-Feb-2015)
Source: CAPA - Centre for Aviation and OAG
Comparing these charts with those of Santiago Airport the following observations may be made:
Lesser degree of dominance by any one carrier; carrier type; or alliance at Juarez Airport (a better mix)
A stable balance of aircraft movements per hour between 0600 and 2359. Some potential for development of night flights, regulations permitting
In conclusion:
The economic importance of Chile is growing rapidly both regionally and throughout the world;
Mexico continues to benefit from membership of NAFTA and, latterly, other trade groups;
Both countries are attractive infrastructure investment prospects;
Santiago’s airport has many advantages for its operators but AdP , Vinci and Astaldi have collectively paid a high price to gain access to it;
The new Mexico City airport has met with violent protests in the past. There is a calmer acceptance of its inevitability now but some important cost, funding and environmental questions still remain.
Want more analysis like this? CAPA Membership gives you access to all news and analysis on the site, along with access to many areas of our comprehensive databases and toolsets.
| Athens |
"Which comedian's catch phrase was ""I theng yow""" | Open-Top Hop-On Hop-Off Bus Pass - Athens | Expedia
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Get to know the iconic sights around the capital of Greece with an open-top double-decker bus and an array of spectacular destinations. This tour lets you explore the history behind one of the world's oldest civilizations, with the freedom to hop off and get a closer look at whichever stops you'd like.
Comfortable, modern buses are waiting to show you around the cities of Athens, Piraeus, or Glyfada, offering a sweeping view of the landmarks around the historic metropolis. Learn about the area's long, grand, and tumultuous past with an audio guide, and check it out for yourself at any of the several sites you can visit throughout your route.
Blue Line includes:
Hellinikon Airport
War Cemetery
Get to know the iconic sights around the capital of Greece with an open-top double-decker bus and an array of spectacular destinations. This tour lets you explore the history behind one of the world's oldest civilizations, with the freedom to hop off and get a closer look at whichever stops you'd like.
Comfortable, modern buses are waiting to show you around the cities of Athens, Piraeus, or Glyfada, offering a sweeping view of the landmarks around the historic metropolis. Learn about the area's long, grand, and tumultuous past with an audio guide, and check it out for yourself at any of the several sites you can visit throughout your route.
Blue Line includes:
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What is the original nationality of Arnold Schwartzenegger | Behind the Name: Meaning, origin and history of the name Arnold
PRONOUNCED: AHR-nəld (English), AHR-nawlt (German) [key]
Meaning & History
From a Germanic name meaning "eagle power", derived from the elements arn "eagle" and wald "power". The Normans brought it to England, where it replaced the Old English cognate Earnweald. It died out as an English name after the Middle Ages, but it was revived in the 19th century.
Saints bearing the name include an 8th-century musician in the court of Charlemagne and an 11th-century French bishop who is the patron saint of brewers. It was also borne by Arnold of Brescia, a 12th-century Augustinian monk who rebelled against the church and was eventually hanged. Famous modern bearers include American golfer Arnold Palmer (1929-) and Austrian-American actor and politician Arnold Schwarzenegger (1947-).
Related Names
| Austrian |
Alfred, Farmingdale and Pixie are varieties of which fruit | Gov Arnold Schwarzenegger Ethnicity - Arnold Schwarzenegger Net Worth
Gov Arnold Schwarzenegger Ethnicity
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Arnold Schwarzenegger
Arnold Schwarzenegger Net Worth is $300 Million. Arnold Schwarzenegger is an Austrian-American bodybuilder, model, actor, businessman, and politician with a net worth estimated at $300 million. He was born on July 30, 1947 in the tiny village of Thal. Arnold Alois Schwarzenegger ...
Arnold Schwarzenegger Net Worth is $300 Million.
Arnold Schwarzenegger Net Worth is $300 Million. Arnold Schwarzenegger is an Austrian-American bodybuilder, model, actor, businessman, and politician with a net worth estimated at $300 million. He was born on July 30, 1947 in the tiny village of Thal Arnold Alois Schwarzenegger is an Austro-American former professional bodybuilder, actor, businessman, investor, and politician. Schwarzenegger served as the 38th Governor of California from 2003 until 2011. Schwarzenegger began weight training at the age of 15 years old. He won the Mr. Universe title at age 20 and went on to win the Mr. Olympia contest seven times. Schwarzenegger has remained a prominent presence in bodybuilding and has written many books and articles on the sport. Schwarzenegger gained worldwide fame as a Hollywood action film icon. He was nicknamed the "Austrian Oak" and the "Styrian Oak" in his bodybuilding days, "Arnie" during his acting career and more recently the "Governator" .
As a Republican, he was first elected on October 7, 2003, in a special recall election to replace then-Governor Gray Davis. Schwarzenegger was sworn in on November 17, 200...
| i don't know |
What is another name for pimento | Pimento - definition of pimento by The Free Dictionary
Pimento - definition of pimento by The Free Dictionary
http://www.thefreedictionary.com/pimento
1. See allspice .
2. Variant of pimiento .
[Spanish pimiento, red or green pepper, pepper plant, from pimienta, black pepper, pepper fruit, from Late Latin pigmenta, pl. of pigmentum, vegetable juice, condiment, pigment, from Latin, pigment, from pingere, to paint; see peig- in the Appendix of Indo-European roots.]
pimento
(Plants) another name for allspice , pimiento
[C17: from Spanish pimiento pepper plant, from Medieval Latin pigmenta spiced drink, from Latin pigmentum pigment]
pi•men•to
(pɪˈmɛn toʊ)
n., pl. -tos.
1. the red, mild-flavored fruit of the sweet pepper, Capsicum annuum, used esp. as a stuffing for olives.
2. the plant itself.
3. allspice .
[1665–75; alter. of Sp pimiento pepper plant, masculine derivative of pimienta pepper fruit < Late Latin pigmenta spiced drink]
ThesaurusAntonymsRelated WordsSynonymsLegend:
sweet pepper - large mild crisp thick-walled capsicum peppers usually bell-shaped or somewhat oblong; commonly used in salads
paprika - a mild powdered seasoning made from dried pimientos
genus Capsicum , Capsicum - chiefly tropical perennial shrubby plants having many-seeded fruits: sweet and hot peppers
capsicum , capsicum pepper plant , pepper - any of various tropical plants of the genus Capsicum bearing peppers
2.
sweet pepper - large mild crisp thick-walled capsicum peppers usually bell-shaped or somewhat oblong; commonly used in salads
paprika - a mild powdered seasoning made from dried pimientos
Translations
[pɪˈmentəʊ] N (pimentos (pl)) → pimiento m, pimentón m morrón (S. Cone)
pimento
(= allspice) → Piment m or nt, → Nelkenpfeffer m; (= tree) → Pimentbaum m
pimento
Want to thank TFD for its existence? Tell a friend about us , add a link to this page, or visit the webmaster's page for free fun content .
Link to this page:
Pimenta dioica
References in periodicals archive ?
6, 2015 /PRNewswire/ -- Chicken Salad Chick, the nation's only southern inspired, fast casual chicken salad restaurant concept, launched its fall menu yesterday featuring brand new menu items, such as the Cranberry Apple Salad and Chicken Tortilla Soup, and guest favorites returning for another year including the Holiday Pimento Cheeseball and Pumpkin Cheesecake.
Say "Hello" to Summer with New Menu Items from Luella's Southern Kitchen
The hint of pimento berries, the earthy flavour of lentils and the sweet saltiness of Parmesan pair well with fragrant LINI 910 Labrusca Rosato Reggiano DOC.
FASHION/BEAUTY NEWS - BENTLEY FOR MEN AZURE
SPANISH HAM & PEPPER PIZZETTES Serves: 4 Preparation time: 10 mins + 15 mins proving Cooking time: 15-20 mins INGREDIENTS 500g Waitrose Ciabatta Bread Mix 4 tsp olive oil Flour, for dusting 190g jar Waitrose Spicy Sugo ai Pepperoni with roasted peppers 120g Waitrose Spanish tapas platter 210g Waitrose pimento stuffed olives with manchego Rocket salad, to serve METHOD PLACE the bread mix in a bowl, add two teaspoons of the olive oil and 260ml of warm water and bring together to make a dough.
| Allspice |
The green aromatic stalks of which plant are used in cake decoration (usually candied) | Allspice | Define Allspice at Dictionary.com
allspice
noun
1.
the dried, unripe berries of an aromatic tropical American tree, Pimenta dioica, used whole or ground as a spice .
2.
Examples from the Web for allspice
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Homemade Cranberry Sauce, Plus Swiss Chard The Daily Beast November 24, 2008
Historical Examples
Stew it in mutton or beef gravy, with a quarter of a pint of port wine, some pepper and allspice.
The Cook and Housekeeper's Complete and Universal Dictionary; Including a System of Modern Cookery, in all Its Various Branches, Mary Eaton
A few drops of either will be a grateful addition to a pint of gravy, or mulled wine, or in any case where allspice is used.
The Hotel St. Francis Cook Book Victor Hirtzler
It makes a most grateful addition in all cases where allspice is used, in gravies, or to flavour and preserve potted meats.
The Atlantic Monthly, Volume 18, No. 108, October, 1866 Various
An ounce of black pepper, and the same quantity of allspice, in fine powder, added to the above will give a still higher flavour.
In the morning put them on to boil with fragments of fresh meat; also cloves, allspice, pepper and salt.
The Cookery Blue Book Society for Christian Work of the First Unitarian Church, San Francisco, California
British Dictionary definitions for allspice
Expand
a tropical American myrtaceous tree, Pimenta officinalis, having small white flowers and aromatic berries
2.
the whole or powdered seeds of this berry used as a spice, having a flavour said to resemble a mixture of cinnamon, cloves, and nutmeg
Also called pimento, Jamaica pepper
Collins English Dictionary - Complete & Unabridged 2012 Digital Edition
© William Collins Sons & Co. Ltd. 1979, 1986 © HarperCollins
Publishers 1998, 2000, 2003, 2005, 2006, 2007, 2009, 2012
Word Origin and History for allspice
Expand
n.
spice made from the berry of the Jamaican pimento, 1620s, from all + spice (n.), "so called because supposed to combine the flavour of cinnamon, nutmeg, and cloves." [Weekley]
Online Etymology Dictionary, © 2010 Douglas Harper
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Why would a motorist use ethylene glycol in his car | Auto Service Tips for Your Car's Cooling System | Motorist
Antifreeze/Coolant
The main function of the Cooling System is to carry heat away from the engine and maintain the desired operating temperature. This is accomplished by circulating antifreeze/coolant through the engine, where heat is generated, and carrying it to the radiator to be cooled.
Modern automobiles operate in a wide variety of ambient temperatures, from well below freezing to well over 100 F. The fluid used to cool the engine must have a very low freezing point, a high boiling point, and it must have the ability to transfer heat.
An adequate amount of an antifreeze/coolant and water mixture is necessary to reduce the possibility of engine overheating and freezing, and contain additives to prevent rust and corrosion in the cooling system.
Water is one of the most effective fluids for holding heat, but water freezes at too high a temperature to be used in automobile engines alone.
The fluid used in most vehicles is a mixture of water and ethylene glycol, also known as "antifreeze" or "coolant". By adding antifreeze to water, the boiling and freezing points are improved significantly.
The temperature of the coolant can sometimes reach 250 to 275 F (121 to 135 C). Even with antifreeze added, these temperatures would boil the coolant. To prevent this, the cooling system is pressurized, which further raises the boiling point of the coolant. Most systems have around 14 to 15 pounds per square inch (psi), which raises the boiling point approximately 45 F so the coolant can endure the high temperatures produced in the engine.
Coolant Hoses
The radiator hoses and heater hoses are easily inspected by opening the hood and looking. You want to be sure that the hoses have no cracking or splitting and that there is no bulging or swelling at the ends.
If there are any signs of problems, the hose should be replaced with the correct part number for the year, make, model and engine of the vehicle.
Never use a universal hose unless it is an emergency and a proper molded hose is not available.
For either the radiator hoses or the heater hoses, make sure that you route the replacement hose in the same way that the original hose was running. Position the hose away from any obstruction that can possibly damage it and always use new hose clamps.
After the cooling system is refilled with the proper coolant mixture, a pressure test should be performed to ensure that there are no leaks.
Belts
On most older vehicles, the water pump is driven by either a V belt or serpentine belt on the front of the engine that is also responsible for driving the alternator, power steering pump and air conditioner compressor. These types of belts are easy to inspect and replace if they are worn. Check for dry cracking on the inside surface of the belt.
On newer vehicles, the water pump is often driven by the timing belt. This belt usually has a specific life expectancy at which time it must be replaced to insure that it does not fail. Since the timing belt is inside the engine and will require partial engine disassembly to inspect, it is very important to replace the timing belt at the scheduled interval.
| as antifreeze |
Which British motor manufacturer used to make the Westminster | Propylene glycol as antifreeze - Engine & fuel engineering - Eng-Tips
Propylene glycol as antifreeze
(OP)
19 Jan 12 02:46
Has any one run tests on head temperature vs coolant temp on plain water vs straight Propylene Glycol coolant?
Someone said they noted higher coolant temp when using PG vs water.
Due to the steam pockets that form in areas of the combustion chamber cooling system using water and PG will continuously wet the metal and not cause these pockets.
If a coolant were receiving more of the combustion chamber heat, would it not show higher temp at the coolant temp sensor?
I would think that it would be necessary to test head temp vs coolant temp using both water and PG to know what was happening.
RE: Propylene glycol as antifreeze
patprimmer (Publican)
19 Jan 12 06:06
Propylene glycol has a substantially lower specific heat than water so a similar quantity of energy transfer via heat transfer would result in a higher temperature rise, however the transfer would be less as the delta T is reduced. How much this offsets the extra area if stem pockets are forming is a point to consider. It may be quite variable depending on conditions and individual castings.
Regards
IRstuff (Aerospace)
19 Jan 12 10:49
The bottom line is that PG has SUBSTANTIALLY poorer cooling capacity than water, to the extent that whatever benefits that a higher boiling temperature might have is negated.
And, it's not clear that boiling is that bad, per se. Phase change sucks up huge amounts of energy, to the extent that it might completely make up for the loss of coolant coverage on the HT surfaces.
The most volume efficient heat transfers are often phase change materials (PCMs). Now, typical installations of PCMs are limited usage, since the material volume is limited. In a recirculating system, PC might be OK in some range above boiling point. Just consider boiling in a pot. The vapor bubbles are removed by their own buoyancy and convection currents in the water, and the pot bottom is never liquid free for very long.
TTFN
(OP)
19 Jan 12 12:33
I was looking for a coolant that I could trust, mainly for the high boiling point so I can run an atmospheric pressure system as my automotive background taught me that most of the cooling system problems and failures on all automobiles were a direct result of high pressure in the system, not the equipment itself.
I know the steam pockets exist in the combustion chamber area of the cooling systems and the use of a pressure system tries to suppress these, so when I read that some stock car builders found that the PG kept the metal wet in those areas and thus required little to no pressure in the system. Thus eliminating hot spots.
I have built an experimental cooling system on my show car and from what all of you say, I really need to test both plain water and PG to see what works rather then accept that PG is the answer. I have ruled out the poisonous Ethylene Glycol antifreeze.
I have thermo couplers to measure actual head temp so I will be able to see what the difference is between the coolant and the cylinder head itself using each as a coolant.
This is going to be used only as a show car so it will not be exposed to freezing weather.
Thanks group.
IRstuff (Aerospace)
19 Jan 12 13:43
Even at 50/50, PG/water BP is only 10° higher than pure water. Only if you run pureor nearly pure PG do you really get a drastic increase in BP, but you'll increase the viscosity, and therefore make the coolant pump run harder.
Pure PG's thermal conductivity and specific heat are substantially poorer (30%, 70%) than water's. You only gain 70% increase in temperature, but you'd need something like a factor of 3x deltaT or 3x fluid velocity and radiator area to get the same amount of heat out. A higher fluid velocity would make the pump work harder.
19 Jan 12 14:10
Bottom line, Slim3 ? (Don't take me wrong because you sound like a kindred spirit)
You ask if you can use 100% PG in an automotive cooling system and my answer is a qualified 'yes'.
Be prepared for astronomical temps in any marginal system. 300f is not at all uncommon and if the rest of your engine can endure and the oil temp is maintained at a much lower temp, it works. How do I know? I tried it on a Model A Ford. Was it worth the effort? NO, it was not, aside the 'learning experience'. I did not damage anything obvious but the expense and monitoring effort was a waste of time. A new, modern radiator core was much cheaper and more deficient in the long term.
Of course if you are 'pushing an agenda' then, have at 'er, sir.
Rod
(OP)
19 Jan 12 14:49
The engine is a Olds 215 CI V-8 and I converted it's cooling system because this design engine had a history of heating problems. I blocked off the large transfer ports at the rear of the block to head and drilled out all of the so called "Steam Holes" larger in the head and block and added a few more. Then I blocked off the inlet ports on the block and added three inlets at the core plugs on each side of the engine and added four new inlet ports near the exhaust ports directly into the head cooling jackets. This gave me 14 inlet ports for coolant and I used all four outlet ports on the head to a coolant manifold that I installed a thermostat housing.
I mounted a remote water pump and manifold circling the engine to supply coolant to all 14 ports. Yes, part of the reason I want a atmospheric system is due to my complicated external cooling supply system. (limited access to all the external connections) This V-8 is stuffed into an MG.
No coolant travels more than 8 to 10 inches through the engine and all cylinders and all combustion chambers receive the same temp coolant from the radiator. The radiator is a aluminum hot rod radiator designed for a 350 GM and a Jaguar blow through fan is used. With this design I believe I can slow down the speed of the coolant but will run tests to see if that is advantageous or not.
I planed to monitor inlet and outlet coolant temp and actual head temp to get a better picture of what is happening.
This engine has been my hobby and it is started on direct injected compressed air but runs on gasoline.
I ran the engine on a test stand before installation and was able to correct all known leaks and was able to confirm that the carburetors were tuned and ignition timing was correct for all the changes.
(OP)
20 Jan 12 14:45
Thanks Rod, cool web site. Looks like first class work. I have 5 of the 215's, four Olds and one Buick (the one Rover used)
I have rebuilt the Rover version 215 for people. I think Rover claimed that the casting process GM used was a problem and they corrected that but visually I couldn't see any other changes.
What ever GM did in the lubrication system and crankshaft design must have been right, as every 215 I pulled down, they all had great cranks in them no matter how worn out the cylinder walls, pistons etc were. Same with the Rover versions.
One of my Olds 215s shows possible signs of what Rover said in that it had the aluminum separated from the cast in cylinder liner. I just use it for fit checks as I have stuffed one in an MG.
This is the MG I am thinking of using the Propylene glycol in.
From what every one says, I better do some testing first.
evelrod (Automotive)
20 Jan 12 19:46
Haven't corresponded with John about the 215 lately, but as memory serves, it was making a reliable 540hp and was scheduled for a road race car.
Yes, they certainly do good work and, not outrageously expensive, either...Depending, of course, what level of preparation you are after. We are on our second season with his DOHC Lotus head and the engines leak down is still 3% to 5%, all.
Rod
rmw (Mechanical)
20 Jan 12 22:55
Have you done a search on this site? There have been some really in-depth discussions of PG/water. Here's a good one"
thread108-312238: Propylene Glycol vs. Ethylene Glycol/water
Lot of good automotive expert knowledge presented in that thread.
In the industrial application I described in that thread, boiling point elevation would have been a really beautiful feature for us, but in reality PG provided next to squat. The little bit it gave was a drop in the bucket so to speak.
rmw
(OP)
21 Jan 12 01:19
It seems that one just can't win on coolant. I am disheartened again. If you want good heat transfer use water, but it will freeze and boil, You can add one poisonous antifreeze and you loose some of the heat transfer and gain leaks and still need to pressurize the system to stop it from boiling or you can use Propylene glycol straight and gain the high boiling point but loose the heat transfer. Or mix it 50/50 and have to pressurize it and pay 5 times what the poisonous stuff cost.
It sounds like I best just use water with some kind of water pump lube in it since my car is going to be just a show car. If my design of the cooling system cools too well then I may run tests on the propylene glycol.
evelrod (Automotive)
21 Jan 12 12:34
Slim, we are not allowed, by the rule book, to use any type of antifreeze/coolant in our race cars. To get around that in the old days, I used water soluble oil as a pump lube and some dishwasher anti spot stuff. Now that I have moved into the 21st Century, I simply buy a bottle of Red Line Water Wetter or any one of several mfrs that make similar 'surface tension' modifiers in all my cooling systems. Good anti corrosion protection and the overall max temp on any given day is substantially lower...race car engine...street engine, not so much to actually SEE...but it's still there.
Running 100% PG was informational. I learned that it is totally impractical in any normal automotive application. You can also get some info from articles by Smokey Yunick but you'll need to dig for it.
Rod
21 Jan 12 13:26
Slim3,
Poisonous? Go into your kitchen (or store) and take a bottle of vanilla and read the ingredients. PG is one of them. Bon appetite.
IRstuff,
Good info. I had not seen that chart. Problem is, we need the stuff to transfer a significant amount of heat from the process while giving adequate freeze protection when the process is offline worse than we needed the boiling point elevation.
All 3 would have been golden, but we still needed to be able to pump the fluid through some sophisticated heat transfer equipment in a variety of conditions as well. To get the right combination, we can handle the boiling point elevation by raising the system pressure - exactly what the radiator cap does on most autos. We obviously do it with something more sophisticated than a radiator cap.
rmw
hemi (Automotive)
21 Jan 12 16:25
I have yet to see a cast stainless steel engine block! And that would be a heat transfer issue in itself... doh!
RE: Propylene glycol as antifreeze
patprimmer (Publican)
21 Jan 12 16:41
Many boat engines run with raw sea water cooling systems. High nickle cast iron is probably not out of the question for an engine block. In fact some high performance Small Block Chevs had a high nickle block. Not enough to be stainless, but probably enough to reduce corrosion somewhat. I certainly ran one in a boat for over 10 years. It needed a back flush every few years to prevent small rust scales that became dislodged from blocking smaller water passages.
Regards
evelrod (Automotive)
21 Jan 12 18:13
I'm not having huge corrosion problems in my vintage/antique engines, at least the 'all iron' versions. One of them, built in 1929 and in more or less continuous service with only water as a coolant has proven totally sound on it's last UT inspection/rebuild about a year ago. I did have a cylinder head needing replacement but that's understandable on a 83 year old side valve engine.
I have had really horrendous corrosion problems in the Al/Fe engines, though...no surprises.
Of course I must volunteer that the 83 year old Ford spent it's entire life here in SoCal, never needing antifreeze. However, I am told by some of the Model A club group that pre war cars used mostly alcohol/menthol or, simply drained the system during winter. I met one fella that said he used 'coal oil' (kerosene) for coolant during winters of the New England area. I suppose it would work...I think I'd want to be careful around open flame, though...;o)
Rod
L4189 (Mechanical)
21 Jan 12 20:08
Propylene glycol is the stuff they use to protect fresh water systems in yachts and RV's during winter layup and we use to run it through the raw water system of the engine with it puking on the ground for the same reason. Didn't hurt the cats any.
As for running straight water, locomotives run straight water with something like NALCO 2000 rust inhibitor which also works well for the ceramic pump seals.
RE: Propylene glycol as antifreeze
| i don't know |
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